<?xml version="1.0" encoding="UTF-8"?>
<itemContainer xmlns="http://omeka.org/schemas/omeka-xml/v5" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://omeka.org/schemas/omeka-xml/v5 http://omeka.org/schemas/omeka-xml/v5/omeka-xml-5-0.xsd" uri="https://digitalcollections.library.gvsu.edu/items/browse?output=omeka-xml&amp;page=529&amp;sort_field=Dublin+Core%2CTitle" accessDate="2026-04-07T01:03:00-04:00">
  <miscellaneousContainer>
    <pagination>
      <pageNumber>529</pageNumber>
      <perPage>24</perPage>
      <totalResults>26018</totalResults>
    </pagination>
  </miscellaneousContainer>
  <item itemId="26375" public="1" featured="0">
    <fileContainer>
      <file fileId="28582">
        <src>https://digitalcollections.library.gvsu.edu/files/original/af7665d65f089550a226d2eeb5f614db.jpg</src>
        <authentication>e372be6d673a05abb27c96aa2597f7f7</authentication>
      </file>
    </fileContainer>
    <collection collectionId="29">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464843">
                  <text>Decorated Publishers' Bindings</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464844">
                  <text>Book covers</text>
                </elementText>
                <elementText elementTextId="464845">
                  <text>Covers (Illustration)</text>
                </elementText>
                <elementText elementTextId="464846">
                  <text>Graphic arts</text>
                </elementText>
                <elementText elementTextId="464847">
                  <text>Publishers and publishing</text>
                </elementText>
                <elementText elementTextId="464848">
                  <text>Pictorial bindings</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464849">
                  <text>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.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="464850">
                  <text>Seidman Rare Books Collection</text>
                </elementText>
                <elementText elementTextId="465152">
                  <text>Michigan Novels Collection</text>
                </elementText>
                <elementText elementTextId="465153">
                  <text>Regional Historical Collection</text>
                </elementText>
                <elementText elementTextId="465154">
                  <text>Lincoln and the Civil War Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="464851">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464852">
                  <text>2017-08-30</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464853">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;, &lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464854">
                  <text>image/jpg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464855">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464856">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="464857">
                  <text>DC-01</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="62">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="491236">
              <text>Seidman Rare Books. PQ2615.H48 M37 1928 </text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="491221">
                <text>DC-01_Bindings0140</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491222">
                <text>Maria Chapdelaine</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491223">
                <text>Binding of Maria Chapdelaine, by Louis Hemon, published by The Macmillan Company, 1928.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491225">
                <text>Book covers</text>
              </elementText>
              <elementText elementTextId="491226">
                <text>Covers (Illustration)</text>
              </elementText>
              <elementText elementTextId="491227">
                <text>Graphic arts</text>
              </elementText>
              <elementText elementTextId="491228">
                <text>Publishers and publishing</text>
              </elementText>
              <elementText elementTextId="491229">
                <text>Pictorial bindings</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491230">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491231">
                <text>&lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491232">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491233">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="491235">
                <text>1928</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1030371">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="24618" public="1" featured="0">
    <fileContainer>
      <file fileId="60009" order="1">
        <src>https://digitalcollections.library.gvsu.edu/files/original/4d181bff49d65c6fe7f5c1b8765b5b28.pdf</src>
        <authentication>4e8a50195754655b1ad1aef4c76799e4</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="1039199">
                    <text>Young Lords
In Lincoln Park
Interviewee: María Romero
Interviewers: José “Cha-Cha” Jiménez
Location: Grand Valley State University Special Collections
Date: 6/2/2012

Biography and Description
María Romero first joined the Young Lords on Wilton and Grace Streets. She was recruited by then Angie
Lind-Rizzo (later Angie Adorno) and the other Young Lord women members. It was 1973 and the Young
Lords were emerging from two long years of being completely underground, or inoperative publicly as a
human rights organization. There were no longer remnants of the Young Lords Movement left in the
Lincoln Park neighborhood that gave birth to them in 1968. The Lincoln Park neighborhood had been
cleaned out of Puerto Ricans and the poor, in just a few years, by city hall and the Lincoln Park
Neighborhood Association. A directive was given by the leadership for the Young Lords members to
move and to establish themselves as a base of operations in the Lakeview Neighborhood, at Wilton and
Grace Streets. Many Young Lords moved there with their families. Prior to that, a group of about 25
Young Lords had moved to a rural, rented farm near Tomah, Wisconsin. The farm camp was called a
“Training School,” and their sole purpose for their camp was to train new Young Lord’s leaders who
would step in and lead the Young Lords. Repression had hit extremely hard within the Lincoln Park
Movement, splitting it in several directions. This was aided by pending trials of several Young Lords
leaders and the still unsolved murders of United Methodist Rev. Bruce Johnson and his wife Eugenia, of
the Young Lords People’s Church. Rainbow Coalition leader of the Black Panther Party, Fred Hampton,
and Mark Clark were also assassinated in a raid organized by the States Attorney. The Lincoln Park

�Movement had seized to exist. José “Cha-Cha” Jiménez, who was then in hiding from the police after
being sentenced to one year in Cook County Jail and who had 17 more felony indictments still pending,
called for the organizing of a training school in a secluded farm near Tomah, Wisconsin. After members
received their training in the farm camp for one and a half years, it was decided that Mr. Jiménez would
voluntarily turn himself in, begin serving the year and start to fight the remaining cases which included
bond jumping and many trumped up charges of mob actions for demonstrations. The Young Lords
would raise his bond, hire attorneys, and then switch their organizing in Lakeview and Uptown where
many of the Puerto Ricans of Lincoln Park had moved. They had also moved to Wicker Park and
Humboldt Park but the Young Lords wanted to concentrate their forces. If this move was not done, the
movement started in Lincoln Park would completely collapse. After serving the year, Mr. Jiménez
announced his Aldermanic Campaign for the 46th Ward, as an Independent Democrat. He would use the
election not as an electoral revolution but, “as an organizing vehicle for change.” Among other things
the campaign would focus on Mayor Daley’s forced displacement of the Puerto Rican Community from
the near lakefront and near downtown areas of the city. It not only boldly opposed the banks, the
developers, the neighborhood associations but implicated Mayor Richard J. Daley in urban renewal
plans that clearly were racist, being utilized to cleanse these areas of lower income minorities. Because
of this, María Romero volunteered to serve as Young Lords Office Coordinator. It was Ms. Romero’s job
to pass out assignments and to provide support and referrals for services for residents of that Lakeview
area of Wilton and Grace. She herself had lived in Lincoln Park but had grown up in Lakeview. There
most of the Puerto Ricans knew her family, as her father was a businessman, who for years had owned
several Latino botanicas, or stores that sell religious potions and candles of saints, and provide
consultation services. Ms. Romero was instrumental in getting a large amount of persons registered to
vote. The Jiménez Aldermanic Campaign received 39% of the vote on the first attempt. It was not the
51% needed, but it was still victorious in uniting the community and beginning to expose the prejudice
behind displacement. It also opened wide the doors for future Latino political candidates. As Ms.
Romero moved west to Humboldt Park she was hired as a community organizer for Bickerdike, a non profit development corporation. She used her Young Lords organizing skills and passion to promote their
mission of being, deeply dedicated to preserving the ethnic and cultural character of their
neighborhoods, providing quality affordable housing, preserving jobs, advocating for resources and
struggling against gentrification and displacement. One of the main issues that Ms. Romero advocated
for was the “Chicago Affordable Set Aside.”

�Transcript

JOSE JIMENEZ:

Okay. Let me see if we can start doing. I think so. Okay. María, to

start, just give me your full name, date of birth, and where you were born.
MARIA ROMERO: My full name is Cruz María Romero and I was born in Río Piedras,
Puerto Rico on May 1st, a wonderful day to be born because it’s a very actionfilled and political day, I learned later. There may be a reason for that.
JJ:

Oh, May 1st, yes. Okay. But Cruz is your first name?

MR:

Cruz is my first name.

JJ:

Okay.

MR:

I just don’t use it because as I was in school, they confused it with a last name, or
they can’t, for some reason. Cruz is an easy name to pronounce, but for some
reason, they decided to call me María. It must have been easier for the anglos.

JJ:

So they confused it? What school was that?

MR:

The first school I went to was McLaren School.

JJ:

Okay. Where is that at?

MR:

I don’t know [00:01:00] where it was. That’s where I was in kindergarten. Then
after that, I went to Skinner School. I’m thinking both on the West Side because
that’s when we lived on Van Buren, I believe. Yes, that’s when we lived on Van
Buren Street.

JJ:

Do you know what address in Van Buren?

MR:

Thirteen thirty-four Van Buren, West Van Buren.

JJ:

West Van Buren? Okay.

1

�MR:

Yeah, right before the bridge. My dad had a botánica up that way.

JJ:

Oh, what’s a botánica, (inaudible)?

MR:

Una botánica is where they sell -- usually the person in charge of it is a santero,
and they use natural healing. They also deal with spiritism and things like that.
My father was into that.

JJ:

So your father was into that.

MR:

Yes, he was. He used to have (Spanish) [00:01:54], I guess they call them, and
right before [00:02:00] he went into the nursing home, he used to give classes.
Like, toward the end of his life, he would give people classes for that.

JJ:

So what do you mean, a class?

MR:

He would teach them what he did, how to mix all the stuff. I really didn’t get into
it, and now I wish I had because of the medicinal side of it because they used a
lot of natural medicine. But I felt it was the occult and I’m a Christian and
scripture says not to mess with that. It doesn’t say it doesn’t exist. It says don’t
mess with it. So I would leave it alone. I think my dad was disappointed that
none of us followed in his footsteps, but he prepared other people to do it.

JJ:

Well, let me ask you this. Let me. Okay, your father’s name? Did we get his
name? What’s your father --

MR:

[Cayetano?].

JJ:

Cayetano.

MR:

Romero.

JJ:

Romero, okay. And what town is [00:03:00] he from in Puerto Rico? You said
you were born here, though, right?

2

�MR:

I was born in Río Piedras.

JJ:

In Río Piedras, okay.

MR:

My dad’s family is from Carolina and my mother’s family is from Río Piedras.

JJ:

And your mother’s name?

MR:

Ana Maria. Ana Maria Santiago Romero.

JJ:

Santiago Romero, okay. And (Spanish) [00:03:19] your father, Cayetano,
(Spanish) [00:03:24], and how about your mother? Did she believe in that?

MR:

I don’t know. I have an aunt who did who was very involved. My mom was a
housewife and she took care of the kids and whoever came by and all of that.
But I don’t remember her actively participating.

JJ:

What about your father’s brothers and sisters?

MR:

I think they all believed. My dad was one of the oldest brothers and they had a
lot of respect for him. They would go to him whenever they needed counseling
[00:04:00] or something, yeah.

JJ:

Okay. And had you seen any of why he was praying or anything like that? How
did he do it?

MR:

No, I was never allowed.

JJ:

Did he have an altar in the house or no?

MR:

Yes, he did. That, he did, and he always taught us to pray, and every week we
would go in what we called the cuartito, and there he had all his santos and a
picture of Jesus, and he taught us all --

JJ:

What kind of stuff? What kind of santos?

MR:

His botánica was always named San Judas, so he always had that santo.

3

�JJ:

San Judas Tadeo.

MR:

Yes. Yes, and I remember the picture of faith, hope, and charity. I remember
that. But I remember he always taught us to pray to Jesus. He always taught
me to pray to Jesus.

JJ:

Okay, so he always taught you to pray to Jesus. So it was connected in a way
with the Catholic church, but it was also part of the --

MR:

Yeah, when we went to church when we were kids, [00:05:00] we went to a
Catholic church.

JJ:

Where did you go?

MR:

We went to Notre Dame.

JJ:

Notre Dame in Puerto Rico?

MR:

No, here, here, on the West Side.

JJ:

Oh, Notre Dame on the West Side. Okay.

MR:

And from school, they used to take us to St. Patrick’s.

JJ:

So you came when you were --

MR:

I was a baby. I was nine months old when we came from Puerto Rico.

JJ:

And what year was that?

MR:

Fifty-five, 1955, when they came with us. My mother had been in New York. She
had lived in New York and worked for a woman as a maid. She brought her from
Puerto Rico -- that wasn’t too nice to her, apparently. And her and my father
were communicating. He was in Chicago, so they went back to Puerto Rico, met
there, and I believe that that’s when they went to Indiana. They owned a
restaurant there by the steel mills. Then after that, for whatever reason, they

4

�decided to go back to [00:06:00] Puerto Rico, and that’s when my brother was
born and I was born, and then they came to Chicago to the hotel we were talking
about. The Water Something Hotel.
JJ:

The Water Hotel.

F1:

Water Hotel.

JJ:

The Water Hotel, okay. Somebody here knows about that.

MR:

I was a kid. I remember sitting in the window and I remember the trucks with the
fruit and the guy yelling, “Watermelon.” And we’d run to the window and my dad
would get baskets of tomatoes and fruit and stuff like that. Then I remember that
our uncles, his cousins and people like that little by little came. They would come
there and then move somewhere else.

JJ:

So that was like a stopping point for everybody?

MR:

Yeah.

JJ:

Was it because the rent was cheap or something?

MR:

Probably. They had small rooms. I remember the apartment we lived in. I
remember it seemed like a really big room [00:07:00] and the kitchen was over to
the side. There was the dining table, and then here was the windows and I
guess the living area.

JJ:

Then there was a bedroom?

MR:

And then there was a bedroom. I don’t know exactly how many bedrooms there
were, but there were a lot of apartments. I remember big, giant doors. My sister
and a cousin of mine -- my sister, Yolanda -- were playing by one of those doors
and it smashed her finger. To this day, one of her thumbs, the nail doesn’t grow

5

�right because of that accident. The door smashed her finger. My brother George
was born in that apartment.
JJ:

It was Chinatown?

MR:

Yeah. Yeah, they put him in a drawer. The nurses from County Hospital came.
When he was born, they put him in a drawer ’cause I guess there wasn’t a crib,
and he was cold.

JJ:

The drawer of a dresser? A dresser drawer?

MR:

Yeah. Yeah.

JJ:

The nurses did that?

MR:

Yeah, the nurses.

JJ:

Well, was he born in the house?

MR:

Yeah, he was born in the house.

JJ:

[00:08:00] At the Water Hotel?

MR:

Yes.

JJ:

This is Chinatown?

MR:

Yes.

JJ:

Okay. You said he was born in the house.

MR:

Yes.

JJ:

I had a sister born in Chinatown.

MR:

I think he might’ve been the only one.

JJ:

So what year was that about?

MR:

Oh, I don’t know.

JJ:

But he’s younger than you.

6

�MR:

Yes. He’s like a year younger than me.

JJ:

Oh, okay.

MR:

Fifty-six.

JJ:

So around ’56, he was born there.

MR:

Yeah, and I remember they turned on the oven to keep him warm and put him by
the oven.

JJ:

(Spanish) [00:08:28] came?

MR:

Yeah, midwives, I think they were.

JJ:

They had them all over. You said they turned, what, the water?

MR:

The stove. They turned the stove on to warm him when he was born because
whatever issues he was having. I believe my youngest sister may have been
born in the house too. I’m not sure about that.

JJ:

But at that time, they had a (Spanish) [00:08:48]. They had that at that time.

MR:

Yes.

JJ:

At that time. Okay. So (Spanish) [00:09:00] you were going to school. Did you
go to school there?

MR:

No.

JJ:

Where did you go to --

MR:

I started --

JJ:

Church. You said you went to the Catholic church.

MR:

Yeah, Notre Dame Church, we went to.

JJ:

Notre Dame. But I mean, do you remember going to church there with your
mother or anything?

7

�MR:

I remember us going to church. They had a basement that they had the Spanish
church, and we would go there or we would go to service with my parents. I had
a cousin that was very devoted. I remember one Easter, it was really, really cold.
We were supposed to go to church, and it snowed. So my mom didn’t send us,
and I was looking through the window, and my poor little cousin was in her Easter
outfit, walking across the bridge. So that’s when we lived on Van Buren. And it
seemed like you’d move into one place -- and that happened with me too. I’d
move into a building and then the rest of my family would end up moving into the
same building. But that happened a lot [00:10:00] with our family.

JJ:

So the family just followed you.

MR:

Yeah. Yeah. And the Van Buren building was a big courtway building.

JJ:

What address on Van Buren?

MR:

Thirteen thirty-four West Van Buren.

JJ:

You said there was a big building too, like the Water Hotel?

MR:

It was a big courtway building, something like this.

JJ:

So a courtway building, okay.

MR:

And the whole family practically lived in all the courtways. And I’ve met other
people throughout.

JJ:

The Romero family?

MR:

Yeah, and cousins, and you know. What is the other? [Trejes?].

JJ:

Oh, Trejes were also there. That’s [your family?], the Trejes?

8

�MR:

That’s one of the last names. But I believe that’s part of the family that lived in
New York. There’s a whole group of them which are now in Florida that lived in
New York. I have an aunt who raised her kids, like five, six kids there.

JJ:

Okay. So you were about how old [00:11:00] at Van Buren? How old were you
then?

MR:

I wasn’t in school yet, so maybe four, I’m guessing, ’cause I’m just guessing
that’s how far back I can remember.

JJ:

But you remember that courtway pretty well.

MR:

Yes. The courtway building, I remember well ’cause that’s when we were in
Skinner School.

JJ:

So what do you remember about the things that (inaudible)?

MR:

That wasn’t Skinner School.

JJ:

It wasn’t?

MR:

Mm-mm. Now I’m not remembering well. It was so long ago. Memory’s foggy.

JJ:

I’m just trying to figure out what kind of memories do you have of that time when
you were at Van Buren. The neighborhood, were there a lot of Puerto Ricans?

MR:

Yes, there were, and my family had rented a hall --

JJ:

In the courtway building? In the courtway building?

MR:

Yes, there were a lot of Puerto Ricans. The area was mostly Afro American, and
I guess there were groups of Puerto Ricans.

JJ:

Different sections. And your father rented a home, you said?

MR:

My uncles, [00:12:00] my dad, had a hall, and that’s where we would celebrate
because the family was really big. All the cousins and everyone lived in the

9

�building. They would play domino and things like that on the weekend. Then I
remember Christmas holidays.
JJ:

Where were they playing dominoes at?

MR:

At the hall. Yeah, my father was pretty good at it. He had all kinds of trophies. I
think one of my sisters has his trophies still from playing domino.

JJ:

So he would rent a hall and people would pay?

MR:

They rented the hall, yeah.

JJ:

Together, they would rent the hall.

MR:

Yeah.

JJ:

So did he have a social club?

MR:

Yeah. I guess that’s what it was. I don’t remember the name of it. They didn’t
have a specific name. But neighbors would always be there, and on the
weekend, they’d drink and they’d sell liquor, and that’s probably how they paid
the rent. Then on holidays, the kids would put on performances.

JJ:

Was this a big hall or a storefront?

MR:

No, I remember just, like, something like Casa Puertorriqueña. It looked
[00:13:00] something like that. And they had a little bar and my uncles would mix
drinks.

JJ:

So it was like a social --

MR:

Yeah. Yeah.

JJ:

Okay. But you don’t remember who was (inaudible) after the Río Piedras, or --?

MR:

No, I don’t remember what it was named.

JJ:

Okay. So you used to go to that home?

10

�MR:

Yeah, on holidays, we’d go.

JJ:

And your family and stuff like that?

MR:

Yeah. Whenever there was a party, the ladies would all cook. My mother would
cook and the food would go there. Everyone would celebrate holidays there.
And it was on Van Buren because it was right next to the building.

JJ:

Okay. And then what else do you remember on Van Buren, that area? Because
I know there was a street called Madison nearby.

MR:

Yeah. I know we lived on Harrison.

JJ:

You lived on Harrison?

MR:

Yes. And when we were in Skinner School, it was on Throop, so I guess that was
when we lived on Van Buren because I remember the back was a big -[00:14:00] I remember getting robbed on my way to school with my cousins
because we all used to go to school in a pack. When we got older, they let us go
by ourselves, and I remember a couple of tall Black guys stopped us and they
took my purse. My brothers weren’t with us. I remember one time that my
brother had a fight and I was coming out of school. Then I got into it and I got in
trouble because I got into the fight. I got in to help my brother and tore this guy’s
shirt. The mother came to our house and she was making stuff up about what I
had done. So I spoke up to defend myself and my mother smacked me because
I yelled at an adult. But then she told the lady, “No, I’m not paying for your shirt.
This is my daughter and that was your son.” She defended me, but she taught
me that you don’t raise your voice to elders. [00:15:00] I remember that real
clearly.

11

�JJ:

Okay. What other things did your mom teach you?

MR:

How to be a mom.

JJ:

What do you mean by that?

MR:

How to treat my kids, how to --

JJ:

How did she tell you to treat your kids?

MR:

Well --

JJ:

I’m trying to find out what moms used to teach the women at that time.

MR:

Well, my mom taught me how to cook. I’m a great cook. It’s hard for me
because I still miss her. She’s been gone almost three years and she just
showed me what unconditional love was. You know, regardless to what mistakes
we made, she still loved us, and she still accepted us. She taught us that. She
taught us to be like that with our children.

JJ:

Want me to stop this for a little bit?

MR:

Yeah.

(break in audio)
JJ:

Okay. Can you tell me something about Van Buren?

MR:

Okay. I remember the summers there. I remember playing in the courtway with
the other kids [00:16:00] in the building. The majority of the people that lived
there were Puerto Rican. I had an aunt who sold bolita, and I remember taking
the numbers to her.

JJ:

What is bolita?

MR:

Numbers. The numbers. It was like lottery, illegal lottery.

JJ:

It was illegal?

12

�MR:

Yeah.

JJ:

Why was it illegal?

MR:

I don’t know why it was illegal. I just know it was illegal.

JJ:

(inaudible) Your aunt, you said?

MR:

Yeah, I had an aunt.

JJ:

And she sold it?

MR:

Yeah.

JJ:

So the women and the men were selling that.

MR:

Yeah, in our family.

JJ:

Now, that one wasn’t from [lo chino?], right? There was a bolita they called [los
chinos?].

MR:

I don’t know. I think there were two. I think that there was another one.

JJ:

There was another one too?

MR:

I’m not sure, but I used to love going to her house because she had a real pretty
house and real pretty apartment.

JJ:

This is on Van Buren?

MR:

Yes, in one of the courtway buildings. I remember taking the numbers to her. I
also remember my dad. He had a [00:17:00] botánica then, and he got caught.

JJ:

What do you mean?

MR:

He got caught selling numbers and they had him handcuffed to one of his
vitrinas. What’s a vitrina in English?

JJ:

Vitrina? I don’t know.

13

�MR:

Display thing or whatever. I remember us being all upset because my father had
gotten arrested and my uncles didn’t seem worried about it. They went and got
him out of jail. As far as we knew, it was over with. But I remember that pretty
clearly. I remember playing in the fire hydrant, or watching --

JJ:

Was that the first time he got arrested for that, or no?

MR:

As far as I knew. That’s one time that I knew. Who knows? Because they didn’t
tell you too much when you were a kid.

JJ:

But your uncles were not worried about it?

MR:

They didn’t seem worried about it. They just went and got him.

JJ:

Had they sold bolita too?

MR:

Huh?

JJ:

Did some of them sell bolita or no?

MR:

I don’t think so.

JJ:

It was just your father.

MR:

My father and then my aunt. My aunt, [00:18:00] she was the --

JJ:

What was the botánica called?

MR:

San Judas. His botánica was always called San Judas wherever. He had one
on Halsted too, on Halsted and Broadway.

JJ:

So it’s a business. I mean, from (inaudible).

MR:

Yeah, because he worked --

JJ:

Halsted and what?

MR:

Broadway. On the North Side, he had it. Wherever we lived, he had a botánica.
It was always named San Judas. That was his patron saint.

14

�JJ:

So he sold different -- he must’ve had good business, then.

MR:

Yeah, he did.

JJ:

A lot of people in the community went over there.

MR:

He had people coming from out of Chicago from Indiana.

JJ:

What do people buy? From Indiana?

MR:

They bought statues. He used to mix stuff, powders and things like that for them.
They would buy that. He used to do trabajos for them, you know, spiritual things.

JJ:

What’s a trabajo?

MR:

Like a spell.

JJ:

So you make a spell on somebody. An evil spell?

MR:

I don’t know. He always said it wasn’t. He always said it wasn’t, and a lot of
times, and I don’t know if I should [00:19:00] say this on tape because I don’t
know who’s gonna see it. But a lot of times when people would go and ask him
to do evil things, he would take their money and say, “Yeah, I’m gonna do it.”
And he’d do that so they wouldn’t go to somebody else and get it done.

JJ:

Right, but he wouldn’t do it.

MR:

He wouldn’t do things that he felt were evil.

JJ:

He only did the good things. He would do the good things.

MR:

Yeah.

JJ:

Well, okay.

MR:

My father’s funeral was enormous. His wake here was really packed, so a lot of
people knew him through that and other stuff, I guess. Then he had a wake in
Puerto Rico and a lot of people came to that. He had two wakes.

15

�JJ:

He had a wake here.

MR:

And then they took his body to Puerto Rico and he had a huge wake there.

JJ:

So he was well known in Puerto Rico and here for that. That must’ve come down
-- you said it might’ve come down from his father too?

MR:

Maybe. I don’t know. I don’t know [00:20:00] a lot about my grandparents since
we grew up here and didn’t go back a lot. I knew my grandfather from pictures.
He’s very dark. His name was Simplicio.

JJ:

Simplicio what?

MR:

Romero.

JJ:

Romero. And from the same town and everything?

MR:

Yes. Yes.

JJ:

But you don’t know anything about him?

MR:

Not too much, no.

JJ:

What did you know about him?

MR:

All I knew was that he lived to be very old, and this is because my father would
complain about the food here. He would say that his father ate whatever he
wanted and however he wanted and never got sick with diabetes or anything,
and that from coming here, everyone got sick, you know. Him, his brothers,
[00:21:00] and all of that. He used to say (Spanish) [00:21:02] in Puerto Rico.
And over here, they change his diet completely and he still was diabetic and sick
and stuff, even though I don’t think my father followed his diet. And he was a
good granddad.

JJ:

So (inaudible) kind of runs in the culture.

16

�MR:

It does, yeah. Yeah. I’m trying to fight it with diet because I don’t wanna take
pills. I’m really against taking pills. And I guess I get it from him, and because I
know he used to make medicines, so I’m trying to look into --

JJ:

Trying to get some of that medicine?

MR:

Yeah, trying to be able to put that -- without the occult part, because it’s all
natural medicine and natural healing. Like for instance, I was diagnosed with
arthritis about nine years ago and I had been drinking apple cider vinegar
[00:22:00] to help with my appetite. And I researched it further, and if you take
organic apple cider vinegar every morning, it helps you with your arthritis. I don’t
take any pain medication and it’s been, what, nine years? That’s what I take in
the morning. I drink apple cider vinegar in water and I don’t have to take all
those medications, and those medications messed up my mom. You know, I saw
my parents deteriorate and a lot of it, I think it was because of the medication that
they were given here, the pills, because they may fix your pain, but they mess up
your stomach. They give you medicine for fungus and it messes up your liver.

JJ:

Right, right, that’s right. You’ve got to take one pill for another thing.

MR:

Yeah. Recently I went to the doctor and I --

JJ:

It’s business. It’s a big business.

MR:

Yeah. They’ve been telling me for years that I’m borderline diabetic, so I’ve been
trying to control it with diet. [00:23:00] Then the last time I went to the doctor, he
tells me that they’ve changed the way they measure it, so now instead of being
borderline diabetic, I’m diabetic. I asked him what new medication came out that
you need patients for. I’m not taking it. I’m gonna continue with diet and talk to a

17

�nutritionist and see what happens. So we’re there. But my son was diagnosed
diabetic and he takes medication every day. I just fight it.
JJ:

Yeah, take pills, yeah. The diet does work pretty good. And the medicine, I
mean, like, people in China, there’s like a billion people. That’s all they use is
natural --

MR:

Herbal medicines?

JJ:

Herbal medicines. So that’s a billion people. They must know what they’re
talking about.

MR:

Right.

JJ:

And it is part of [us?]. So it looks like in later years, you’re kind of [00:24:00]
looking into what your father was doing, but at that time, you didn’t believe in it
because you were a Catholic?

MR:

Well, when I started helping him in his botánica, I was older, and by then I had
become a Christian. I didn’t believe in the idolatry. I didn’t believe in praying to
saints, including the Catholic church. And from when I was little, my father
always taught me to pray to Jesus. That may have influenced how I felt.

JJ:

So you can pray to Jesus, but not to saints.

MR:

Right. Right.

JJ:

So you believe that. Okay.

MR:

Jesus and God, one and the same to me. But you don’t need intermediary to
pray to God.

JJ:

Okay. I see what you’re saying. So the saint would be like a --

MR:

Yeah.

18

�JJ:

There’s somebody in between.

MR:

Yeah. Why go through the middle man when you could go straight to the big guy,
so to speak?

JJ:

[00:25:00] Okay. Why go to a retail when you can go --

MR:

Exactly. Exactly.

JJ:

Okay. Van Buren, how long did you live there about?

MR:

We were there till I was in, like, sixth grade, the beginning of sixth grade. That’s
when we moved north. That’s when my brothers and sisters went to Newberry.

JJ:

Oh, they went to Newberry School in Lincoln Park.

MR:

Yes, that’s when we moved to Lincoln Park.

JJ:

About what year was that?

MR:

Let’s see, sixth grade. Maybe around ’67.

JJ:

In ’55, you came, right? Oh, sixth grade.

MR:

But I was in sixth grade. We moved north.

JJ:

So you lived a lot of years on Van Buren.

MR:

On Van Buren, on Harrison. It wasn’t just [00:26:00] Van Buren. I remember Van
Buren more because we lived there the longest. But we lived on Harrison Street
and I don’t know what other places we lived at, but I know that the last school I
remember was Skinner School. In kindergarten, I went to McLaren School. I
don’t remember where that was. But it’s West Side. I believe it was the West
Side of Chicago, all of those.

JJ:

Okay, so you went to sixth grade in Newberry.

19

�MR:

No, I went to Arnold. My brothers and sisters went to Newberry. Then since I
was in sixth grade, Arnold was the upper grade center.

JJ:

Oh, the upper grade center, you have sixth, seventh, and eighth.

MR:

Right, and then I graduated from there. My brother graduated from there from
grade school. We went to Waller.

JJ:

Okay. When you went to Arnold and your brothers and sisters went to Newberry,
where did you live?

MR:

On Halsted Street.

JJ:

Halsted and what? Do you remember the address?

MR:

Eighteen forty-one North Halsted. So it was [00:27:00] almost to the -- what was
the Del Farm, almost to North Avenue. Isn’t that where the Del Farm was?

JJ:

Del Farm was the supermarket?

MR:

Mm-hmm, or maybe it was an A&amp;P.

JJ:

Yeah, it was on North Avenue. North Avenue and Halsted, there was one.

MR:

Exactly.

JJ:

We lived right behind there.

MR:

Oh.

JJ:

We were on North Avenue and Halsted, because then there was (inaudible) and
transformers, a factory next to it. That was by the L tracks. Right by the L tracks.
Okay. Now, that’s like 1600. That’s not 1800, that’s 1600. North Avenue is
1600.

MR:

Yeah, but we were a few blocks before that.

JJ:

Going towards Armitage?

20

�MR:

Mm-hmm.

JJ:

Oh, so you were in 1800 like you said. You said 18 what?

MR:

Eighteen forty-one.

JJ:

Eighteen forty-one Halsted.

MR:

Yeah.

JJ:

So then you were closer to Wisconsin [00:28:00] and Halsted, I think.

MR:

Maybe.

JJ:

I’m not sure. Wisconsin started at 1900, I believe. So you were there just before
you get to Wisconsin, between Willow and Wisconsin.

MR:

Yeah, I remember Willow.

JJ:

Okay, you remember Willow, okay. Because there was a store there on the
corner.

MR:

Yeah. What was the name of that store?

JJ:

El Campo. [Remember when we asked for?]. El Campo Foods.

MR:

I remember that.

JJ:

Yeah. What do you remember about that?

MR:

I remember my father used to shop there. I remember my father always used to
make the compra, but my mom stopped him because he used to buy a lot of
junk. He used to buy a lot of sweets, and then in the middle of the week, there
was no meat.

JJ:

Yeah, (Spanish) [00:28:44] Mario, and he used to -- you know, Clark Street
before he was there. So you went from Van Buren to there. How was Arnold?
What do you remember about Arnold?

21

�MR:

[00:29:00] That’s where I first heard about the Young Lords, in that area.

JJ:

What did you hear about the Young Lords?

MR:

I used to get their pamphlets.

JJ:

So the Young Lords were political. So this was ’69.

MR:

Yes, that’s the year I graduated from the eighth grade.

JJ:

Okay.

MR:

I remember I used to bring there --

JJ:

Sixty-nine, you graduated from --

MR:

Yes.

JJ:

So you heard about the Young Lords. So was that a big thing there?

MR:

It was a big deal to me. It was a big deal to all our family.

JJ:

To the family?

MR:

Well, yeah.

JJ:

People were talking about them?

MR:

They did. The parents didn’t talk about them real good. I used to have to hide
the pamphlets, bring them home and hide them because I’d get in trouble.

JJ:

Oh, so the parents were against the Young Lords.

MR:

Yeah. Yeah. It politicized me. I was like, you know, the things they’re talking
about, they’re true.

JJ:

What did the parents say?

MR:

That they were gangueros.

JJ:

Okay, gangueros. They were gang members?

22

�MR:

I remember, [00:30:00] (Spanish). I remember that. I’d be like, okay, you know. I
remember I had a friend, a Native American friend that I knew from school, and
she had been at some event and came to my house to visit me, and my parents
got really upset. They wanted me to ask her to leave, and so she left.

JJ:

Because she was Native American?

MR:

No, because she was involved in that.

JJ:

With the Young Lords?

MR:

Yes. And I think she had just been at an event that the Young Lords had had or
something like that and was talking to me about it. I was getting really excited
and my parents were like, “No, you’re not gonna be involved in this.”

JJ:

So there was talk in the neighborhood about the Young Lords.

MR:

Yeah.

JJ:

Some were for, some were against, but they were talking. Everybody was talking
about them.

MR:

Yeah, because that’s when I first heard about urban renewal.

JJ:

Because (inaudible) for it.

MR:

That’s where I heard about urban renewal. I think I learned about Plan 21
[00:31:00] later on.

JJ:

Okay. How were you feeling? Your parents were against it.

MR:

It excited me and it attracted me, but my parents were very strict.

JJ:

What excited you about it?

23

�MR:

That they were going against things that were wrong or that I was seeing, that
things were really wrong, like the racism and all of that was really true, that it
wasn’t imagined.

JJ:

Okay. How did you see that? I mean, how did you see the racism?

MR:

Just like how some of the teachers would treat you. The area we lived in were
mostly Latinos. We had issues with the Blacks, and sometimes I felt racism like
that. But, yeah, a feeling that just things weren’t right. I didn’t understand why
we always had to move. [00:32:00] Our landlords were always white fat old men,
you know? It just started. Not really, but started to make things clear to me. I
saw the Black movement. It gave me pride that we were dealing with things that
were wrong as well. It wasn’t all about Black power all the time, even though that
was good too. But we were doing something and that gave me pride.

JJ:

They said, “Well, let us get some of that too,” right?

MR:

That’s right. That’s right. I remember when they took over the church. I saw it
on TV and I was like, yeah, you know? The programs that they were starting and
things like that, it gave me a sense of pride and of relief that we weren’t just
standing by and taking it, that we were doing something about it.

JJ:

So now at that time, did you [00:33:00] ever come by the church at all?

MR:

No, they didn’t let me.

JJ:

Oh, your parents wouldn’t let you go.

MR:

Uh-uh. All I could do was get the pamphlets.

JJ:

Were they worried that you would go there?

MR:

Yeah. Yeah, they were.

24

�JJ:

So they were trying to keep their daughters in the house. Did they say anything
to the guys, to the boys, or no? Was it just a daughter thing?

MR:

My father was strict with all of us. But, yeah, whenever anything happened, the
boys always got to go and we were always in the house. I always tried. “Can I
go?” “No.” And no, like, you’re crazy, why are you even asking? But that was
the issue between my dad and I.

JJ:

So what were the kids saying, the youth? What were they saying --

MR:

In school?

JJ:

-- at Arnold, yeah.

MR:

It was mostly going to and coming from school that we’d get pamphlets, that we’d
get --

JJ:

[00:34:00] What do you mean? The Young Lords were passing pamphlets?

MR:

Yeah, or whoever. I don’t remember if it was there that I got Pa’lante. I don’t
remember real clear. But I know there was when I began to get politically
educated, I guess. Then we moved north after that. My uncles moved and their
families moved to the West Side, what we called the West Side, which was
around here. We moved north. We lived on Elaine Street.

JJ:

Okay. So some of your family came west and some went north. Was this when
they started moving people out?

MR:

Yeah.

JJ:

Or was this just because you wanted to move?

MR:

Well, rent was too high in the area, so they found another neighborhood to move
into. That’s when we moved north.

25

�JJ:

[00:35:00] Okay. So this was around ’70, something like that?

MR:

Probably.

JJ:

Okay. So you moved to?

MR:

Yes, it was around ’70. I went to Waller for my freshman year.

JJ:

Okay, so that would’ve been 1970.

MR:

Then we moved and I was still at Waller.

JJ:

What was Waller like in 1970?

MR:

It was fine with me. I remember I participated in the -- remember girls could only
wear skirts to school? In my freshman year, we would go to our classes and
wear pants and then get kicked out and then go to our next class. I think that
was my first experience with organizing and doing any kind of direct action,
although I didn’t know about it then.

JJ:

So they were organizing at Waller at that time in the 1970s, and probably a result
of some of the work that the Young Lords and the other groups were doing in the
neighborhood.

MR:

Probably.

JJ:

Because they were organizing.

MR:

Mm-hmm.

JJ:

[00:36:00] Okay. I mean, I don’t wanna put words in your mouth. How did that
start, wearing the pants? Who did that? Who was organizing that?

MR:

I don’t remember. I don’t remember who was organizing it, but I got wind of it
and I said, “Oh, yeah.” I remember I didn’t have a lot of pants because they
didn’t let me wear pants a lot. I had like maybe two pairs. And just to make sure

26

�that I wore pants every day, I would wash them and dry them at night, then finish
ironing them dry just to make sure that I wore pants. I’d tell my mother, “No, we
have to wear pants today.” Of course, they believed us, which is why my kids
didn’t get away with anything because I knew what I used to tell my parents. So
they weren’t able to tell me the same things. I’d be like, yeah, right, I used to do
that. But, yeah, and a lot of the teachers supported it and they would just mark
us, that we came to class, and kick us out because they had to kick us out.
JJ:

Oh, so the teachers were supporting the --

MR:

A lot of the teachers [00:37:00] were. Some weren’t, but a lot of the teachers
supported, yeah.

JJ:

At Waller High School.

MR:

Mm-hmm. And then I went to Lakeview for a little bit.

JJ:

Okay. Now, before we get to Lakeview, at Halsted and Dickens was a restaurant.
Were you familiar with that? You weren’t there during that time.

MR:

Halsted and Dickens?

JJ:

It’s before the Young Lords got political. There was a hot dog stand there at
Halsted and Dickens. Or you didn’t go there?

MR:

Yes, real good fries. Real good french fries, right?

JJ:

Right. Puerto Ricans used to hang around there too.

MR:

Yes.

JJ:

Okay, so that was from before.

MR:

I remember that.

27

�JJ:

But it still was there for a while. But I think at that time, it was on the other side. I
think they moved to the other side. You said Lakeview? Then you went to
Lakeview?

MR:

Yes, I went to Lakeview for the end of my freshman year and part of my
sophomore year. Then I left high school.

JJ:

Then you left high school. So where were you living at when you went to
Lakeview?

MR:

Started at Lakeview, [00:38:00] we lived on Elaine.

JJ:

So Elaine Place is where. Elaine and what other street? What’s the address?
Do you know the address?

MR:

I don’t remember the address.

JJ:

Okay, Elaine Place, it was called.

MR:

And we lived on Roscoe and Clark around that time.

JJ:

So was Elaine around Roscoe?

MR:

Yeah, it was near. It was close by.

JJ:

What do you remember there? Who do you remember there?

MR:

I remember Latin Kings on Roscoe. On Roscoe and Halsted, I remember. Yeah,
and the guys playing football in front. A Puerto Rican community there. There
was a restaurant on Clark and Roscoe that was, like, real old school, and they
sold fountain drinks and hot dogs the way they used to make them before. We
used to go there a lot because it was close to the house. Still, my family was real
strict, and that’s when we [00:39:00] used to sneak out of the house. My
brothers started sneaking out of the house, and I remember my dad would come

28

�home and sit in the kitchen with his beer. I would stand in his view so that my
brother would go out the door, and then I’d go open the window so that he’d
come back at night. After a while, I was like, “Yeah, I wanna do that too, so
you’ve gotta do it for me.” So we had to switch over. All I would do is go walking
around with my friend, looking at the guys or whatever. Then I’d come home, or
I’d go to the library a lot. I never made it to the library. I don’t think I knew where
the library was. But that’s where I said I’d be going, or to the store. But my
parents were real strict. My father particularly was real strict and I guess the way
to protect us was to keep us in the house. We weren’t having it, or I Wasn’t
having it.
JJ:

That’s for the guys and the girls.

MR:

Yeah. Yeah. My older brother [00:40:00] started working, and he worked at
Jewel part-time. To get out, he would just always say he was working and they
believed him. But he actually wasn’t. He got very involved in the African
American movement and was talking a lot about Black power and wore dashikis.

JJ:

Which?

MR:

Carmelo.

JJ:

Carmelo, okay.

MR:

Yeah.

JJ:

So he was talking about Black power.

MR:

Most of his friends were Black, so he was all into that.

JJ:

But did he keep the closeness to the Puerto Rican community too or no?

MR:

Not during that time. Not during that time.

29

�JJ:

At that time, it was more the Black Americans.

MR:

Yeah.

JJ:

Okay, Afro Americans, okay. So he would bring that home. He would try to teach
people about that?

MR:

He would talk about it.

JJ:

Did he talk about Malcolm X or anybody?

MR:

Yes.

JJ:

So he talked about Malcolm X. Okay.

MR:

Yeah.

JJ:

Because [00:41:00] there was no Latino movement, Puerto Rican movement.

MR:

I guess not.

JJ:

Okay, that he could relate to.

MR:

Right.

JJ:

He didn’t relate to the Young Lords.

MR:

I don’t think so.

JJ:

Okay. Okay. So now the other brothers, though, Chinatown, there was the other
one that used to sneak through the window.

MR:

Uh-huh.

JJ:

Was he a member of a youth group?

MR:

During that time, he may have been. I don’t know who he was affiliated when we
lived on Roscoe. It wasn’t until we moved.

JJ:

But he wasn’t with the Kings.

30

�MR:

No. No. When we moved to what they call Wrigleyville now, that’s when he
became involved with the Latin Eagles.

JJ:

With the Latin Eagles. Affiliated with them. Okay, because I know he was pretty
well known in the Latin Eagles, one of the main people.

MR:

And that’s where we met Pops and [00:42:00] [Kooks?] and all the Jiménez and
all the other people in the area that we finished growing up with.

JJ:

Did you live on Sheffield? Is that where you lived? Where did you live?

MR:

Let me think. I lived on Sheffield when I lived on my own.

JJ:

Not when you lived alone, but with your family.

MR:

With my family, we lived on Elaine. Then we lived on Roscoe. Then I believe it
was Fremont.

JJ:

Oh, Fremont. Okay. Fremont.

MR:

And Grace.

JJ:

Oh, Fremont and Grace, okay.

MR:

Close to LeMoyne School.

JJ:

Okay.

MR:

My brothers and sisters, I was out of school. We lived on Halsted as well, on
Halsted and Broadway in the building where my dad’s botánica was. But during
that time, I was in Job Corps.

JJ:

Halsted, [Bowling?], Grace.

MR:

Yes.

JJ:

There was the botánica. So you lived there, okay.

31

�MR:

[00:43:00] During that time, I was in Job Corps, so I wasn’t at home. My family
lived on Halsted. Then they moved to Fremont and I came back home. Then I
moved out, and that’s when I lived on Sheffield. That’s when I got the apartment
on Sheffield. [Danny?] was born.

JJ:

You have one child, Danny.

MR:

Yeah. Well, I have two more now.

JJ:

Who are your children now?

MR:

[Ana?]. She’s in her room. Yeah, she’s in her room. Then I have an older
daughter, [Jasmine?]. She’s married. Danny’s between apartments, so he’s
here with me now for a few days, hopefully. Yeah, I’m trying to empty my nest.
My youngest one still lives with me. She’s at Northeastern. She’s finishing up
there. My older daughter went to Kentucky [00:44:00] and studied in a Bible
college, and then she got married out there to un güero. Nice guy, though. Now
she’s finishing up early childhood development as she works as a nanny.

JJ:

Okay. So you did some work with Job Corps, you said.

MR:

I was a --

JJ:

Participant.

MR:

Yes. Yes. They would pay us -- I remember it was 14.22 every two weeks. But I
liked Job Corps. I enjoyed it. We led a protest there too.

JJ:

Fourteen twenty-two, what do you mean?

MR:

Fourteen dollars and twenty-two cents was our spending money.

JJ:

Oh, that was your spending money. And they paid for everything?

MR:

Yeah, they (inaudible).

32

�JJ:

What city was this?

MR:

This was here in Chicago on 15th and Indiana. The building became a work
release after that.

JJ:

Fifteenth and Indiana?

MR:

Fifteen hundred South Indiana. I was there two years. I studied Allied Health,
nurse’s aide medical [00:45:00] assisting. Not medical assisting, dental
assisting. I became a medical assistant much later on. But it was a training
program. We finished high school there because I got caught cutting while I was
at Lakeview. I used to go to all the Cubs games and I’d go Ladies Day on
Fridays, and Wednesdays I’d go and be with the [bleacher bums?].

JJ:

Ladies Day was free. Ladies Day was free.

MR:

Yeah.

JJ:

Okay.

MR:

And Wednesdays, the bleachers were a dollar, so a friend of mine and I used to
cut school and go there. One day my sister, Julie, was home from school,
watching, of course, the Cubs game, and she saw me on TV. I came home and -

JJ:

They [got it?].

MR:

Yeah. So then at the same time, I guess it was just the time for me to get caught
out. My mother had received a phone call from school about all my cuts because
I didn’t like Lakeview. [00:46:00] It was like a culture shock. We were the
minority. Blacks and Latinos were basically the minority at Lakeview when I went
there. All the teachers were.

33

�JJ:

What years did you say?

MR:

Seventy-one, ’72. There was a handful of African Americans there. That’s what I
was accustomed to going to school with, and that’s the people I sought out.
Then I discovered how easily I could go to a Cubs game and they didn’t let me
go out at home, so I would go out while I was in school. I’d go to Piper’s Alley.

JJ:

What, in Oldtown, Piper’s Alley?

MR:

Yes. Yes, and just walking around. I remember we used to walk everywhere
downtown because we never had any money, so everywhere we went, we
walked. Whatever money we had, we’d use it to eat. But that day. I got caught
up [00:47:00] and then my father said I had to quit school and I had to get a job.
So we went to the Urban Progress Center.

JJ:

Where was that at?

MR:

On Montrose in Newtown. In Newtown? What is it? Is that what we called it?

JJ:

Yeah, I know which one you’re talking about. It was on Broadway.

MR:

Broadway and Montrose.

JJ:

Yeah, around there somewhere.

MR:

Around Wilson.

JJ:

Oh, that’s a different one I’m thinking. But on Wilson and around Montrose.

MR:

Yeah. Yeah.

JJ:

They both run the same way, but it’s between there on Broadway.

MR:

Yeah. So he took me there to see if they could help me get a job. A gentleman
there talked to me about Job Corps and they said, “Leave home. You would
leave home.” I was like, yeah. Then I brought all the paperwork home and I

34

�begged my mother to convince my father [00:48:00] to sign it, so he did. Then I
would come home on weekends. That was a good experience.
JJ:

A good experience?

MR:

I think so.

JJ:

Okay. You learned a few things there?

MR:

Yeah. Then they had a passage the parents had to sign for, and I forged my
parents’ names, so I was able to go out. I wasn’t the greatest kid, you know.

JJ:

I mean, did you graduate from there?

MR:

Yes, I did. I got a nurse’s aide certificate there and I got a certificate for
innovation therapy. I was on the -- what did we call it? It wasn’t student council.
It was some kind of supposedly governing body that we had there. Of course,
when we started holding teachers and the [00:49:00] the officials accountable,
they weren’t real happy with that.

JJ:

At the Job Corps?

MR:

At Job Corps.

JJ:

What do you mean, you held them accountable?

MR:

Well, they had fired the director of education. Apparently he and a woman,
another woman there had an affair, and they fired him for it but didn’t fire her. So
we led a protest. They didn’t hire him back.

JJ:

So you led a protest, meaning what?

MR:

With the -- uh-uh, Ashley, go -- we led a protest and we wanted him hired back,
but what happened was they ended up firing her. (laughter) I remember we led a
hunger strike and we had organized some of the teachers. We would go and

35

�leave the food there after they had prepared it. We’d just put it back on the tray
[00:50:00] full. Then we’d go back to our rooms and we had people that had
brought us sandwiches and soda and things like that.
JJ:

So they snuck it?

MR:

Yeah. They would get food to us so we were eating, but we weren’t eating their
food.

JJ:

And they thought you had the hunger strike.

MR:

Yeah. Yeah. I remember meeting with a group from the Black Panther Party with
the gentleman that we were fighting for. At first he told us not to, and then when
we saw that we were determined to do something, then we used to go -sometimes we wouldn’t go home. We’d go home with some of the teachers, and
one of the teachers supposedly took us home and we went to a meeting. This is
where they taught us how to do the hunger strike and who was gonna be giving
us food and how to organize.

JJ:

Oh, so they were like teaching, the Panthers? At that time, they were teaching
you how to do the hunger strike?

MR:

Yeah. Yeah. It was amazing [00:51:00] to me. I enjoyed it, you know. We were
successful in getting her out of there too because we just settled for that. If they
weren’t gonna hire him back, she had to go as well, and she did.

JJ:

So this was the Job Corps. Now, also you said you lived on Fremont and Grace.

MR:

Grace. When I came back from Job Corps, that’s where my family was living. I
was in Job Corps two years.

JJ:

So you came back from Job Corps around ’73.

36

�MR:

Yes.

JJ:

And ’73, that’s when the Young Lords moved in, basically?

MR:

Seventy-four because I had my son by then.

JJ:

Seventy-four, 1974.

MR:

I think Danny was three or four months.

JJ:

From ’73 to ’74, what did you do?

MR:

I was with my son’s father. I left home and I had my son and we were together.
Then we broke up, and right around that time when we broke up, I was looking
for work. I passed by the office and that’s where I met Angie.

JJ:

[00:52:00] The Young Lords’s office?

MR:

Uh-huh.

JJ:

On Wilton and Grace?

MR:

On Wilton and Grace.

JJ:

Was it nicely painted?

MR:

I don’t remember.

JJ:

What color was the paint?

MR:

I don’t remember.

JJ:

You don’t know? There was [a weird opinion?]. Was it purple?

MR:

Something like that. I don’t remember. I know it was different because it
attracted my attention. It was right across the street from Figaro. You remember
Figaro, right? The grocery store?

JJ:

Oh, Figaro was a grocery store on the corner?

MR:

Right across from the office with [Milta?], the wife and the two daughters.

37

�JJ:

No, no, okay. So tell me about them because I’ve seen a picture of them. So his
name was Figaro?

MR:

I don’t think that was his real name.

JJ:

No, but that’s what they called him, Figaro and his [wife?].

MR:

Yeah, and he owned a lot of property. He stayed.

JJ:

But his wife was Milta and he had two children?

MR:

Milta, and he had two daughters.

JJ:

And he had been there for a while?

MR:

Yes. And I remember that they were trying to get him to move out. They were
trying to get him to sell and [00:53:00] he owned several buildings in the area.

JJ:

What do you mean, they were trying to get him to move out and sell?

MR:

They were trying to gentrify him, however it was that they were making people
sell their housing or whatever. He sold everything in the area but that store and
he ended up staying quite a while after that, keeping the store there. Then he
moved up this way. But they set his store on fire. They offered him money. He
said no, he said he was staying. (Spanish) [00:53:29].

F1:

(Spanish) [00:53:32].

MR:

Oh, okay. Okay, (Spanish) [00:53:35]. They harassed him quite a bit and he was
just a stubborn person. He says, “I ain’t going. I know what they’re doing.”
Probably it was through education --

JJ:

From the Young Lords.

MR:

-- from the Young Lords.

JJ:

Because he was right there.

38

�MR:

Exactly.

JJ:

So he decided he was gonna fight.

MR:

And he did for a long time. He stayed until he wanted to. But he could afford it,
you know. But [00:54:00] they set his store on fire. They did a lot of stuff to him,
harassed him quite a bit.

JJ:

You know that it had to do with trying to get him out of there. And he knew that
too?

MR:

Yeah. He knew it then. I didn’t realize it until I saw it happen in this area.

JJ:

In this community on the West Side.

MR:

In this community. I saw people that had paid, like, 45,000 dollars for their
homes being pushed out. Aldermen, one in particular, that a person would go to
his office to ask for a permit to do some remodeling and he’d say, “No, I’m not
gonna give you the permit. I’ll give you 300 grand for your house.” Some people
would sell. The ones that didn’t wanna sell all of the sudden would get all kind of
building inspectors coming and all kind of fines levied on them and just all
different kind of harassment. [00:55:00] So I know. I understand better what
they did to people back then, just seeing it happen here.

JJ:

Because that was a community, right?

MR:

Exactly.

JJ:

Where you lived at, I mean. It wasn’t just you that lived. There were other
Puerto Ricans that lived there.

MR:

Right, other Puerto Rican families. It was the Jiménez. It was the Colones. It
was all the artists. Camandiera was in that area too. He had been in that area

39

�since Roscoe and Halsted as well, though I didn’t know him then. I got to know
him when I was working with the Young Lords and my brother’s relationship to
him and their art and when they did the mural.
JJ:

So it became clear what was going on at that time.

MR:

Right, I understood it better when I saw it happen here, when I worked on issues
here and spoke to -- because here it wasn’t so much rental. It was more
homeowners, and still they were pushed out. I remember speaking to people
before in this area [00:56:00] and they would say, “No, that’s not gonna happen
here.” My uncles would say, “That’s not gonna happen here. We own our
property.” And it did. It did. All of Wicker Park, all that area is gone now.

JJ:

The whole community. Wicker Park as a community.

MR:

Exactly.

JJ:

It was primarily Puerto Rican.

MR:

Exactly. Now the only what you would call --

JJ:

Your uncles were living there in Wicker Park?

MR:

My uncles lived in Humboldt Park.

JJ:

Okay. But they owned homes and they were --

MR:

They owned homes and they were pushed out.

JJ:

How were they pushed out?

MR:

I’m really not sure. Not able to get permits to remodel.

JJ:

And (inaudible) remodel. They had to remodel but they couldn’t get the permits.

MR:

Right, but they couldn’t get the permits. Some felt they did all right because they
sold their homes, and that’s what some of my uncles did. They sold and they

40

�moved to Puerto Rico. Property [00:57:00] taxes are ridiculous in this area, and
your home would be paid for, but you couldn’t afford your property taxes. Like I
said, there was this one particular alderman which I’m really happy to say that
the last I heard of him, he was a used car salesman a few years ago. But
Alderman Jesse Grenado.
JJ:

Jesse Grenado.

MR:

Yeah, and he just was a jerk. (laughs) That’s the nicest way I could put it. I could
say other stuff, but I’m on tape. He was crooked. I have my issues with
politicians anyway, but this was a very evil man, and whatever happened to him,
he deserved.

JJ:

Just going back a little bit, so you went through a divorce and then you were on
Sheffield, in that area. Then you walked by the Young Lords office.

MR:

I was looking for work and that was an office that [00:58:00] was just open, so I
figured they may need somebody. I walked in there, and that’s when I met Angie.

JJ:

Angie?

MR:

Angie Lind.

JJ:

Lind at that time. She was Angie Lind.

MR:

Yes. That’s when I met her and I met Faith.

JJ:

You met Faith. Who else? Faith Schumaker.

MR:

Yes.

JJ:

Okay. Who else?

MR:

And [Cosmo?.

JJ:

Jose Cosmo Torres.

41

�MR:

Yes. And you and Yoli.

JJ:

Okay, and Yolanda Lucas.

MR:

That’s when I started --

JJ:

Which was my wife then at that time.

MR:

Yes, and that’s when I began going to the meetings.

JJ:

What kind of meetings? I mean, what do you mean, you went to the meetings?

MR:

I had meetings with Angie. I started talking with Faith. Faith, I talked a lot to.

JJ:

Because Angie kind of ran the office at that time.

MR:

Yes. I found out it was volunteer, so I had my reservations because I felt I
needed to make some money.

JJ:

But you volunteered a lot, didn’t you?

MR:

Yeah. And then [00:59:00] I ended up just working at the office every day all the
time.

JJ:

You were volunteering all day, not getting paid or anything like that.

MR:

No. Even now I’ve learned to respect how the Young Lords worked because we,
having dealt with different organizations and seeing how they work and how they
owe a certain politician, you know, because they’ve gotten money from this group
of people so they can’t step on toes, whereas the Young Lords would get their
money -- I remember collecting food stamps from people. People would do
pledges, and that’s how they supported themselves so they didn’t owe big
politicians any money. They could step on whoever’s toes they wanted because
they didn’t owe anybody anything, which was something that was really hard to
deal -- which I didn’t get for a long time, working with all these other

42

�organizations (Spanish) [00:59:51] and you don’t step on their toes. You don’t
bite the hand that feeds you. [01:00:00] And I learned to appreciate that better,
like this, you know, where you couldn’t really organize. You had to organize on
what they wanted you to organize on.
JJ:

Because it wasn’t really a job. With the Young Lords.

MR:

Right, with the Young Lords, it was something I believed in. That’s when I
learned more detailed about Plan 21 and urban renewal and people being
pushed out and how we’re being pushed to the suburbs.

JJ:

So there was an education component.

MR:

Yes, politically educated, and understanding what a monster our wonderful mayor
was. Yes, the Daddy, right? It was still the Daddy, yeah. And consecutive
mayors, we’ve had till this day.

JJ:

Right, (inaudible).

MR:

And I understood too, I learned that when you saw changes in the community,
like when I lived in Logan [01:01:00] Square, by then I knew that when you start
seeing -- when a library comes, when a new church comes, when there’s a bank
-- not a library, a bank -- a new church -- I educated my kids. I’d see these new
little gardens and I’d be like, “Oh, the yuppies are coming. We’re gonna have to
move. This is what happened.” And my kids understood it. As a matter of fact,
my kids, if my kids have to move, we can pack up a house in an evening. We
can take all this and pack it in an evening as long as we have all the supplies,
because we moved so much. In Logan Square, on one street, we lived on every
block from Kedzie and Albany to Albany and Belden. I can count about maybe

43

�eight buildings that we lived in until we moved here. [01:02:00] This is an
affordable housing development, and that’s one of the only ways that people
have been able to stay in this community. It’s been fought. We had to fight hard
to get this building from people, the homeowners that are I guess brainwashed,
that they don’t understand because they always say that Bickerdike is gonna
bring prostitutes and drug dealers and all kind of unsavory characters to the
neighborhood when to begin with, this is our neighborhood anyway. We were
here.
JJ:

And Bickerdike is the organization that gets --

MR:

A housing organization, and they do affordable housing. They have Section 8
project-based housing, which are the townhouses. They have a couple in Wicker
Park. They’ve had to attend -- like a tenant organizer would have to attend the
CAPS meetings just to keep people [01:03:00] from making our tenants the
villains, you know. If we weren’t there, then after a while --

JJ:

Have they ever made the tenants the villains?

MR:

Yeah, because developers would tell people when they move in, “Oh, don’t worry
about them.” “What about that housing over there?” “Don’t worry about them.
They’ll be gone.” And that’s not true. Bickerdike owns their housing and they’re
not going anywhere, and it’s gonna be for low-income families always. Of
course, they don’t like that. They want to turn the neighborhood white and, you
know, people of color -- any color except white -- is not acceptable to them, even
though they’re not from here. These people were here before they were.

44

�JJ:

But it is mostly white people that are moving in. But what I’m saying, do you
think they also wanna get rid of the poor?

MR:

Of course. It’s rich white, I should say, or whites with money.

JJ:

You can say it any way you want.

MR:

Or whites [01:04:00] that think they got money. Some of them are part of the 99
percent anyway but they don’t know that. They may be realizing that now. But at
that time, some of them are living off their parents’ credit cards and just got out of
college or whatever. I think a lot of them have had rude awakenings, you know,
and a lot of these developers too because I see a lot of the condos that they built
are still empty four or five years.

JJ:

You did some work also with Bickerdike, right?

MR:

A lot of work with Bickerdike. A lot of tenant organizing.

JJ:

Okay, so tell me about what kind of work did you do? How was your work?

MR:

I started with Bickerdike as a VISTA volunteer. I worked with the Chicago
Alliance for Neighborhood Safety and I worked on dealing with issues of safety in
the community.

JJ:

Meaning what, issues of safety? [01:05:00] What do you mean?

MR:

Concerns that tenants at Bickerdike had, particularly.

JJ:

Like stoplights?

MR:

Yes. Quality of life things, like putting in stoplights, but also attending the CAPS
meetings, having --

JJ:

So attending a CAPS meeting, what does that mean?

45

�MR:

Generally I would attend with leaders, with people from the community, so they
could participate more because as a community was gentrifying, we were trying
to show that our people were not the enemy. We worked together with cops
sometimes successfully.

JJ:

Is that what they told you to say, that our people are not the enemy? I mean, is
that the goal? Was that the goal?

MR:

The goal was to get people to live together more harmoniously and to show that
we were [01:06:00] not the prostitutes, gang bangers, or whatever that they said
we were, that decent people did live in public housing or --

JJ:

So the city and these developers were scaring people, or telling them that we
wanna get rid of the drug dealers, the gang members, and all that. And that was
just a tool they were using.

MR:

Exactly.

JJ:

Am I putting words in your mouth?

MR:

No. No, but you’re saying it exactly as I would say it. Yeah, it was a tool to
further gentrify the community, and because our tenants were there and they
were there to stay, they would try to find reasons to move people out. True,
everyone who lives at Bickerdike --

JJ:

So how would you change it? How would you explain to people?

MR:

By showing them by participating in safety events or having safety events. By
participating in CAPS meetings. By building block clubs [01:07:00] and including
people that, newcomers -- is what we used to call them -- and people from the
community --

46

�JJ:

Together.

MR:

Yes. I had two block clubs, and they were pretty successful.

JJ:

So how did you start the block club? How did you get it organized?

MR:

I’d go door knocking. I’d talk to people about whatever safety issues they had.

JJ:

You would ask them? You would do like a survey or something?

MR:

Yeah. Yeah, pretty much. A lot of times, you have to get to know people first,
and they tell you what’s going on.

JJ:

You knock on the door.

MR:

Say, “Hi, I’m María. I work with Bickerdike, and can I speak to you for a little
while?” Then I’d ask them about their safety concerns in the area. Sometimes it
would be something that property management would fix. Sometimes it would be
police harassment because they’d assume -- well, the cops, [01:08:00]
somebody would call the police, and then they’d come and knock on the door
and say, “Did you call the police?” That would make them a target, so it would
discourage people from calling the police if something was going -- if there was a
lot of drug dealing or people hanging out in front of our building, because they
weren’t supposed to. You ask them to leave, they don’t listen. Then you call the
cops. I always think of calling the cops as a last resort, but others didn’t. But
anyway, I’d ask them what particular safety issues they were worried about.
Sometimes it’d be --

JJ:

I mean, they’d pay taxes. They got a right to protection from the police.

47

�MR:

Sometimes they’d want a stoplight by the school or more police presence in the
area and things like that. I also led or facilitated a garden committee. Bickerdike
has two gardens. I had a committee, really [01:09:00] diverse --

JJ:

What does the garden do?

MR:

We grew vegetables and flowers and things like that. But it was in areas that
were kind of hot, and while we were there, because we were occupying public
space, they wouldn’t come around. I think we got --

JJ:

So these were hot areas, meaning for drugs and all that?

MR:

For drugs and gang banging.

JJ:

Because you were there all the time, they kinda stopped that.

MR:

Yeah.

JJ:

The gangs and the drugs stopped. In fact, didn’t that happen one time with the
Young Lords on Wilton and Grace? Didn’t they clean up that area?

MR:

Yes, we did.

JJ:

Okay. I mean, at Wilton, just kind of go back there a little bit. So that used to be
a drug corner, Wilton and Grace.

MR:

Oh, yeah, definitely, it was big time.

JJ:

Big time, until the Young Lords got there.

MR:

That’s true.

JJ:

And it got cleaned up.

MR:

And that corner got cleaned up, that’s true.

JJ:

So the Young Lords were able to clean up a drug hot spot, and what did they do?
How did they do that?

48

�MR:

[01:10:00] Just by being there.

JJ:

Just by being there, talking to the people.

MR:

Exactly.

JJ:

You were doing it with Bickerdike, (inaudible).

MR:

Yes, and a friend of mine, a coworker of mine and I had a block club on Rockwell
and LeMoyne, between Rockwell and LeMoyne, Rockwell and North Avenue.
We decided to have a big block party, so we went and we spoke to the guys in
the area because regardless to what, they have a lot of control in the community.
The gangs do have a lot of control in the community. They’re one of the powers
that you have to deal with a lot of times, one of the first. So we went and we
spoke to them and we asked them --

JJ:

The gang members.

MR:

Yeah, we met with them, and --

JJ:

So like the same work you were doing with the Young Lords.

MR:

Yeah. Yeah.

JJ:

Yeah, ’cause we had block parties too.

MR:

Oh, I remember. I remember. [01:11:00] So we had a big block party on the
weekend of the Puerto Rican parade. The guys even cooked. I mean, you
know, I was happy to get them not to -- we asked no violence, no dealing on that
day, and this guy tells me, “Yeah, well, people are bringing food. I’ll make some
macaroni and cheese.” And I said, “You don’t know how to make macaroni and
cheese.” Dude brought a pan like this and said, “Here.” I tasted it. It was good.
Kids played and rode their bikes. We had organizations with information there

49

�about community resources and it was a really nice block party. We heard about
it even from the cops for months, for years.
JJ:

What was the name of this gang? Do you remember?

MR:

The Ds. The Disciples.

JJ:

These were the Disciples? Okay. Okay. So the Disciples were doing macaroni
and cheese and everything? They were pretty good?

MR:

Yeah, and they were all out there with their kids and their family. It was just a
great [01:12:00] time. Years later, still even the cops talked about it at the CAPS
meeting.

JJ:

Meaning it was good?

MR:

Yeah. Yeah. There were no problems and no issues. Whatever happened the
next couple of days --

JJ:

And so that was just kind of showing a little respect for them because they lived
in that neighborhood.

MR:

Exactly.

JJ:

So that was another factor you had to deal with. You didn’t call it a factor. You
called it something else, another component, or something.

MR:

Yeah. One of the powers in the community.

JJ:

One of the powers of the community.

MR:

Yeah, we went to them first, and then we went -- we even had --

JJ:

So you went to the gangs first.

MR:

And the people that lived in the area. Everything else was a lot easier.

50

�JJ:

Because they were really controlling that area anyway, so it was like going to
another country and saying, “Here. You’re the leaders. We’re gonna respect
you.”

MR:

Right.

JJ:

And that’s some of the stuff that the Young Lords -- met with the Eagles, the Latin
Eagles.

MR:

And I believe that’s where I learned that, you know.

JJ:

From the Young [01:13:00] Lords? Okay.

MR:

That that’s what you had to do. I knew where to go first, and they were the first
ones we had to talk to.

JJ:

Okay. All right.

MR:

Then we did a lot on housing. I think this one has a lot of the actions. This was
our first action.

JJ:

Okay, you wanna show that to the camera? Show the camera.

MR:

Okay.

JJ:

Show that. I want to make copies of the pictures.

MR:

Yeah. This was our first action when I worked with the --

JJ:

I think you have to lift it up.

MR:

Maybe I’ll just show you the pictures.

JJ:

Just show one.

MR:

Yeah. This was my first action when I worked with the Affordable Housing
Committee on Bickerdike.

JJ:

Hold on, hold on, hold on. Okay, no leave it right there.

51

�MR:

Okay. And my oldest daughter came on this action with me. She’s in some of
the pictures, Jasmine.

JJ:

Okay. All right.

MR:

And then -- [01:14:00] good to see some of my leaders here. I have pictures --

JJ:

We’ll show more.

MR:

Okay, of this? Okay, I’ll show you my daughter, and then you’ll get copies of it.

JJ:

Okay. Hold on, hold on, hold on.

MR:

My daughter’s the one on the bottom.

JJ:

On the right? Okay.

MR:

Right here, yeah.

JJ:

Right here. That’s your daughter?

MR:

Uh-huh, that’s my oldest daughter.

JJ:

Okay. All right.

MR:

I also did a fundraiser. We had a group that is called the Residents Council and
we had a family holiday dinner, an event called a family holiday dinner. I have
pictures of that as well. To raise funds for the holiday dinner or for family day, we
would have a Mother’s Day [Dusty?] Dance.

JJ:

A Mother’s Day Dusty?

MR:

Yes.

JJ:

We don’t call that oldies but goodies. We call them dusties.

MR:

No, dusty dance. Rusty dusty sometimes. I was able to get this [01:15:00] guy
that I knew from the North Side. [Nando?] is his name. He was a DJ. And since
he started DJing, he DJed most of the events for Bickerdike after that. So I

52

�thought that was a good thing, at least for him. But we would dress up, and of
course, we’d say ’60s, ’70s, and ’80s, but people come in anything, really crazy
outfits. One time we had a bachelor auction and that was fun, interesting. What
happened afterwards too, but I won’t go into that. (laughter) Some interesting -JJ:

I mean, you can say generally.

MR:

Oh, no, I can’t say generally.

JJ:

You’ve got me (inaudible).

MR:

Yeah, when we turn off the camera. But, yeah, that was a lot of fun and pretty
successful.

JJ:

What, you raised a lot of money? [01:16:00] Like a dollar each or two dollars?

MR:

No, tickets were maybe like five dollars, so we’d sell the tickets cheap. We were
able to have an agreement with the liquor store, so we got high-end liquor, and
the drinks were cheap. You had to pay for everything but it was really cheap. So
we made a lot of money because people knew [we were here?].

JJ:

And then you were able to return the bottles you didn’t use or something?

MR:

Yeah, we did that, and we just got deals on the liquor.

JJ:

And in the halls.

MR:

And donations. We had it at that hall that’s on Belmont and California. It’s not
there anymore. I think they closed. Michelle’s Ballroom. We had several there.
Really nice place. We had some at a couple other places, this place on North
Avenue.

JJ:

No fights, none of that?

MR:

Huh?

53

�JJ:

No fights?

MR:

No, never on any of our Dusty Dance, never. Nope, everyone came in peace to
have a good time. They’d leave wasted, and after a few [01:17:00] of them, we’d
have coffee to try and wake them up because we were concerned about people
who were driving home and couldn’t even walk. So some people, we kept keys
or drove them home. We’d stop selling liquor at a certain time so they could
sober up, but a lot of fun. Mother’s Day Dusty Dance was a lot of fun.

JJ:

And are you working with Bickerdike now?

MR:

No, no, I’m not. But I had 10 years with them. It was good work. A lot of
leaders. I still have relationships with a lot of leaders in some organizations that I
worked with. It was for the most part a very good experience. I learned a lot
there.

JJ:

The only thing I haven’t asked you was the alderman campaign. Were you
involved with that at all?

MR:

With yours?

JJ:

The Manny alderman campaign?

MR:

Yes.

JJ:

What do you remember about that? Because one of the offices was a Young
Lords office, right?

MR:

Yeah. Yeah. I remember that’s when we worked with Slim with the Campaign for
Community [01:18:00] Control.

JJ:

Walter Slim Coleman?

54

�MR:

Yes. He’s a minister now, and he’s married to Emma Lozano. He works on
immigration issues mostly now.

JJ:

Right, immigrants rights issue, right.

MR:

Their church is on Division, I believe.

JJ:

(inaudible).

MR:

Exactly, yeah.

JJ:

The church is there, United Methodist church, yeah.

MR:

Yes.

JJ:

Actually he was one of the best men at my wedding.

MR:

Oh, yeah? (laughter)

JJ:

So [that was back then?]. Emma came later.

MR:

Yes. That’s where I learned to work on campaigns. I learned a lot.

JJ:

With the Young Lords?

MR:

Yes. Yes, and, you know, canvassing and talking to people about --

JJ:

Door to door?

MR:

Exactly. So when I started working in Bickerdike, that was not a problem with
me. I knocked on the door and talking to people.

JJ:

You weren’t afraid to knock on doors.

MR:

No. And I remember [01:19:00] some of the places we went to on that campaign.
I remember one place in particular that we opened the entrance door and there
were bugs falling on us. So this stuff over here was nothing.

JJ:

Roaches.

55

�MR:

Yes. Yes. But we got in and we talked to people. I remember a lot of doorknocking. I remember this group that used to yell at us, Chris Cohen’s people.

JJ:

Chris Cohen, yeah, the guy we were running against.

MR:

Yeah, and they would yell at us, and sometimes we’d yell back. We’d try to be
good.

JJ:

Yeah, they used to come with a police squad or something. Do you remember
that?

MR:

No, I don’t remember that. I remember, though, police harassment a lot around
the office. I remember they’d come and they’d put handcuffs on some of the
guys. Not the Latin Eagles or the gang bangers, but the guys that [01:20:00]
were doing the work, I remember that they’d handcuff them and they’d be yelling
at them.

JJ:

So they didn’t go to the Latin Eagles.

MR:

Mm-mm, no, they were after the organizers, the people who were doing the work.

JJ:

Working on my campaign.

MR:

Yes.

JJ:

So they were putting handcuffs and that?

MR:

Yeah. I remember one time, they tried to arrest Cosmo, but the community was
united at that time, people yelling from buildings. “Let him go,” and all other kind
of stuff. I remember my mom yelling at cops during that time. We had a lot of
community support. Everybody would come out when the cops would come.

JJ:

[So you got it from the store?], everybody?

MR:

Everybody would come out.

56

�JJ:

The businessmen, the parents, the neighbors, the residents --

MR:

Little kids.

JJ:

-- anytime they would harass the Young Lords, they would come out, or
campaign workers. They were Young Lords and campaign workers.

MR:

I remember one time, they made a raid on one of the apartments in the building
[01:21:00] and I remember --

JJ:

Because everybody in the apartments were Young Lords. We had a tenant union
because everybody was a Young Lord.

MR:

Yeah. (laughter)

JJ:

So the owner was our friend too.

MR:

I remember the crowd that went to the police station and --

JJ:

So what happened? What happened that day? You said that they came.

MR:

They raided an apartment and they arrested -- I think some of the kids in the
neighborhood were at a party. I remember Eddie lived upstairs.

JJ:

Eddie Ramirez.

MR:

And he came downstairs and they arrested him, yes.

JJ:

That’s (inaudible) brother, (inaudible) Ramirez’s brother, Eddie.

MR:

And they arrested him for no reason. So everyone went to the police station.
Everybody’s parents. The place was packed. Everybody’s parents, everybody’s
wife, brother, and sister. I learned this with Faith, that you walk into a place like
you work there, and people don’t stop you. So I just [01:22:00] walked up the
stairs, and from the corner of my eyes, I see this cop hitting my brother and I
busted in, screaming and yelling. They just (inaudible).

57

�JJ:

(inaudible) was Joyce.

MR:

I know. I know. I learned a lot about Jews.

JJ:

You just walk in there like you work here. So that was it.

MR:

I learned that from her. I learned a lot from Faith, a lot. A lot about Jewish
people, but a lot about organizing. Yeah, she taught me a lot.

JJ:

So she was (inaudible) was a Young Lord?.

MR:

Yes, she was, and very dedicated. Very dedicated, yeah, she was.

JJ:

So there was Angie and Faith.

MR:

Yoli, Yolanda.

JJ:

[Nona?].

MR:

I remember Nona, yeah.

JJ:

[Hank Jazinsky?].

MR:

Yes, I remember them.

JJ:

Of the woman, and Cosmo, and some of the other guys.

MR:

Cosmo, Eddie, Gamayell, Lucky. I remember Lucky.

JJ:

[01:23:00] Chavez, Luis Chavez was there.

MR:

Yes, I remember him too. I remember working with the immigrant farmers. No
grapes or lettuce, remember, and the rally.

JJ:

The farm workers were working with us, yeah.

MR:

And the rally, yeah.

JJ:

(inaudible) farm worker union, yeah. The rally where?

MR:

What was that?

58

�JJ:

The Plaza Theatre, that one? We had another rally on Anderson. There was
one too.

MR:

It was in a theater.

JJ:

Oh, in a theater. I think it was the Plaza Theatre at that time, up north.

MR:

I remember I met a gentleman, Chavez.

JJ:

Plaza International or something like that.

MR:

I remember telling people, “Don’t buy grapes or lettuce.” And they’re not buying
lettuce and grapes, and I didn’t buy lettuce and grapes for a long time. I think
just a few years ago, I started.

JJ:

Yeah, we did some work when we would go to the stores on Saturday mornings
and take them out, [01:24:00] based on the store. They would take them out
because we would put (inaudible) with the farm workers. So they worked with
us.

MR:

Sesa Chavez.

JJ:

Sesa Chavez’s group, yeah. That was his group.

MR:

Yes. But I learned a lot. I believe that’s part of the reason I was hired at
Bickerdike when they heard. Well, through [cans?], when I was hired as a VISTA
volunteer. They had a lot of respect for the work of the Young Lords.

JJ:

Bickerdike also worked with the West Town Concerned Citizens Coalition, and
we worked with them too.

MR:

Yeah, I know, before --

JJ:

So they learned a lot of stuff from us. We learned from them, back and forth.
Back and forth. So that was good. That’s good that you worked with them then.

59

�Okay, to finish it up a little bit, let me just say this. What do you think the most
important thing you want people to -- in terms of remembering that you feel is
important, remembering [01:25:00] your work.
MR:

My work? I think people need to realize that they have a voice, that public
officials are accountable to us because we put them in office and we should
make them do what we need them to do. That’s about it.

END OF VIDEO FILE

60

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
      <file fileId="26677" order="2">
        <src>https://digitalcollections.library.gvsu.edu/files/original/edc3e851e94354f81b4fdd0ee3074a76.mp4</src>
        <authentication>20089aaf20ae56ca2e2599a0cd535326</authentication>
      </file>
    </fileContainer>
    <collection collectionId="24">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="446395">
                  <text>Young Lords in Lincoln Park Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447054">
                  <text>Young Lords (Organization)</text>
                </elementText>
                <elementText elementTextId="765923">
                  <text>Puerto Ricans--United States</text>
                </elementText>
                <elementText elementTextId="765924">
                  <text>Civil Rights--United States--History</text>
                </elementText>
                <elementText elementTextId="765925">
                  <text>Lincoln Park (Chicago, Ill.)</text>
                </elementText>
                <elementText elementTextId="765926">
                  <text>Personal narratives</text>
                </elementText>
                <elementText elementTextId="765927">
                  <text>Social justice</text>
                </elementText>
                <elementText elementTextId="765928">
                  <text>Community activists--Illinois--Chicago</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447055">
                  <text>Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives.&#13;
&#13;
The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447056">
                  <text>Jiménez, José, 1948-</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="447057">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491"&gt;Young Lords in Lincoln Park collection (RHC-65)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="447058">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447059">
                  <text>2017-04-25</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447060">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447061">
                  <text>video/mp4&#13;
application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447062">
                  <text>eng&#13;
spa</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447063">
                  <text>Moving Image&#13;
Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="447064">
                  <text>RHC-65</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="447065">
                  <text>2012-2017</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="4">
      <name>Oral History</name>
      <description>A resource containing historical information obtained in interviews with persons having firsthand knowledge.</description>
      <elementContainer>
        <element elementId="59">
          <name>Título</name>
          <description>Spanish language Title entry</description>
          <elementTextContainer>
            <elementText elementTextId="456243">
              <text>María Romero vídeo entrevista y biografía</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="61">
          <name>Sujetos</name>
          <description>Spanish language Subject terms</description>
          <elementTextContainer>
            <elementText elementTextId="456255">
              <text>Young Lords (Organización)</text>
            </elementText>
            <elementText elementTextId="456256">
              <text> Puertorriqueños--Estados Unidos</text>
            </elementText>
            <elementText elementTextId="456257">
              <text> Derechos civiles--Estados Unidos--Historia</text>
            </elementText>
            <elementText elementTextId="456258">
              <text> Lincoln Park (Chicago, Ill.)</text>
            </elementText>
            <elementText elementTextId="456259">
              <text> Puertorriqueños--Relatos personales</text>
            </elementText>
            <elementText elementTextId="456260">
              <text> Justicia social</text>
            </elementText>
            <elementText elementTextId="456261">
              <text> Activistas comunitarios--Illinois--Chicago</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="62">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="568389">
              <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491"&gt;Young Lords in Lincoln Park (RHC-65)&lt;/a&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="456241">
                <text>RHC-65_Romero_Maria</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456242">
                <text>María Romero video interview and transcript</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456244">
                <text>Romero, María</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456245">
                <text>María Romero first joined the Young Lords on Wilton and Grace Streets. She was recruited by then Angie  Lind-Rizzo (later Angie Adorno) and the other Young Lord women members. It was 1973 and the Young  Lords were emerging from two long years of being completely underground, or inoperative publicly as a  human rights organization. There were no longer remnants of the Young Lords Movement left in the  Lincoln Park neighborhood that gave birth to them in 1968. The Lincoln Park neighborhood had been  cleaned out of Puerto Ricans and the poor, in just a few years, by city hall and the Lincoln Park  Neighborhood Association. A directive was given by the leadership for the Young Lords members to  move and to establish themselves as a base of operations in the Lakeview Neighborhood, at Wilton and  Grace Streets. Many Young Lords moved there with their families. Prior to that, a group of about 25  Young Lords had moved to a rural, rented farm near Tomah, Wisconsin. The farm camp was called a  “Training School,” and their sole purpose for their camp was to train new Young Lord’s leaders who  would step in and lead the Young Lords. Repression had hit extremely hard within the Lincoln Park  Movement, splitting it in several directions. This was aided by pending trials of several Young Lords  leaders and the still unsolved murders of United Methodist Rev. Bruce Johnson and his wife Eugenia, of  the Young Lords People’s Church. Rainbow Coalition leader of the Black Panther Party, Fred Hampton,  and Mark Clark were also assassinated in a raid organized by the States Attorney. The Lincoln Park  Movement had seized to exist. José “Cha-Cha” Jiménez, who was then in hiding from the police after  being sentenced to one year in Cook County Jail and who had 17 more felony indictments still pending,  called for the organizing of a training school in a secluded farm near Tomah, Wisconsin. After members  received their training in the farm camp for one and a half years, it was decided that Mr. Jiménez would  voluntarily turn himself in, begin serving the year and start to fight the remaining cases which included  bond jumping and many trumped up charges of mob actions for demonstrations. The Young Lords  would raise his bond, hire attorneys, and then switch their organizing in Lakeview and Uptown where  many of the Puerto Ricans of Lincoln Park had moved. They had also moved to Wicker Park and  Humboldt Park but the Young Lords wanted to concentrate their forces. If this move was not done, the  movement started in Lincoln Park would completely collapse. After serving the year, Mr. Jiménez  announced his Aldermanic Campaign for the 46th Ward, as an Independent Democrat. He would use the  election not as an electoral revolution but, “as an organizing vehicle for change.” Among other things  the campaign would focus on Mayor Daley’s forced displacement of the Puerto Rican Community from  the near lakefront and near downtown areas of the city. It not only boldly opposed the banks, the  developers, the neighborhood associations but implicated Mayor Richard J. Daley in urban renewal  plans that clearly were racist, being utilized to cleanse these areas of lower income minorities. Because  of this, María Romero volunteered to serve as Young Lords Office Coordinator. It was Ms. Romero’s job  to pass out assignments and to provide support and referrals for services for residents of that Lakeview  area of Wilton and Grace. She herself had lived in Lincoln Park but had grown up in Lakeview. There  most of the Puerto Ricans knew her family, as her father was a businessman, who for years had owned  several Latino botanicas, or stores that sell religious potions and candles of saints, and provide  consultation services. Ms. Romero was instrumental in getting a large amount of persons registered to  vote. The Jiménez Aldermanic Campaign received 39% of the vote on the first attempt. It was not the  51% needed, but it was still victorious in uniting the community and beginning to expose the prejudice  behind displacement. It also opened wide the doors for future Latino political candidates. As Ms.  Romero moved west to Humboldt Park she was hired as a community organizer for Bickerdike, a non -  profit development corporation. She used her Young Lords organizing skills and passion to promote their  mission of being, deeply dedicated to preserving the ethnic and cultural character of their  neighborhoods, providing quality affordable housing, preserving jobs, advocating for resources and  struggling against gentrification and displacement. One of the main issues that Ms. Romero advocated  for was the “Chicago Affordable Set Aside.” </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456246">
                <text>Jiménez, José, 1948-</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456248">
                <text>Young Lords (Organization)</text>
              </elementText>
              <elementText elementTextId="456249">
                <text>Puerto Ricans--United States</text>
              </elementText>
              <elementText elementTextId="456250">
                <text>Civil Rights--United States--History</text>
              </elementText>
              <elementText elementTextId="456251">
                <text>Lincoln Park (Chicago, Ill.)</text>
              </elementText>
              <elementText elementTextId="456252">
                <text>Personal narratives</text>
              </elementText>
              <elementText elementTextId="456253">
                <text>Social justice</text>
              </elementText>
              <elementText elementTextId="456254">
                <text>Community activists--Illinois--Chicago</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456262">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456263">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456264">
                <text>Moving Image</text>
              </elementText>
              <elementText elementTextId="456265">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456266">
                <text>video/mp4</text>
              </elementText>
              <elementText elementTextId="456267">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="456270">
                <text>2012-06-02</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1030066">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="23686" public="1" featured="0">
    <fileContainer>
      <file fileId="25883">
        <src>https://digitalcollections.library.gvsu.edu/files/original/d2e0ba2655ab32c69d8f52f7b5c87f14.pdf</src>
        <authentication>8347a0fbb8196d101c8fdd7b88024087</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="432435">
                    <text>Speaking Out
Western Michigan’s Civil Rights Histories
Grand Valley State University Special Collections
Interviewee: Maria Sutherland
Interviewers: Kayla Burke, Jennifer Noth and Alex Suriano
Supervising Faculty: Danielle Lake
Location: Grand Valley State University Special Collections
Date: 10/31/2011
Runtime: 00:43:32

Biography and Description
Maria Sutherland is from Cochabamba, Bolivia. She describes her experience as an
immigrant to the United States.

Transcript
Alex: My name is Alex Suriano.
Jennifer: And I‟m Jennifer Noth.
Alex: And we are here today, at 4 o‟clock P.M. with Maria Sutherland at Grand Valley
State
University. We are here today to talk about your experiences. Could you please give us
some
basic information about yourself?
Maria: As Alex stated, my name is Maria Sutherland. I‟m from Cochabamba, Bolivia. I
was born
there in the San Pedro Hospital. Um, my mom is also Bolivian, but her parents are both
American. My dad‟s American, I have two other sisters. One was born in the United
States and
the other one was born in Bolivia. I lived my entire life there, except for my seventh
grade year
and last year, um, my freshman year of college.
A: Alright, so you said you came in seventh grade to western Michigan and just the
states in
general, what was that like?
M: Basically, it was almost like a vacation because we were only here for like a year. It
was
pretty difficult though because I wasn‟t used to the culture but because I was still
younger it was
easier to get involved in different things and fit in.
A: And then you came back obviously for college as you‟re here right now, how was
that? We‟ll
just say, describe that experience.

Page 1

�M: At the beginning I was really excited because I was like, oh it‟s going to be so much
fun, the
United States, it‟s a different culture a different place to be. It‟s going to be really fun
and then
what I didn‟t realize is it‟s a totally different world. Like, the culture is incredibly different,
the
pace of things, the people, um, it just like overwhelmed me and I didn‟t realize what I
was
getting myself into.
A: Alright, so, how would you describe your own identity? Like, say, we were at an
icebreaker or
something and someone was like how-like just give us a basic description of yourself,
how you
identify yourself.
M: I feel like for me that‟s really hard but, I would identify myself as Bolivian because
even
though I don‟t look Bolivian, I was still born there, I grew up with that culture and that‟s
basically all I‟ve ever know except for like what my parents have taught me and living in
the
States for a little bit.
A: Okay. Was there a particular moment either growing up or in your adulthood where
you felt
different or were treated differently? Back in Bolivia, if you ever felt like you were
different
from the people there, like when you first kind of realized that.
M: Um, I did feel different in Bolivia just because of my skin color. Some people would
treat
me differently because, well white people are always seen as, like they have the money,
they
have everything. So they either really suck up to you or they would just treat you like
you don‟t
belong here, what are you doing here? But, as soon as you get you know then, then all
that first
impression is gone, so. I kinda got used to that, at the beginning it being awkward and
then once
you get into the flow of things it was fine.
A: Alright. So, you are from Bolivia. How did coming here effect your thinking of your
identity? Like, did it change it at all or when were you really like, I identify as a Bolivian
completely because I don‟t really know the culture here.
M: If definitely broadened my overall thinking of my identity because before I just saw
myself as
I am Bolivian but at the same time I can speak english and both of my parents speak
English too,
they are America citizens. So, coming here actually made me realize, that there is a part
of me

Page 2

�that is also, I guess, American. But, in my, I don‟t know, always in my head I always
thought
more like a Bolivian so coming here made me realize that more so it‟s kind of like this
constant
battle of like am I Bolivian or am I trying to fit in America, like as an American or as like
my
own self. I don‟t know. It‟s kind of complicated.
A: That makes sense, it is kind of a unique situation to be it.
M: Yeah.
A: Alright, were there people in your life that encouraged you to think about the
treatment of
Bolivians or just Latinos in general in society. If so, can you name one, a couple, as
many as you
want?
M: Well I think my parents, first of all, because growing up with Bolivians, I don‟t know,
they‟ve always had a special place in my heart. I guess no one has ever really been like
“You
have to care for these people”, but in a way I guess it was kind of the opposite because
of some
of the people that I really looked up to that I hung out with, um, well it‟s kind of
complicated
because in Bolivia there‟s like a lower class and then there‟s a higher class and the
people that I
really looked up to in the higher class really looked down on the lower class. And
through seeing
like, the hatred that they had for the lower class, that made me feel like even more
passionate
about the lower class and like caring about them. So I guess it wasn‟t really a certain
person, but
just like my like overall perspective on everything.
A: Okay. Do you remember family members, friends or people from your community
being
discriminated against? Either formally, informally. Just kind of like, in society, just people
you
know who were discriminated against or here people you know who are discriminated
against.
M: Um, my school was an international school but they strived to have like, 50%
Bolivians and
50% international students. And then it changed, like the board changed and when I
was in like
eighth grade, they were really, extremely racist. They were against everything, like that
the
Bolivians, I don‟t know, they just didn‟t like Bolivians. It was just obvious and by twelfth
grade,
every single person in my class that was Bolivian left because of all the discrimination
and that

Page 3

�like really hurt and like most of the teachers didn‟t like me because I was such close
friends with
the Bolivians that they even like discriminated against the people that hung out with
them. And
then even like here some of the people that I talk to, it‟s really crazy, because at least in
Bolivia I
haven‟t really noticed between Bolivians like, racism. But here I just feel like there‟s so
much,
racism and discrimination and it‟s brought up so much, I don‟t know, it just shocked me.
A: And you talk about racism here, like what group do you feel like is being-do you feel
like all
groups are being racist against all the other groups or is it like specific groups being
racist against
like other specific groups? Just kind of go into depth about that.
M: I think that there‟s definitely racism between African Americans and white people and
Latinos. But, like it‟s also crazy to see, I don‟t know, I feel like. I don‟t know how to
explain it.
I don‟t know-- because I haven‟t lived here long enough, but I don‟t know if, they‟re not
exaggerating like to the extent of that they‟re being discriminated against but I just feel
like they
have-they feel so much like they feel they‟re being discriminated against so profoundly
that it
shocks me. Like one of my friends just told me, he‟s a Latino and was just telling me
about how
sometimes he hates just going to certain clubs because when he walks in he can feel
like people
just don‟t want him there. And that‟s just like weird for me, and it‟s sad. And sometimes
you
think like, is it true? Or do you think that he just has that vibe and it‟s not really there.
You know
what I mean? I don‟t know.
A: Mhm, it makes sense. Alright now, do you have any civil rights heros nationally, or
locally
that like, people in history that have stood up for people and rights issues? Do you
understand
what I‟m saying?
M: Yeah. Well, I don‟t know. I really like Jacque Wara. He, I don‟t know if you know who
he is
but he stood up-well he basically helped, um, Bolivia gain it‟s independence and
everything and
I don;t know, he really helped the poor community because they were being, like,
obviously, the
higher elites were totally, like, taking control over them and making them do stuff that
they had
no control over. What they, like, they‟re lives you know? So I thought he was really cool
and

Page 4

�just the fact that he didn‟t even start out to do that, like he, just ended up seeing it and
realized
that something was wrong and he needs to change it.
A: So, you were talking about the international schools. Is there any-you said there were
Bolivians to start off with, was it the higher class Bolivians or like, the lower class
Bolivians,
that were looked down upon, they just chose a select few to come to the schools or-just
kind of
go into more depth about the schooling.
M: Um, because it was an international school, it was more expensive. So, the poor
Bolivians
couldn‟t really enter that, um, school. It‟s just really-I don‟t understand why they
discriminate
against them because the entire reason they were there was basically, they‟re in Bolivia
obviously, there‟s going to be Bolivian people there. it was just that, I think that maybe
one of
the reasons was it was just a very strict Christian school and because most Bolivians
are Catholic
or because they‟re not-I think they were more liberal that maybe that‟s why they didn‟t
like them.
A: Alright, did you ever experience the lower class schools or just see what they were
like as
compared to your international school?
M: Um, I have friends in like, other schools, like public schools, but I never really
experienced
them.
A: Okay, did they ever make comments about the public schools. Like, just comparing
them at
all, did they ever talk about like, “Oh our school is so...” anything? Did they talk about
their
school?
M: I think the school system probably was, well because there was more people, it was
probably
alot more disorganized but I‟m not really sure if there was a huge difference.
A: Alright.
J: Alright, um, so you went to one university, other than Grand Valley, last year, correct?
Um, tell
me a little bit about the diversity of it.
M: It was actually really diverse, because, um, it was a Christian university so lots of
missionary
kids went there and they were like, from all different places. And they were also
international
kids and it was actually really cool because they had a group for missionary kids and a
group for
international kids and it was really interesting because I actually met one of my best
friends there

Page 5

�and he was from Bolivia too and I had never known him until I got to Taylor. So, it was
really
cool and there was also a guy from Ecuador that I got to know too and I think it was
pretty
diverse.
J: Compared to Grand Valley, do you think it was more diverse?
M: Um, I think that it‟s kind of hard to tell because Taylor was a lot smaller, so, it
seemed like
there was lots of people from lots of different places but I‟m also pretty sure that, um,
Grand
Valley has a lot of diversity, like, I‟m in the Latino Student Union and like, there‟s still a
lot of
diversity and different places people are from and that‟s just one organization. And
there‟s so
many organizations on campus that I think that Grand Valley actually does have a wide
variety of
diversity.
J: Awesome. Um… Would you say that there are any landmark historic events that
happened like
within either Bolivian culture or your time in the States that you experienced?
M: Um I think, I think that one even that appeared while I was in Bolivia that was like
definitely
changed Bolivia was I was there when they elected the first indigenous president, and
he‟s
actually still president right now, and that‟s just a huge deal because.. Like he was
supposed to
represent the indigenous people which is something Bolivia has lacked for so long. So
that
definitely, even though he still hasn‟t represented the indigenous people, at least now
they still,
are getting their voices out, and that‟s definitely changing the way Bolivia is today.
J: Would you say that he‟s someone you look up to?
M: I‟d say that .. it‟s really hard because he‟s done a lot of things that are not intelligent
at all, but
at the same time I really like the fact that he doesn‟t do like what everyone expects him
to do,
you know? He does something out of the norm, which is I like I think is something that
Bolivia
needs like in order to change so…
J: Um…
A: Okay. So I know we were talking a little before the interview a little bit, and you
mentioned
some things about protests. So do you want to go into more detail, like what they were
about
just?

Page 6

�M: Usually there is a lot of protests and strike in Bolivia. Um a lot of this has to do with
things
like, they raise, All the sudden, they will raise the price of bread. They‟ll double it. Then
all the
stores will shut down, all the streets will get blocked, all the public transportation will
stop. So
basically everything shuts down until the people get their voices out and the
government, er yea
the government changes the policy. Um that also happens a lot with gas down there.
They change
the gas process a lot too. Right now they are actually trying to build a main high way
through the
amazon, the jungle, and like people have been protesting a lot about that.
A: Do you think that is a good or bad thing?
M: Definitely a bad thing because the only reason they, well I still haven‟t really
researched it
that much but, I think that the reason they are creating that is um basically they want to
take the
land resources, like the government wants to take it for themselves. So they are building
that
highway so that it will be easier for them to do that. Whereas there is this huge people
group in
that live in the jungle and are being exploited and they like don‟t even really know it. So
I‟m
definitely against it.
A: Okay. And then just, I know in our class we have been talking about how history is
taught in
America and the problems with that. When you were in the international school, do they
teach
mainly world history, or like do they teach Bolivian history, or like American history? Like
what
did you basically learn about history? Like if you had to like.. You‟re teaching a.. If you
like a…
remember back in like 5th grade or whatever, What were you learning about in history?
M: In 5th grade?
A: Well just back like in your education, like early on, what kind of stuff were you
learning?
M: Yeah. Well I remember in 5th grade, actually I do remember because we played this
game, and
I was horrible at it, but I remember that we were each cast put into different groups and
were like
all different countries. So I think it was more like, we like learned more about the world
than a
specific place and also the only place where I like really learned about the Bolivian
history was
Spanish class. Like we would read Spanish history books and yeah stuff like that.

Page 7

�A: And then did you learn like American history like at all? Or was it just kind of…
M: I did learn American history. I don‟t really remember that much about it.
A: That‟s okay. People in American really don‟t remember that much about American
history…
Um… Do you have any more questions Jenn?
J: Um…Not that I can think of.
A: Um maybe just going into more detail into history education, did you like learn about
the
World Wars, like Great World Wars one and two?
M: I actually learn about um WWI and WWII, and that actually really is one reason that I
want, I
started to learn German because it expanded my horizon and made me realize, like
how how like
I don‟t know. I always that World War One and World War Two were really like impactful
because it impacted like so many different countries and just like all the history that
goes into
like all really shocked me, and I really liked learning that stuff because it wasn‟t like
about just
one specific country. It was about so much… Diversity.
A: So you‟ve lived in uh the starts for about two years now. So you have gotten to
experience a
lot of like the cultural differences. What were like some of the major major things that
you see
difference between like Bolivian culture and American Culture?
M: One of the biggest differences, well there‟s a lot of differences, but the first one that
hit me
when I got to the States was the um punctuality of things here like… like for example
when I
first got there, there were a bunch of activities that freshman um would do and they
would be like
„ok we‟re meeting in 5 minutes in the hallway.‟ I‟d get there like 5 minutes late and
everyone
would be gone. And that is just like… first of all I was like ok I am only five minutes late,
like in
Bolivia if I was 30 minutes late everyone would still be there and would be waiting or like
half
of the people wouldn‟t be there yet and like secondly it was just, I don‟t know. In Bolivia
there
would always be someone waiting for you Like even if you were late. Like it was just the
respectful thing to do, so…. That was really different for me. Yeah…
A: Some other big differences? Like I remember you talked about like we kind of uptight.
Like
you cant cross, you have to cross the street here. You have to do this here.
M: Yeah, there are so many rules in the States. The um that‟s why I kind of I feel like I
ask a lot

Page 8

�of questions here and I also just kind of instead of really being able to be myself in a
way, like I
kind of have to sit back and observe because I don‟t know what to do in certain
situations or
what the norm is so yeah it‟s a lot different learning. Yeah it um… Another thing that I
realize is
a huge difference was the fact that in the United States is a lot more fast paced. Go go
go. And I
just remember that my sisters would always come back, cause they came here for
university too,
they‟d come back to Bolivia for the summer or something and they would always be like
„Oh I
was so stressed out like over there.‟ I was like „Oh I‟m never going to be like that.‟
Cause in
Bolivia I was never stressed out at all and then I came to the states and then like last
year I was
wahhh the entire time but no, I am getting used to it. I feel like I am a lot more laid back
now and
its weird because people would be like „You are so laid back‟ like when I would like still
feel like
uptight because I don‟t know of the society. I think, I just think that Bolivian society is a
lot more
relax, lay back and like people oriented and American society is more like um down to
business,
gotta get this done and then I will hang out with people. Yeah…
A: Okay. Any other big differences you can think of? Or even like little things, like „Oh
that‟s
weird‟ we like, just things that like are every day to you and like here they are unheard
of or like
vice versa?
M: Hmm… Well I guess one kind of weird thing is that down there I feel like is people
are a lot
more friendlier in the way that like you‟d go walking down the street and you wouldn‟t
know
anyone and you‟d just like „Hi‟ and they would just be like „Hi‟ blah blah blah blah. I don‟t
know, it would just be like super friendly, whereas here, sometimes if you like say hi to a
random
person walking down the street they just like look at you like you are a weirdo or
something. So
I‟m always like ok I‟m not going to do that, and then it was really interesting because I
was like
on the bus one day and I started talking to this guy randomly and then he was just like
„yeah I
could tell you were a transfer because people here don‟t just randomly start talking to
people.

Page 9

�Like that‟s just not what you do.‟ And I was like „what like what‟s wrong with being
friendly,
you know?‟ I don‟t know. It was just weird for me. Um.
A: Alright um.
M: Another thing that I found that was really different, is like um I don‟t wanna like… I‟m
not
trying to say that like the United States is bad or anything. It‟s just totally like different
culture
but I feel like the people here spend a lot of time buying things. Whereas in Bolivia I
would
never really buy things… So it‟s just funny because like during this summer while I was
working, like all of the girls that I worked with were like „Oh I can‟t wait until I get my
paycheck
so I can go out and shop and blah blah blah.‟ Like it was just weird to me to think that‟s
the first
thing they‟d spend their money on, is like clothes and accessories, I don‟t know
yeah….and like
another difference is, at least in Bolivia, in my city, there are poor people… everywhere
like
down the street, like there would be a poor person sleeping on the side of the street um
whereas
here you don‟t see that that much, and it‟s interesting because I um actually talked to
some poor
people here in Grand Rapids and it‟s just really interesting to see the difference
between like the
poor people here and the poor people in Bolivia cause the people here like.. I was
talking to this
one person and they were like telling me how there is different like soup kitchens and
stuff and
sometimes they don‟t go to this once place because it‟s nasty and they don‟t like that
food,
whereas like in Bolivia they don‟t have soup kitchens. They don‟t have homeless
shelters. So
like if you give them like the moldiest nastiest piece of bread they are going to eat it, you
know?
I don‟t know, it was just interesting to see the differences.
A: Eh if you can think of any other differences, we can keep going on those. If not, we
can move
on. Its up to you.
M: Um… Oh one huge difference. Well it‟s not a huge difference, but it was just
something that I
it got me mad because in Bolivia, there isn‟t that much diversity, and like... Well there is
a bunch
of diversity in like the fruit and like all the vegetables you get, but if you like go to the
super

Page
10

�market, like they have like one or two type of hot cocoa you know, for example.
Whereas you go
to a super market here and there is like an entire aisle of different like hot cocoas you
know? I
don‟t even know which one to pick and its crazy how much like they like have here in
the states
and yet like sometimes people are like „ugh I don‟t want this stuff. They should make a
new kind
of…‟ you know? When it‟s like there‟s so much of it. I don‟t know. It‟s crazy.
A: Alright um. So I think that‟s about, you covered the main differences, I feel like. You
said that
your dad was American and your mom was Bolivian or her parents were American.
What?
M: Yeah, that‟s kind of difficult. My dad is from Michigan, and my mom, she was born in
Cochabamba, the same place I was, but her parents were both American. So she has
American
citizenship and Bolivian citizenship like me, but…
A: Okay. So um what kind of made your dad and your grandparents like decide to move
from the
states to Bolivia? Was there any like, big factors?
M: Um I think that… well my grandparents were missionaries.
M: And, I think they started off in Ecuador, and then they went to Bolivia. And then I
think that
the reason why my dad went down there was he actually, he started dating my mom
and then my
mom went down there for like the summer or something, and then she came back up,
and then
he, I just think that he was just intrigued with all the stuff she was telling him about it and
stuff,
so he decided to go down there for a year, and he just really liked it. Like they weren‟t
even
married or anything, but he just really liked it and then he came back to the States, and
um, they
also got into mission work too, and so they decided to go back. And I don‟t know, I‟m
like really
glad that I did grow up like in Bolivia, like I would never change that experience, ever.
Like even
when I struggle with like, who I am as a person, because of like am I Bolivian? But like
when
I‟m in Bolivia I don‟t really fit in that much because I am white. But when I‟m in the
States, I
don‟t really fit in either because even though I‟m white, like I have no idea like about the
culture
and stuff, you know? Like, it doesn‟t…I still, like still have that passion for Bolivia there,
like I
wouldn‟t change a thing.

Page
11

�A: So, you said it was a very positive experience growing up in Bolivia?
M: Yeah. I definitely…it also opened my eyes, like, I don‟t know, it helped me see that
there‟s
more to life than just myself.
A: So, what would you say is your number one, all-time favorite thing about Bolivia, and
the
same thing for the United States?
M: Ok, number one thing would probably be the people, just because, well they‟re
warm, and
they‟re easy going-ness. Like you go to Bolivia, you go to someone‟s house, they have
no idea
who you are, but they will just be the most caring person to you, and like, Bolivians are
extremely hospitable. Like you will not leave their house unless you are like extremely
full, and
like anything they can do to make you happy they‟ll do it, like basically, yeah. And for
the
States, um, I don‟t know if I‟ve like found what I like best about it yet.
A: Maybe like some top things? If you can‟t pick a favorite, not your all-time favorite, but
just
things that you really like about the States. Like didn‟t you say ketchup?
M: Yeah, I just love American food cause it‟s so good. It‟s the best. They need to get
that in
Bolivia.
M: Yeah, but like I guess like I really like the different opportunities. Like in Bolivia, if I
had
gone to an University in Bolivia, I would already have to know my major, there are only
so many
specific majors I can have, you can‟t have a minor, like it‟s very like, there are only, you
don‟t
get all this opportunity that you get here. Also, there‟s like tons of clubs, like on campus.
Like,
the Middle Eastern club, the fencing club, the, you know, there‟s a bunch of like a
variety, like it
opens up so many different paths for you to take. Which I think is really cool about the
States.
Yeah. …..I also like the four seasons. Not really I hate winter.
A: I‟m guessing it never snows in Bolivia?
M: It does, but not where I live.
A: Like, up in the mountains?
M: Yeah.
A: Is it mostly like summer weather? Like what‟s the weather like in Bolivia would you
say?
Like just an average day.
M: Well, in my city?
A: Yeah. In your city.

Page
12

�M: Ok, in my city, well I live in like a valley, so it‟s surrounded by mountains, um, so it‟s
like
spring weather year round. So it‟s like sunny the entire year and then like a certain time
of year
is when it‟s rainy season. And then that‟s it. But there‟s no humidity, so it‟s so nice.
A: That sounds nice.
M: I know.
J: So um, going off cultural differences, and because of the fact that you don‟t know
much about
American culture, um, do you feel that people are ever really confused as to why you
don‟t, if
they don‟t know that you are from Bolivia? Like, are they ever like, „why don‟t you know
this?‟
You know? Like if they bring up something about American culture, and you‟re like „wait
what?‟ like are they ever confused like that?
M: Yeah, and then I‟m just like, I just have to be like „I‟m from Bolivia.‟ And they‟ll be like
„what? You live in Africa?‟…No I‟m kidding. But yeah, I get that a lot, a lot of people,
like,
almost everyone I‟ve met, doesn‟t think I‟m from a different country, just because, like I
went to
an International school, so I don‟t have an accent, I know English, I don‟t look like, like
I‟m
from Bolivia, so everyone just assumes that I‟m American. So, in a way, I don‟t know,
it‟s kind
of like, like I don‟t know, I‟m still debating on if I like the fact that I‟m white. But like
obviously it‟s a good thing because like I‟m white so, there must be a reason for it, you
know?
But, no sometimes it‟s nice because no one really knows me until they actually want to.
A: Ok and so also going off of culture difference, like is there any like culture shocks
here? Like
something you thought like „you guys really do that?‟ like, and Bolivia too, like things in
Bolivia
that like, you know would like be looked at weird here. ….do you need me to explain
more?
Like things that we do in America that you‟re like „what?‟ or like things that you do in
Bolivia
that people here would be like „what? You really do that Bolivia?‟ Like just like culture
things
like that.
M: Well, I know that people, well like people here would see and think that what people
eat in
Bolivia is crazy. Because, because what we eat, what one of the best dishes that they
have there
is cow tongue, like it sounds disgusting, like to most Americans, but it‟s so good. And
like, it

Page
13

�makes sense, like If you‟re going to kill a cow, like you might as well eat every part of it.
And to
them it‟s tasty. So, yeah, um, I really, um think that people in the United States would
think
that‟s really weird. Something weird here…um, let me think….
J: I know you were talking about one day, since you are my roommate, um , you were
talking
about how you had to get used to the toilet paper issue?
M: Oh yes! Ok, um, yeah like in Bolivia, you are not allowed to throw toilet paper into the
toilet, because it will clog the drains, or the pipes. So, when I got to the States, it was
the
weirdest thing, because I‟d go to use the bathroom, and I would be looking for the
trashcan. And
there would be no trash can around the toilet, you know? So I‟d be like, where I am
supposed to
put this? So, yeah finally I got used to throwing it in the toilet. But that was just really
weird for
me.
A: Do you ever forget when you‟re back in Bolivia and cause problems?
M: Yeah, when I first get back, I always forget. And that‟s really bad. My dad gets so
mad. …I
guess like one other thing, even though Bolivia is modernizing in this way, but they
usually use
forks and knives for everything when they eat there, like even like a wrap or something,
and like
here they don‟t do that. Like, you like eat with your hands, you know? So I just thought
that that
was really weird.
A: Yeah that is weird.
M: Yeah….Oh! Another huge weird thing, well this is something my grandma told me a
long
time ago. But um, she told me that she went to a restaurant and they were ordering
dessert and
stuff right? And the girl asked oh, my grandma asked here if the brownies were like still
in a
package or like handmade, and the girl was like, um, she was like what do you mean
handmade?
Like she didn‟t know that there was another way to make brownies, like she thought
they only
came in a package, like for me like it was like exactly the opposite. Like in Bolivia, we
make
everything from scratch, so to like have a brownie like from like a package, I was like
what?
That was so weird for me, even though they‟re really good.
A: Alright, well that‟s all of our questions, is there anything you would like just kind of like
to

Page
14

�add? Like to promote Bolivia, or just like…
M: Yeah, everyone should go to Bolivia. It‟s amazing. No, I‟m serious, um, we have
everything,
we have mountains, we have jungle, we have beach, I mean we don‟t have a beach, but
we used
to. We have planes, we have the most dangerous, um, road on earth, that you can go
biking on,
which is so awesome. And I don‟t know, like people there are just awesome and
their….everything is really cheap. That was another difference coming to the States is
everything is so expensive here I can‟t use any money! But, oh yeah, and just the fact
that like in
Bolivia as a high schooler, it‟s really hard to get a job, like it‟s almost impossible.
Whereas in
the States, there‟s like so much opportunity, even though like right now they say that it‟s
hard to
get a job, compared to Bolivia, it‟s not hard to get a job at all. So, that was like a big
difference
too. And it‟s like actually fun being able to work here, I felt really independent.
A: And where did you work?
M: Um, I worked at the catering service at my University, I also worked at um, in the
library of
my University, and I also worked as a hostess during the summer. It‟s really cool that I
like can
like actually work in a restaurant because someday I want to open my own café.
A: Alright, does anyone have anything else, like any more questions or anything else
you would
like to add?
M: Um, I don‟t know, just like the fact that I think it‟s really cool, like I never realized how
cool
it was to realize people‟s differences, like even like the difference between the American
culture
and the Bolivian culture. Like at first I was like „oh, I don‟t know if I could really ever be
really
close to any of them because like they come from such a different, like background than
me, you
know? But I think now, like I see it as a different way that like they‟ve grown up, but it‟s
like
really cool because it‟s a totally different culture and it‟s like really cool to like learn like
from
them and they can also learn from you, you know, because you‟ve like grown up from a
different
culture and a different background too, so I just think it‟s really cool like diversity is like
one of
my favorite things because like it‟s awesome, you have no idea what German, like what
it‟s like

Page
15

�to be a German. You grow up in Germany your entire life, you know, so I want to
promote
diversity.
A: Well, uh, thank you for your time.
M: Yeah, you‟re welcome.
A: It was a really great interview.
M: Yeah, thanks for interviewing me.
END OF INTERVIEW

Page
16

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
      <file fileId="25884">
        <src>https://digitalcollections.library.gvsu.edu/files/original/5a99e39dff9a5659ae73c858d2115bb0.mp3</src>
        <authentication>fecaa9873f4699f58577b92bddc3a25c</authentication>
      </file>
    </fileContainer>
    <collection collectionId="20">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432109">
                  <text>Speaking Out: Western Michigan Civil Rights Oral Histories</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432110">
                  <text>Civil rights--Michigan--History</text>
                </elementText>
                <elementText elementTextId="765907">
                  <text>Personal narratives</text>
                </elementText>
                <elementText elementTextId="765908">
                  <text>Oral histories</text>
                </elementText>
                <elementText elementTextId="765909">
                  <text>African Americans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765910">
                  <text>Gays--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765911">
                  <text>Lesbians--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765912">
                  <text>Bisexual people--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765913">
                  <text>Transgender people--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765914">
                  <text>Veterans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765915">
                  <text>Women--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765916">
                  <text>People with disabilities--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765917">
                  <text>Muslims--United States--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765918">
                  <text>Hispanic Americans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765919">
                  <text>Homophobia</text>
                </elementText>
                <elementText elementTextId="765920">
                  <text>Discrimination</text>
                </elementText>
                <elementText elementTextId="765921">
                  <text>Islamophobia</text>
                </elementText>
                <elementText elementTextId="765922">
                  <text>Stereotypes (Social psychology)--Upper Penninsula (Mich.)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432111">
                  <text>Collection of oral history recordings documenting the history of civil rights and social justice advocacy in Western Michigan. The collection was created by faculty and students as a project of the LIB 201 (formerly US 201): "Diversity in the U.S." course from 2011-2012. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432112">
                  <text>Grand Valley State University. Brooks College of Interdisciplinary Studies</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="432113">
                  <text>Speaking Out: Western Michigan Civil Rights Oral History Project (GV248-01)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="432114">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432115">
                  <text>2017-05-02</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432116">
                  <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432117">
                  <text>audio/mp3&#13;
application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432118">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432119">
                  <text>Sound&#13;
Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="432120">
                  <text>GV248-01</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="432121">
                  <text>1930-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="4">
      <name>Oral History</name>
      <description>A resource containing historical information obtained in interviews with persons having firsthand knowledge.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="432415">
                <text>GV248-01_Sutherland_Maria</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432416">
                <text>Maria Sutherland audio interview and transcript</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432417">
                <text>Sutherland, Maria</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432418">
                <text>Burke, Kayla</text>
              </elementText>
              <elementText elementTextId="432419">
                <text> Noth, Jennifer</text>
              </elementText>
              <elementText elementTextId="432420">
                <text> Suriano, Alex</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432421">
                <text>Maria Sutherland is from Cochabamba, Bolivia. She describes her experience as an immigrant to the United States.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432423">
                <text>Civil rights--Michigan--History</text>
              </elementText>
              <elementText elementTextId="432424">
                <text>Hispanic Americans--Personal narratives</text>
              </elementText>
              <elementText elementTextId="432425">
                <text>Discrimination against Hispanic Americans</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432426">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432427">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432428">
                <text>Sound</text>
              </elementText>
              <elementText elementTextId="432429">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432430">
                <text>audio/mp3</text>
              </elementText>
              <elementText elementTextId="432431">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="432433">
                <text>Speaking Out: Western Michigan Civil Rights Oral History Project</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="440282">
                <text>2011-10-31</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1029793">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="41893" public="1" featured="0">
    <fileContainer>
      <file fileId="46176">
        <src>https://digitalcollections.library.gvsu.edu/files/original/9bde23484c9938a23132fd5b42e9fc41.mp4</src>
        <authentication>81294a96cfba4730d106b840d537bd31</authentication>
      </file>
      <file fileId="46177">
        <src>https://digitalcollections.library.gvsu.edu/files/original/fb819585952585bd65934bf0cfe0e18d.pdf</src>
        <authentication>ffb9e0b1392d6b0421b2711f48d27a97</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="802525">
                    <text>Grand Valley State University
Special Collections &amp; University Archives
RHC-88 Fei Hu Films
Flying Tigers Interviews
Interviewer: Frank Boring
Interviewee: Marian "Steve" Adair
Date of Interview: 06-06-1991
Transcriber: Frank Boring
[TAPE 1]
FB:

Now is this your given name, or is this a nickname?

MA:

My real name is Marian Jeannette Stevens. And Skip's sister nicknamed me Steve
and I've been called Steve ever since.

FB:

Steve, if we could begin with when Skip decided to go to China in the first place,
what was your reaction to him to go off to China?

MA:

I knew when I met him that he had planned something. So I was not surprised when
he went.

FB:

Steve, if you could tell us your reaction of him going to China.

MA:

When I first met Skip, I knew he was planning to go somewhere. He was in
between. And it was to China.

FB:

What did you know about China at the time?

MA:

Nothing especially, except what I had read in the papers and history lessons.

FB:

And what was it that you had read or heard about?

MA:

Well it was such an entirely different lifestyle and people and we were in America.
Those people living in China and their beliefs and yet some of their women had
been educated in the United States which was very important and since I wasn't
1

�there for this they had gone to the Methodist Church and gone to the Methodist
schools.
FB:

Now when he finally asked you to come to China, what was your reaction?

MA:

Well because I was really excited and my whole family was excited, the thought of
their baby leaving the country and leaving her baby but my family thought it was
the thing to do and my mother offered to keep my child and he really had a lot of
love and care. My sister, Virginia helped her with care and he's known nothing but
love all his life.

FB:

What did you find when you actually arrived in China, give us some of your
observations, your first reactions, if you will. Here you are a young woman,
American, you've heard your husband is going off there, you've seen things in the
movies, read books, and everything, what did you actually find when you got to
China?

MA:

Well, I landed in Hong Kong when I first arrived all the noise on the street and the
conversations back and forth, not understanding anything, the [?] shows, that was
fun and the most exciting thing was and upsetting thing was he was not there to
meet me. He had had his friends meet me and the young lady that met me was
Margaret Potsmith. It was a wife of, I've forgotten her husband's first name,
Potsmith, he was a pilot, one of the CNAC's pilots. We became very good friends.
They had made reservations for me at the Hong Kong and somebody else had made
reservations at the Peninsula Hotel. And it ended up, Skip came in the next day, I
think there was a Typhoon and the Indian Ocean I think was supposed to go through
Hong Kong to get to Indo-China. And that was great pleasure.

FB:

Now, where did he take you next, where did you leave, when you left Hong Kong,
where did you go?

MA:

We went by boat to Hathong [?] and then on up the train, a little local train to
Mongsa [?] where there was a group of Americans stationed there, what they were
doing, I don't know. Part of them eventually ended up in Kunming or had been in
Kunming or Yunnan Ning. And became great princes, some of them.

2

�FB:

What did you find when you arrived there, what was your living accommodations
like?

MA:

The living accommodations in Mongsa [?]… I was only there a few days but the
hotel we were in had been part of the French Embassy. The French had just recently
left Indo-China.

FB:

Where did you go from there?

MA:

Went on up to Kunming, Baa, the French Railroad and it seemed like an awfully
long trip but it wasn't as long as I thought. We arrived and all of Skip's buddies
were there to welcome us. And that's all of the immediate reaction, I had to, things
happened so fast about then. I have very little recollection of it.

FB:

When did you first meet Claire Chennault?

MA:

Sometime later, probably several months, I met Col. Chennault. That's what I
always called him. That's what he was when he left the service before and at his
own home in Kunming I met him with a group of other Pre AVG's and the CNAC
pilots and of the men stationed in China.

FB:

Begin at the beginning of where you were when you heard the sirens go off and
then…

MA:

Of the first air alert that I was in, was in Mongsa and just doing nothing but hanging
around. Everybody said get your things together. We've got to go to [?], so we did, I
think about a dozen of us. .When the Nang men went off to Rios together, we really
did nothing until the siren stopped and then we got the all clear sign and we went
back in. And it was exciting because I didn't know whether there'd ever been an air
raid or not, but to expect it.

FB:

Amongst the Chinese population, either there or later on in Kunming, you had
stated that you didn't have too much contact with Chinese people personally, but
what were your observations of the Chinese in terms of their daily life or of this
condition that they were in, though we saw pictures of goiters and things like that.

3

�Can you give us a sense of what it was like to live there and what your reaction was
to the Chinese people?
MA:

Well the Chinese people that I knew some slightly through Skip's work and through
our help, and our house boy they were very cooperative and wanted to help me in
any way they could. The boys could even understand my English and I couldn't
even understand their Chinese. Which was interesting. One house boy got
fascinated because we let him run the Victrola. Played the records and after the
machine wound up while he was playing them and he loved the Beer Barrel Polka.
And one day by mistake, he got in and found the Begin the Beguine and the young
boy was so hacked. Because he liked the rhythm of that Beer Barrel Polka. And the
people on the street were in awe of me I think, they were polite and helpful I'm
sure, If I had needed any help, mostly I was walking down at the airfield waiting for
Skip to come in and walking around behind the hills behind the house and the, and
one time, I know, when I arrived there, Skip had hoped to have a home built for me
and the rains came and washed away the mud brick. So I stayed in the main
neighboring town in a nice two-story complex, kind of a U-shaped building in the
owner's quarters. And our house boy, Oscar, his family went over there with us.
And it was fun. I finally bought a pair of Cooley shoes because all of my shoes
were uncomfortable for walking the Chinese roads and highways and so the
Chinese thought my big feet were just riots. They were pointing at my feet and I
just laughed. And of course, I didn’t know what to think I just met them flat, didn't
make any difference to me, I knew my feet were big. And seriously I didn't have a
real Chinese friend and when I was in Hong Kong, I did meet and have lunch with
Butterfly Woo. She had heard I was there and heard the girls talking about me and I
had tried to play [?] with some of the women, and [?] she wanted to meet an
American woman, so Mary Margaret Potsmith and I had lunch with Butterfly Woo.
Now the big deal was that Butterfly Woo would speak English to me and would not
speak English to anybody of America. And the girls just couldn't believe that she
was talking to me in English. But she realized that I couldn't understand her
Chinese and didn't want to go around an interpreter. So we had a very nice luncheon
and that was my visit with Butterfly Woo.

FB:

Without trying not to sound too ignorant, who was Butterfly Woo?

4

�MA:

She was the young lady that the young Marshall, I think they called him, a Chailor,
became involved with and I don't exactly know what the situation was, like
everything else, there's stories. But she had quite a reputation but she still seemed to
be a fine young woman.

FB:

Did you witness any of the, what you would call brutality? Amongst the Chinese?
There were executions for example, or anything, did you ever have any
recollections of those?

MA:

They were very peace loving people and as far as I was concerned, they are
definitely family people and loved the children, they of course, the medical
situation out there, it just looked like they let the little flies and varmints eat up the
sores that were on the children but possibly they didn't know anything better to do
because it was definitely in the backwoods. And there were still women there with
bound feet which had been outlawed for some years in China. And they all seemed
to have some animal of some kind, following along with them.

FB:

Let's talk now about Chennault. You had a chance to get to know him fairly well,
you got a chance to perhaps see a side of him that nobody else saw. What can you
tell us about Claire Chennault?

MA:

Well, Claire Chennault, I met him first at his home in Kunming. And the group was
getting together for supper and he was very friendly and kind and gentlemanly and
we didn't have much to say to each other. Being in a group like that, I was sort of on
the outside and looking in. I was obviously a newcomer. And then later I got to
know him fairly well I think and he got to know me and we had some
conversations.
From your perspective, as an outsider looking in, what was your first reaction to
seeing Chennault? What did he look like? Did he stick out in a crowd to you at all,
was he, his face is often described as a leather face and his eyes were piercing
black, did you have any of those kinds of observations about him when you first
met him?

FB:

MA:

Well, when I met him he was just one of the group. And he was much older than
anyone there and I didn't react too much of his personal appearance. I've always
been an observer and not a participant.
5

�FB:

How about later, when you got a chance to know him better?

MA:

Oh, we just chattered around, general things, and some things that weren't so
general. But…

FB:

What was your, well I guess what we're looking for is that Claire's no longer with
us anymore. And all we have left, or just for posterity sake are just memories of
people who did know him. And I'm not looking for you to give away any secrets, or
anything like that, but what I am looking for is a personal perspective. You knew
him and I didn't. My father knew him and I didn't. I guess what I'm looking for is
for you to be able to give me an idea of what you like so much about him.

MA:

Well, I liked the man because he was quiet and was not trying to impress anybody.
He had his own way of doing things and receiving people and handling himself. He
loved children and he loved animals. He had a little Dachshund that he had with
him for years. And the little dog, he'd say rats and that little dog was under the sofa
and everywhere else looking for rats. And he, one of his favorite tales in Hong
Kong after Pat was born, this was a year later than, he came by to see Pat have a
bath. And I didn't think too much about it, went out to dinner that night and
fortunately one of Skip's friends had let me use his house because his wife had been
evacuated back to town, to Canada…

FB:

You're doing fine. The only problem is that the fabric on your pants, when you
touched.........

6

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="10">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128376">
                  <text>Flying Tigers Interviews and Films</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128377">
                  <text>Oral history</text>
                </elementText>
                <elementText elementTextId="765859">
                  <text>United States--History, Military</text>
                </elementText>
                <elementText elementTextId="765860">
                  <text>China--History, Military</text>
                </elementText>
                <elementText elementTextId="765861">
                  <text>Veterans</text>
                </elementText>
                <elementText elementTextId="765862">
                  <text>China. Kong jun. American Volunteer Group</text>
                </elementText>
                <elementText elementTextId="765863">
                  <text>World War, 1939-1945--Personal narratives, Chinese</text>
                </elementText>
                <elementText elementTextId="765864">
                  <text>World War, 1939-1945--Personal narratives, American</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128378">
                  <text>Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. &#13;
&#13;
Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG.&#13;
&#13;
Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128379">
                  <text>Boring, Frank</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="128380">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films Research and Production Files (RHC-88)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="128381">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128382">
                  <text>1938/1991</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128383">
                  <text>Fei Hu Films&#13;
Christopher, Frank&#13;
Gasdick, Joseph&#13;
Misenheimer, Charles V.&#13;
P.Y. Shu</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128384">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128385">
                  <text>video/mp4; application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128386">
                  <text>English; Chinese</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128387">
                  <text>video; text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="128388">
                  <text>RHC-88</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="128389">
                  <text>1938-1945</text>
                </elementText>
                <elementText elementTextId="985816">
                  <text>World War II</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="46">
              <name>Relation</name>
              <description>A related resource</description>
              <elementTextContainer>
                <elementText elementTextId="571985">
                  <text>Veterans History Project (U.S.)</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="3">
      <name>Moving Image</name>
      <description>A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="802503">
                <text>RHC-88_Adair_Marian_1991-06-06_v01</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802504">
                <text>Adair, Marian "Steve"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802505">
                <text>1991-06-06</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802506">
                <text>Marian "Steve" Adair interview (video and transcript, 1 of 3), 1991</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802507">
                <text>Interview of Marian "Steve" Adair by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Adair, of Charlotte, North Carolina, was the wife of pilot Skip Adair. In this tape, Marian "Steve" Adair discusses her reaction to her husband, Skip, going to China and her first impressions upon joining him overseas.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802508">
                <text>Boring, Frank (interviewer)</text>
              </elementText>
              <elementText elementTextId="802509">
                <text>Christopher, Frank (director)</text>
              </elementText>
              <elementText elementTextId="802510">
                <text>Fei Hu Films</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802511">
                <text>Oral history</text>
              </elementText>
              <elementText elementTextId="802512">
                <text>United States--History, Military</text>
              </elementText>
              <elementText elementTextId="802513">
                <text>China--History, Military</text>
              </elementText>
              <elementText elementTextId="802514">
                <text>Veterans</text>
              </elementText>
              <elementText elementTextId="802515">
                <text>China. Kong jun. American Volunteer Group</text>
              </elementText>
              <elementText elementTextId="802516">
                <text>World War, 1939-1945--Personal narratives, American</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="802517">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films research and production files (RHC-88)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="802518">
                <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802519">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802520">
                <text>Moving Image</text>
              </elementText>
              <elementText elementTextId="802521">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802522">
                <text>video/mp4</text>
              </elementText>
              <elementText elementTextId="802523">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802524">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="41894" public="1" featured="0">
    <fileContainer>
      <file fileId="46178">
        <src>https://digitalcollections.library.gvsu.edu/files/original/a3c384584adf07bb8ef439b766b94ff3.mp4</src>
        <authentication>834772fec0998c4185297962dbc16603</authentication>
      </file>
      <file fileId="46179">
        <src>https://digitalcollections.library.gvsu.edu/files/original/704fcff906dc5cf9c1e7111265dd2ca6.pdf</src>
        <authentication>62bb01bfdaf4ff998607ce493e21e15e</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="802548">
                    <text>Grand Valley State University
Special Collections &amp; University Archives
RHC-88 Fei Hu Films
Flying Tigers Interviews
Interviewer: Frank Boring
Interviewee: Marian "Steve" Adair
Date of Interview: 06-06-1991
Transcriber: Frank Boring
[TAPE 2]
FB:

If we could, your personal observations of Chennault.

MA:

Well, Chennault to me was, as I say I met him first at a get together at a party. The
Kunming, employees, or whatever you call them, that were working with him, were all
there and he was just a quiet gentleman, playing host to the group. He was helpful
because I didn't know how to handle this food you're supposed to cook like Sukiyaki,
except it had a Chinese name. I did it again.

FB:

I think when you met Chennault at this party and he was very helpful and then go into the
story about the Sukiyaki.

MA:

When I first met Chennault, was at a party that they had a get together of a CNAC and
the instructor school, he was there and very quiet, very gentlemanly and very helpful.
Trying to make me seem at home in a foreign country. He even helped me try to learn
how to make the Chinese version of Sukiyaki which I have still not learned to pronounce.
My inflections of the Chinese is not to be admired by anyone so I'll stop trying to, I did
learn to count, and I left one number out. I don't know which one it is, like an E or some
[?], I get lost in the middle of it but that's just part of me. Dead ears I suppose. Then later,
he used to come and see the little girl that was the daughter of the common dot in Yu
Nang Yee when he was up there, she was somewhere about 5, 6 years old. And he always
came by and spoke to her, he seemed to enjoy knowing her. And one instance, he had
come by, this was a year later, had come by to see my baby Pat, the redhead that was
born in Manila, and he wanted to see that thick of hair. And so, he came out and Mama
was giving her a bath and he just had more fun watching that little baby, probably about
3 or 4 weeks old and that evening I went out to supper with the gang to McDonald's and I
1

�guess I'd been living with the one that was the hero of kings. Had an apartment together
and had us over there and he had arrived before I did and if there wasn't anybody else.
Most of the people had arrived. He had been telling them about he had seen the redhead
take a bath and of course they lived in what was called a fishbowl in Hong Kong, all of
the apartments you could see from one apartment to the other. And so they were all
trying to decide which redhead had not drawn the curtains, and when I had arrived, they
found out that he talked about my baby Pat. But we got along fine. And he liked having
his little jokes.
FB:

What are some of the things that you recall about Chennault's personality - in regards to
you in terms of when he would talk to you? Did you feel like he was listening to what
you had to say? Did it seem like he was interested in talking to you or was he just very
much a part of the group?

MA:

When I was around him, the most, it was… the conversation was that he was talking to
me and felt like I was a good listener. You probably can tell by the way I'm talking now,
I'm not much of a talker. I guess when I get excited.

FB:

What things would he talk to you about? What kind of things did he talk about?

MA:

Well, one things about all the wars going on in the world and the standings of the
Russians and the English and the Chinese and the branch - it was just astonishing some of
the things he would come out with that I thought, my goodness, but I never did repeat
what he said to anybody because he was talking to me and nobody else.

FB:

Did he tell you what he thought was the danger from Japan, that China was in danger?

MA:

I think so, that could have been included in this conversation he had with me. I mean he
was just talking to me. I've forgotten we were going somewhere in a taxi, there were 3 of
us in a taxi and he was on one side and I was in the middle. And it seemed to be very
serious to me what he was talking about - his expressions of what was going on in the
world.

FB:

What did he look like when he was happy? What would his face look like when he was
happy?
2

�MA:

He was just that relaxed little grin, with a few more wrinkles showing when he was
happy. I never did see him when he seemed to be exuberantly happy. I don't think he was
the type of man that would express his feelings too much.

FB:

What other kinds of emotions did you see in him, when he talked to you and he was
maybe very serious about something? How did he look like to you?

MA:

Well, when he was talking seriously, he was very somber and was really concentrating on
what he was saying, he was just not talking off his head to make conversation with me.
He was expressing some deep feelings of his that would not be repeated and he knew it.
Now I don't know that I ever had any reason to have conversations with him - he would
visit us in our quarters at Mitchell Field later after Skip had gone back into the Air Force
and brought his little dog with us, and his little dog chased the rats. Had fun and wanted
to see the redhead again. And of course, that was before Stephanie was born and Mike
was there - I had two redheads then, and I don't think he got to see him, I think they were
in school the day he came by. He enjoyed it. We enjoyed having him.

FB:

If he was standing in this room right now, what would we see? Describe Chennault for
us.

MA:

Well, he was, he'd be a middle-aged man, and probably looking older than he was
because of his furrowed face, but a very alert person. Very much interested in the other
part of the world. It wasn't just him, he was interested in other people and individuals as
well as world affairs.

FB:

There was an incident you had mentioned about flying in an airplane with Billy
McDonald? Do you recall that McDonald was flying from... If you could tell us about
the trip that you took that was arranged on Man Tuck Hai Shek's [?] airplane?

MA:

I finally got ready to, Skip had proceeded to Yu Nang Yee and I was left in Kung Nang.
McDonald who was one of Da Nang's pilots, got permission for Reynolds to fly me to Yu
Nang Yee on the Madame's plane.

FB:

Start again, because of the phone.

3

�MA:

Skip had left me in Kung Nang waiting for me to get transportation to Ny Nang Yee and
McDonald who must of you know as Billy, and I always called him Mack got permission
from Madame Chiang Kai-shek to fly me in her plane and Roland was the pilot, he and
McDonald were the two pilots and it was fun because I had not flown in a small plane
before and the dog which Skip had inherited from one of his friends who had just left,
was in the back seat looking over our shoulders and got a little car sick and between me
and the dog I think the pilot had his hands full, but we made it. Probably in good shape.
And Skip was there waiting on us and was happy to see us and the dog was real happy to
see the ground and Skip.

FB:

If you could give us an idea of, here you are a young married couple, and you had a child
that was back in the States, describe to us what that must have been like? Here you are in
a foreign country, you're in a backwoods environment, you're a young married couple.
Living in a foreign land, your child back in the States, you're in actually a dangerous,
even though you had a couple of air raids, it still was a war zone, if you will What was
that like?

MA:

I didn't really feel, I felt the pressure of there being possible air attacks, but I felt I was
being cared for, and I knew my child back home was being cared for and as far as being
lonely I supposed I was lonely, but I was busy doing something all the time. Because the
house you saw the curtains in there and you didn't see probably the bedroom and all the
curtains, I made all of them by hand out of cooly cloth. Hems and ruffles on them, then
the covers to the two things that looked like studio couches in the living room, and if
there was a table cloth, I had done something to put an edge on that and I finally started
making some clothes for myself and the houseboy rented a machine for me - a Singer
sewing machine. I don't know how much, how he conned the tailor in the town to part
with that machine for a week for me to use it, but he did and he - they were just very kind
to me, all of the people, the house people and the people on the street, they would
acknowledge the presence but they weren't, there was nothing threatening, the only thing
Skip told me to be aware of the dog because they were unpredictable and our dog,
himself was unpredictable. He'd been trained to chase the lights from the flashlights and
just went wild running around the compound after the walls were finally built, chasing
that light, and I told them I thought it was cruel that they shouldn’t do the dog that way
but they went on and did it. It was fun to watch the dog. My dog chases around here, and
I think she just chases herself. She has a ball that she grabs hold on occasion then, runs
around, will not give it to anyone, she doesn't play pick and return to the owner.
4

�FB:

Did you find life in China, a surprise, was it surprising to you, things that happened
there? What kind of things did surprise you out there as an American woman out there?

MA:

Well, the, of course, I was brought up in a good size city which was Charlotte, N.C. and
the difference in living in a fairly large city, not Metropolis, but a large city, and to see
the difference in the streets and the roads, and the housing and the lighting and the, all the
facilities was not unexpected because Skip had written to me about everything to expect
when I got there, so I was not seeing the streets being used as a deposit stories, and no
plumbing, no running water we had two Cooly boys that their one job was to bring water
and gasoline in cans. I don't know what we would have done without the gasoline cans. 2
gasoline cans - only? A mile and a quarter from the one place you could get drinking
water and this was all you used for all our household water and out tubs, they had to fill
to keep the water on the stove, made out of gasoline cans and our latrine was made out of
gasoline cans, everything, we don't know what we'd do without those 5 gallon cans.

FB:

What things in China upset you?

MA:

Well, I think the filth. In a way it couldn't be helped, in a way you'd think that somehow
along the way that something, whether it been that the poor little children being strapped
on the mother's backs, we see our children being strapped on the mothers backs when the
mothers go shopping, these days just like those little infants out there, and that's the
modern way of young mothers taking care of their children there. That [?] what the [?]
had done for years.

FB:

What sorts of things amused you about China?

MA:

I don't know that I got amused too much. Now I enjoyed the Chinese Theater. It came to
entertain the troops, so to speak, the boys and the Flying School, when we were invited to
attend, and I had absolutely no idea what was going on in the stage, it was fun to watch
with all in Chinese and expressive, but still I didn't know what was going on.

FB:

How did that year that you spent in China, how did that year affect you?

5

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="10">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128376">
                  <text>Flying Tigers Interviews and Films</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128377">
                  <text>Oral history</text>
                </elementText>
                <elementText elementTextId="765859">
                  <text>United States--History, Military</text>
                </elementText>
                <elementText elementTextId="765860">
                  <text>China--History, Military</text>
                </elementText>
                <elementText elementTextId="765861">
                  <text>Veterans</text>
                </elementText>
                <elementText elementTextId="765862">
                  <text>China. Kong jun. American Volunteer Group</text>
                </elementText>
                <elementText elementTextId="765863">
                  <text>World War, 1939-1945--Personal narratives, Chinese</text>
                </elementText>
                <elementText elementTextId="765864">
                  <text>World War, 1939-1945--Personal narratives, American</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128378">
                  <text>Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. &#13;
&#13;
Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG.&#13;
&#13;
Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128379">
                  <text>Boring, Frank</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="128380">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films Research and Production Files (RHC-88)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="128381">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128382">
                  <text>1938/1991</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128383">
                  <text>Fei Hu Films&#13;
Christopher, Frank&#13;
Gasdick, Joseph&#13;
Misenheimer, Charles V.&#13;
P.Y. Shu</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128384">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128385">
                  <text>video/mp4; application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128386">
                  <text>English; Chinese</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128387">
                  <text>video; text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="128388">
                  <text>RHC-88</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="128389">
                  <text>1938-1945</text>
                </elementText>
                <elementText elementTextId="985816">
                  <text>World War II</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="46">
              <name>Relation</name>
              <description>A related resource</description>
              <elementTextContainer>
                <elementText elementTextId="571985">
                  <text>Veterans History Project (U.S.)</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="3">
      <name>Moving Image</name>
      <description>A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="802526">
                <text>RHC-88_Adair_Marian_1991-06-06_v02</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802527">
                <text>Adair, Marian "Steve"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802528">
                <text>1991-06-06</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802529">
                <text>Marian "Steve" Adair interview (video and transcript, 2 of 3), 1991</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802530">
                <text>Interview of Marian "Steve" Adair by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Adair, of Charlotte, North Carolina, was the wife of pilot Skip Adair. In this tape, Adair describes her personal observations of General Chennault, in addition to her experience as a young married couple living away from their child in a foreign land.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802531">
                <text>Boring, Frank (interviewer)</text>
              </elementText>
              <elementText elementTextId="802532">
                <text>Christopher, Frank (director)</text>
              </elementText>
              <elementText elementTextId="802533">
                <text>Fei Hu Films</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802534">
                <text>Oral history</text>
              </elementText>
              <elementText elementTextId="802535">
                <text>United States--History, Military</text>
              </elementText>
              <elementText elementTextId="802536">
                <text>China--History, Military</text>
              </elementText>
              <elementText elementTextId="802537">
                <text>Veterans</text>
              </elementText>
              <elementText elementTextId="802538">
                <text>China. Kong jun. American Volunteer Group</text>
              </elementText>
              <elementText elementTextId="802539">
                <text>World War, 1939-1945--Personal narratives, American</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="802540">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films research and production files (RHC-88)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="802541">
                <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802542">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802543">
                <text>Moving Image</text>
              </elementText>
              <elementText elementTextId="802544">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802545">
                <text>video/mp4</text>
              </elementText>
              <elementText elementTextId="802546">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802547">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="41895" public="1" featured="0">
    <fileContainer>
      <file fileId="46180">
        <src>https://digitalcollections.library.gvsu.edu/files/original/016f79a3ea25ae930d2fbe60f12dca6c.mp4</src>
        <authentication>73ea2476f54f202df07296fdaaf10e66</authentication>
      </file>
      <file fileId="46181">
        <src>https://digitalcollections.library.gvsu.edu/files/original/7e264cbd605b757a17bcba58279e5eff.pdf</src>
        <authentication>3df28071b98c26698154ec8747842682</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="802571">
                    <text>Grand Valley State University
Special Collections &amp; University Archives
RHC-88 Fei Hu Films
Flying Tigers Interviews
Interviewer: Frank Boring
Interviewee: Marian "Steve" Adair
Date of Interview: 06-06-1991
Transcriber: Frank Boring
[TAPE 3]
FB:

That year that you spent in China - how did that year affect your life and your marriage
with Skip?

MA:

The year in China with Skip really welded our marriage and we both have been stronger
because of it and as he said Mike brought us together and Pat kept us together and
Stephanie, who is our baby, the one you saw the write-up on, was the one that really
made the difference because we have a deeper understanding of each other and he also is
more tolerant and I have become more tolerant. I'm supposed to be a creative person and
I made fashioned clothes for some of my friends and could select who I wanted to work
for and he puts up with that. That's the reason the house is such a mess, I don't think
about housekeeping. I'm doing something else, creating. So he just says creative people
have to make a mess. I'll create the cooking and I'll create the mess in the sink for
somebody else. And sometimes I don't have that somebody else.

FB:

What are your memories of the war in China? Do you have any memories of the war?
Skip was involved in the war.

MA:

To begin with, the only good news in the paper was these little blocks about that big,
sometimes just two lines of what the Flying Tigers were doing in China. It wasn't on the
front page, it was on the back page and my mother was an excellent reader and she would
bring them to me and show them to me every morning if there was something good in the
paper and I always felt like Skip could take care of himself. I didn't much feel that he
might not come back.

1

�FB:
MA:

What did you know about Skip's work? Did you think that it was important? Were you
aware of what he was doing? Did you have any idea of what it was he was doing?
Well, in a way, but not too much because he didn't talk to me too much about it. His own
family didn't know much about it.

(break)
FB:

Did you feel that what Skip was doing was important?

MA:

Oh yes I did because I believed in China and China at that time was threatening to be
invaded and was invaded and that made a difference because he was doing what he
thought was right and it was good for both of us.

FB:

How was it good for you?

MA:

Well I think it made me a lot stronger person. I definitely would probably be momma's
baby because I was. I never had to make a decision of my own all my life and I've had to
and even now I have to make decisions that are sort of whopping. But we get along. He
makes some decisions too.

FB:

How did you feel about leaving China?

MA:

FB:

I didn't want to leave and yet I did want to leave. I felt for Pat's sake because she had
already been born, that I ought to come home and it was much more crucial than when I
got out there because I've forgotten whether the Chinese had closed the Burma Road - I
don't remember why it was closed - it was closed and travel was not allowed on it and
when it was reopened they didn't know what was going to happen and they were trying to
get all civilians out of Hong Kong and I was one of the ones - probably the last ones - it
wasn't long after that Hong Kong was invaded. My memory abates in years - confused. I
never did make good marks in history.
How did you feel about Skip returning to China to join the AVG?

MA:

Well that was in the book when our life together began because he was so dedicated to
doing it and he only slept in this house 3 nights after we bought the house and it was
devoid of curtains and rugs and furniture. We had a few sticks of furniture, but it was a
challenge. There again, I had to do all the purchasing and decision making. I put myself
2

�on an allowance. He was making enough money at the time that we didn't spend it all and
I just wrote my allowance from the account - Chase-Manhattan - and put it in my bank
account here and kept the kids going and paid for a servant and paid for whatever I
needed and then when things got too high, I just raised my allowance.
FB:

During this period of time, it was very unusual for a woman to be on her own raising a
family. I wonder if you could give us an idea and give your family an idea of what that
was like to be raising a family on your own?

(break)
MA:

How did I feel as a single mother, so to speak, since my husband was gone? Actually one
of the boys down the hill - a twelve year old boy - he used to come up and play with the
kids and I was smoking cigarettes then and he was at the age - he might have been
fourteen - he thought he could get by coming up here and smoking with his parents not
knowing it and I couldn't stop him from smoking too much, I'd let him smoke one or two
and then we'd do something else. He got the word around that nobody even knew
whether I had a husband or not and of course, the people next door who we had known
for these 52 years now, bless his heart, he's gone, but she's still living in town and they
sold the house about 15 years ago to the people that are in it now, and the strange part
about it - they also have 3 boys. The former almost had 3 boys and my boy didn't have a
brother and he surely wanted that brother, but we just couldn't give him a brother. I did
not have any problems. Occasionally, when I'd go out in the evening somebody might get
kind of a smart attitude, but I never did have any trouble with men trying to outsmart me
or financially or being rude to me because I had known several of the couples that he had
known the six months he was here, you see, we lived in an apartment and met a lot of the
- the McDaniel Heights Apartments is an apartment that a lot of people in Greenville
started their lives in and I still know some of them. Just were about starting housekeeping
like I was for the first time. I did have an apartment in Charlotte one time, but that didn't
last long. Skip made me get it before he came back and I had a place for him to be with
Pat and Mike without my parents being in the way, but they never have bothered us. They
never have tried to run our lives and never did and we've just been strictly independent.
Later his family moved to Greenville, we agreed we would not live in the town that either
of our families lived in, but his father died in the meantime and his brother was in
Burman, so his mother and sister moved to Greenville to be close to the other brother,
3

�and that's the reason we ended up - and it's been fortunate because we're all close and she
needs us and we need her.
FB:

MA:

You had touched briefly upon seeing articles or little bits and pieces about the AVG, but
what was your reaction during that period of time you probably also knew that the
Japanese were practically taking over Asia and the only real bright spot was the Flying
Tigers. What was your reaction as a person here - a wife of one of the Tigers here in
America what was your reaction to what was going on over there?
We didn't like Japan trying to take over China, but that has been for thousands of years
between the two countries - misunderstandings. China has been able to take care of itself
and we thought that with this work that Chennault and the Flying Tigers were doing, that
China had a chance of survival.

(break)
MA:

The little bits of news that was in the paper were billed from the back pages of
everybody's news and it was - Charlotte being a much larger city had better coverage
probably than Greenville papers, but it meant a lot to them and to my friends here in
Greenville it meant a lot knowing that Skip was over there.

FB:

We're trying to get a sense of during the dark days in China 1941-42 when the
Americans, the British, everybody was being defeated over there, but this one group
called the Flying Tigers had incredible successes against incredible odds. And your
husband was over there. There was People, there was Time Magazine, there was Life
Magazine, it was a big thing, but you had much more personal insight into all that. I
guess what we're looking for is your personal reaction to the successes of the AVG when
all else seemed to be lost.

MA:

The news filtering into the papers about the Flying Tigers in China of course affected me
quite a bit and my friends who at that time had widened considerably, were impressed
with it and would ask me questions that of course I didn't know, being so far away. But
they kept up with it and were just most impressed. When Pearl Harbor came along, my 12
year old friend down the hill, the boy, came up - I had just come home from Sunday
School with my two little kids and I had a rose garden at the top of the hill then - now it's
grass - and I was looking at the rose garden, I had planted some pansies, and Do said
"Ms. Adair, I hear the Japanese have bombed Pearl Harbor and Singapore and where's
4

�Skip?" I said "what?" He said "It's all over the newspapers" - not the newspapers - I
think then the newspapers hadn't even come out - "It's all over the radio news" and so of
course I had to turn on the radio and that was about 11:30 on Sunday morning, which was
not too long after it really happened - come to think about it - 'cause that was Sunday. So
I was informed of it right away by my little neighbor and the other people were
concerned about me in the meantime. Don, next door had gone - he'd been in the Navy he'd gone back and became a Commander in the Navy and people were just leaving [?]
my friends who had been in the service of any kind.
FB:

Well as they left, Pearl Harbor and the time after that, there was no real successes. The
people that went over there were not being successful with the Japanese, but the Flying
Tigers were. What was the reaction back home in the dark days before you knew the
successes of the Flying Tigers?

MA:

It was just incredible. No one could believe how this little group of pilots could be
performing such fantastic feats over there and it was Chennault's genius - I think it was
nothing short of that - the way he trained them to attack and I think he should go down in
history books as a genius in flying and having pilots trained.

(break)
FB:

During the time that they were the American Volunteer Group, The Flying Tigers, what
do you think Skip and Chennault and all the pilots and ground crew and nurses and
doctors accomplished for the morale of the United States and the defense of China?

MA:

Well it was just so tremendous a thing that I cannot express it. Everyone was talking
about the Flying Tigers and what they were doing. And some people didn't know my
husband was over there. Some people thought - as I told you - the boy said that people
were saying that I didn't have a husband - but to people around here the man that sold us
the house knew I had a husband and the next door neighbors knew I had a husband
because they were the only people here. In fact, there were just the 3 houses then - oh
there were 4 - the one at the top of the hill. All the other houses have come in since then
and the road wasn't paved. When we moved here it was a red mud road and Skip's
brother, one of the last night he was here it had been raining before Skip left and he
skidded down the terrace in that mud and they couldn't get the car out anyway so they
had to send him - somebody else had t take him home and come back the next day to get
5

�the car out of the mud. But those people, that night were part of the group that of course
knew Skip was around and knew that he was part of it and I think we all felt like Skip
was always safe. I don't think it ever once entered my mind - I know some women were
so fearsome - maybe I just didn't have sense enough to be afraid, but I've always believed
in him and he must have always believed in me.

6

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="10">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128376">
                  <text>Flying Tigers Interviews and Films</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128377">
                  <text>Oral history</text>
                </elementText>
                <elementText elementTextId="765859">
                  <text>United States--History, Military</text>
                </elementText>
                <elementText elementTextId="765860">
                  <text>China--History, Military</text>
                </elementText>
                <elementText elementTextId="765861">
                  <text>Veterans</text>
                </elementText>
                <elementText elementTextId="765862">
                  <text>China. Kong jun. American Volunteer Group</text>
                </elementText>
                <elementText elementTextId="765863">
                  <text>World War, 1939-1945--Personal narratives, Chinese</text>
                </elementText>
                <elementText elementTextId="765864">
                  <text>World War, 1939-1945--Personal narratives, American</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128378">
                  <text>Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. &#13;
&#13;
Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG.&#13;
&#13;
Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128379">
                  <text>Boring, Frank</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="128380">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films Research and Production Files (RHC-88)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="128381">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128382">
                  <text>1938/1991</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128383">
                  <text>Fei Hu Films&#13;
Christopher, Frank&#13;
Gasdick, Joseph&#13;
Misenheimer, Charles V.&#13;
P.Y. Shu</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128384">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128385">
                  <text>video/mp4; application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128386">
                  <text>English; Chinese</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="128387">
                  <text>video; text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="128388">
                  <text>RHC-88</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="128389">
                  <text>1938-1945</text>
                </elementText>
                <elementText elementTextId="985816">
                  <text>World War II</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="46">
              <name>Relation</name>
              <description>A related resource</description>
              <elementTextContainer>
                <elementText elementTextId="571985">
                  <text>Veterans History Project (U.S.)</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="3">
      <name>Moving Image</name>
      <description>A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="802549">
                <text>RHC-88_Adair_Marian_1991-06-06_v03</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802550">
                <text>Adair, Marian "Steve"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802551">
                <text>1991-06-06</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802552">
                <text>Marian "Steve" Adair interview (video and transcript, 3 of 3), 1991</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802553">
                <text>Interview of Marian "Steve" Adair by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Adair, of Charlotte, North Carolina, was the wife of pilot Skip Adair. In this tape,  Adair discusses how the year she spent in China affected her life and marriage with Skip Adair, in addition to how the Flying Tigers affected the morale of the United States and China.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802554">
                <text>Boring, Frank (interviewer)</text>
              </elementText>
              <elementText elementTextId="802555">
                <text>Christopher, Frank (director)</text>
              </elementText>
              <elementText elementTextId="802556">
                <text>Fei Hu Films</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802557">
                <text>Oral history</text>
              </elementText>
              <elementText elementTextId="802558">
                <text>United States--History, Military</text>
              </elementText>
              <elementText elementTextId="802559">
                <text>China--History, Military</text>
              </elementText>
              <elementText elementTextId="802560">
                <text>Veterans</text>
              </elementText>
              <elementText elementTextId="802561">
                <text>China. Kong jun. American Volunteer Group</text>
              </elementText>
              <elementText elementTextId="802562">
                <text>World War, 1939-1945--Personal narratives, American</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="802563">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540"&gt;Fei Hu Films research and production files (RHC-88)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="802564">
                <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802565">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802566">
                <text>Moving Image</text>
              </elementText>
              <elementText elementTextId="802567">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802568">
                <text>video/mp4</text>
              </elementText>
              <elementText elementTextId="802569">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="802570">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="24599" public="1" featured="0">
    <fileContainer>
      <file fileId="59997" order="1">
        <src>https://digitalcollections.library.gvsu.edu/files/original/7933d7dfc4fee72266ba41eec6b9dfd6.pdf</src>
        <authentication>71e1b14b6814ecb6129d57779ba6b533</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="1039187">
                    <text>Young Lords
In Lincoln Park
Interviewee: Marie Merrill Ramirez
Interviewers: José “Cha-Cha” Jiménez
Location: Grand Valley State University Special Collections
Date: 5/16/2012

Biography and Description
Marie Merrill Ramirez was a Young Lord in the 1970s in Milwaukee, Wisconsin where she worked closely
with Chapter leader and Minister of Education, Dr. Luis “Tony” Baez. The Milwaukee Chapter worked
within the university (UM) but primarily focused its organizing efforts in the community around
deplorable housing conditions and discrimination, youth support and development, and bilingual
education. In 1969, she and a group drove from Milwaukee to New York City to attend a major gathering
for Puerto Rican self-determination and connected with other travelers in Chicago’s Lincoln Park
neighborhood, at the Young Lords’ People’s Church headquarters.
Ms. Ramirez is currently living back in Mayaguez, where she is involved with Minh (Movimiento
Independentista Nacional Hostosiano) defending organizing rights of People, especially the workers,
who she feels is the main force capable of making true change. They formed their group May 6, 2004
out of two branches of the P.S.P. ( Puerto Rican Socialist Party). The Hostosianos want to make Puerto
Rico a free sovereign and independent nation. Minh members organize for a better education, health,
culture, jobs and housing. And they work hard to uplift activists’ awareness of the conditions. They
strongly feel that all social forces must unite, if they are to bring about any change.

�Ms. Ramirez and many others participated in the fight to evict the United States Navy from Vieques, in
defense of the environment, in the battle against Superpuerto, against the exploitation of mines in the
mountainous center of the Island, and in the struggle to free the political prisoners. During the Vieques
camp occupations, she wrote in blogs and reported about the U.S. military bombings of the Puerto Rican
Island. Then she wrote about the victory of the campers to force the United States Military to leave
Vieques. She continues to report that the struggle continues to get the U.S. to clean up their lands and
to finance health programs for Puerto Ricans dying of diseases, related to the Navy’s military
contaminations.
Ms. Ramirez helped to organize a Peace March and a 24 hour vigil in front of Filiberto Ojeda’s house at
Hormigueros, Puerto Rico, where the F.B.I. traveled from Atlanta, Georgia and shot and killed the
Freedom Fighter. She has supported the struggle for the release of the political prisoners, including
Oscar López Rivera. In 2010, she joined with sports athletes, artists, lawyers, medics, journalists,
teachers, motivational speakers, and students to welcome and support all athletes (especially the
Cuban) athletes at the Caribbean and Central American Games in Mayagüez. Even more recently, she
hosted La Tertulia, a special event for the Young Lords. It was also organized in her hometown of
Mayagüez, Puerto Rico.

�Transcript

JOSE JIMENEZ:

Okay, if you can give me your name, your birthday, where you were

born, and maybe what you have done, I mean, in terms of your [wanting the?]
status or whatever.
MARIE MERRILL RAMIREZ:Well, my name is Marie Merrill Ramirez. Nobody knows
me by Marie, only the guys, or the people that graduated with me from la
Inmaculada in Mayagüez. I’m from Mayagüez, Puerto Rico. I was born May 14,
1947. I graduated from la Inmaculada. People know me as, in the US, they
knew me as Maria. My nickname from when I was a child is Marianne. And
everybody knows me here as Marianne. They usually botch up my last name, so
they don’t know my last name. (laughs)
JJ:

What is your last name?

MMR: Merrill-Ramierz. [00:01:00] I was raised the first 10 years of my life going from
Douglaston, New York to Mayagüez, Puerto Rico. My mother, every time, had
no concept of time. So, in the middle of a semester, she would up and say, “It’s
too cold for me. Let’s go home.” And we would go home. So, I alternated
between the school in Douglaston and la Inmaculada. And as a consequence of
that, my Spanish is bad, and my English is bad. I’ve never gotten over that. La
Inmaculada was a school that had English as the basic language, and Spanish,
all we had was a Spanish class.
JJ:

la Inmaculada was here in Puerto Rico?

MMR: In Mayagüez.

1

�JJ:

But English was (inaudible).

MMR: In that point in time, [00:02:00] we had nuns. We had nuns. The nuns came
from the US, and they would teach us in English. We would have Spanish class.
We had Puerto Rican history. The only Puerto Rican history I took was when I
was a senior in high school, for one semester. Um, and it was very inadequate.
It was that old book by Miller, I forget his first name, which started with the Taíno
and finished with the US invasion of Puerto Rico. So, it was very little Puerto
Rican history. When I got to college, I wanted to go to the University of Puerto
Rico in Río Piedras. But it was a time of great activity, Independentista activity in
Río Piedras. My family is very conservative. Very conservative. And they
wouldn’t let me go to Río Piedras. I didn’t want to stay in Mayagüez precisely
because they were conservative. And I felt like I was restrained. I mean, I was
tired of going out with chaperones. And I was tired where you had to report all
the time. I wanted some kind of freedom. And so, they made me go to a Jesuit
college [00:03:00] in Milwaukee, Wisconsin, called Marquette. And I get to
Marquette.
JJ:

Did they have family there?

MMR: I had an aunt that lived in a place called Pewaukee. And so, that’s where they
got the idea of Marquette. They had had me apply to various universities. I
applied to Marquette, to Georgetown, to University of Michigan, and to the
University of Alaska. (laughs) I was accepted at all of them, but I was only
allowed to go to Marquette. When I get to Marquette, [00:04:00] it was like a
cultural clash, because even though I had lived in New York, it was a very

2

�sheltered type life. It was not in New York City; it was in Long Island. I was the
only Puerto Rican around. With my last name, I was able to pass. And nobody
asked questions. And so, when I get to Marquette, and I started seeing culture
clashes all over the place. And I started meeting Latin American women,
because on my floor, the Latin Americans were the ones that took baths every
day. And the Americans didn’t take baths every day. They would take baths on
Friday and Saturday. And so, when you were taking a bath every day, you heard
Spanish, you talked to people from Argentina, people from Venezuela, [00:05:00]
people from Uruguay. And all these women knew a lot about their history. And I
felt like I didn’t know anything about my history. And so, Marquette, at that point
in time, was an urban college, an old urban college. It hadn’t started with its
renovation projects that had completely transformed it. And we had this old
library. And the books on Puerto Rico were in the bottom of the library, in the
basement. And so, I would go to this basement that was cold and damp. Other
people wouldn’t go to the basement because it was cold and damp. They didn’t
like it. And they would tell me, “Don’t go down there. Nobody’s down there.” But
that’s where the books were. So, I would study and do my thing, and then I
would grab all the Puerto Rican history books [00:06:00] that I could. I remember
reading this huge book by Gordon K. Lewis, Freedom and Power in the
Caribbean. I remember [Michael Iglesias’s?] books. And slowly learning my
history, I was transforming myself. And what I didn’t know was that Joe
McCarthy’s papers were in that library, and they were in the basement of the
library. And the priest that was in charge of those papers was the only one that

3

�would be around there. And he would come and check, and without me being
there, he would see the books that I had on the desk, because that was the only
place that you could leave the books, and nobody would touch them, and one
day I’m sitting there reading, and this guy comes up and he looked like, you know
the Da Vinci Code? The monk in the [00:07:00] Da Vinci Code, this white
specter monk? Well, put about 30 years on that and this priest looked just like
him. And so, I looked up and I see this ghost, which then I understood why the
other people didn’t want to go down there. And I screamed. And he said, “No,
no, it’s okay. I’m Father O’Malley. It’s okay.” And so, he would come, and he
would look at the books that I was reading and then he would ask me questions.
And when people say, you know, “How did you change from being a
conservative, from being from a conservative pro-statehood family to being an
Independentista?” It was defending my positions against this very conservative
priest and learning about my history and my culture that I hadn’t learned in
Puerto Rico. It was a complete transformation for me. [00:08:00] I sat there from
September 1965 to December ’65. And in December ’65, I was an
Independentista and nobody had convinced me. So, I don’t believe in convincing
Independentistas. I think that you come to that conclusion all by yourself when
you analyze what’s going on.
JJ:

Okay, because you were going from New York to Puerto Rico, and from
Milwaukee in Marquette? So, about how many years were you there?

MMR: I was at Marquette from 1965 with a couple of breaks to 1971. In September of
’70, I went to Madison. I didn’t last at Madison. It was just [00:09:00] way too

4

�cold for me. I just couldn’t take it. The wind, and the 50 below chill factor and all
that, it was worse than Milwaukee. I just couldn’t. There was no way I could take
it.
JJ:

Where were you in Milwaukee? And what years were you in Milwaukee?

MMR: Well, the problem, I took some breaks. In 1970, my folks in Mayagüez sold a big
piece of land. I had just graduated from college, and they said, “Well, you know,
here’s a prize. Do something with it. Here’s some money. Do something with
it.” I had, at Marquette, a bunch of friends that were going to go get married and
they were from different parts, from the International Students Club. Because at
Marquette, I never quite fit in. I knew I was not American. I knew I was Puerto
Rican. [00:10:00]
JJ:

How did you know [you were different?]?

MMR: Well, I knew I was different from the other girls in the dorm. I had never
confronted racism before. When I get to Marquette, I get to this room with a girl
from New York and I walk in with my aunt and my mother. And my mother
looked just like I do now. My aunt was blonde and blue-eyed. And we started
speaking Spanish and the girl looked at me up and down and she said, “Where
are you from?” I said, “I’m from Puerto Rico.” And she said, “Oh.” And then she
left. And a day later they moved her out of the room. And I didn’t know why. In
front of me was one of the only Black women in the dorm. [00:11:00] And she
didn’t have a roommate either. And so, I was disturbed because I didn’t want my
folks to have to pay for a single room. I wanted them, you know, to pay for a
double room. So, I go to the woman in front, and I said, “Well, you know, how

5

�come this lady left?” And the girl was from Kentucky. And she said, “Honey
child, don’t you know the facts of life?” And I said, “What facts of life?” You
know, “The girl was from New York. Don’t you know the facts of life?” I said,
“No. Que paso? You know, what happened?” And she explained to me. And it
also explained why some women wouldn’t have anything to do with you and
others would. And I had never confronted that before. And so, that also
radicalized me. I remember the first picket I ever went to in my life was to the
Eagles Club in Milwaukee, [00:12:00] Wisconsin, because I was going out with
this Dominican guy, and we wanted to go to, I don’t know, some dance at the
beginning of school. And when he went to get the ticket, they wouldn’t sell him
the ticket. And then we found out that the Eagles Club didn’t accept Blacks or
Hispanics. And I got hopping mad. I have a bad temper, and so I got hopping
mad, and I went with my friend that called me honey child, we went to this picket,
and a guy from Haiti went with us. And I remember the Blacks seeing these
Puerto Ricans coming to the picket, was looking at us like, you know, “Qué pasa
que, why are you here? And so, I explained to this lady that was saying, “You
can’t come into this picket,” [00:13:00] I said, “I’m Puerto Rican. We can’t go to
this thing either. We are minorities too.” And she kind of looked at me weird.
But they let me, and they let us into the picket. And I remember that picket. It
was very cold. And I remember having -- it was my first picket. I’ve gone to
millions of pickets since then, but that was the first one I went to. And it was the
cultural clash of a Puerto Rican coming in from Puerto Rico and all of a sudden
having this brand on you that you are a minority student when in your life you’ve

6

�never been a minority student, you know? And it was a very confining brand to
me. I hated it. I didn’t like it.
JJ:

The term itself?

MMR: The term itself. I hear that they’re calling us POC now. I don’t want to be called
POC. I’m Puerto Rican. I’m Puerto Rican. I’m not Puerto Rican American,
nothing like that. I have no loyalty to the US. [00:14:00] My loyalty is here.
JJ:

Actually, I just heard that they’re coming out with a whole new station, a whole
channel for Puerto Rican Americans, Dominican Americans. That’s what they’re
using. I never heard that term before, Puerto Rican Americans.

MMR: I never heard that term Puerto Rican Americans. Years later, I had this sociology
teacher in Texas, Hirsch, Herb Hirsch. And he did stuff on racism, and he came
to me, “Puerto Rican.” No, we don’t use that term. I also feel very uncomfortable
when people say, “I’m of Puerto Rican descent.” When somebody tells me, “I’m
of Puerto Rican descent,” I’m very visual. What comes into my mind is this
propeller plane up there [00:15:00] and then this jíbaro with his, what you call it,
su pava coming down this ladder, and down there is the map of Puerto Rico.
That to me, is Puerto Rican descent. You know, I just -- it doesn’t go with me.
You’re either Puerto Rican or you’re not. It’s not a coat that you put on and off.
It’s something you were born with. You know, it’s not something to be
questioned. And people that are. That are from the States and say they’re
Puerto Rican, even, they’re born in Chicago, Timbuktu, whatever, you know, I go
with Juan Antonio Corretjer, Boricua en la luna. You identify yourself as Puerto
Rican, I accept your identification. I’m not going to, you know --

7

�JJ:

What is Boricua en la luna? I heard that that’s--

MMR: “Boricua en la luna” is a poem that Juan Antonio Corretjer wrote for the
Rodriguez sisters, Ida Luz and Alicia, that were from Chicago. And he wrote this
poem, I think, after visiting them in jail, I’m not sure. I’m not sure how he wrote
the poem. And then Roy Brown went and put beautiful music to Corretjer’s
poem. And it says, it don’t matter if you were born on the moon. You say you’re
Puerto Rican; you’re Puerto Rican. You know, you identify with what’s going on
here. You love this land. I’ll accept it. There’s too many Puerto Ricans that
were born in Puerto Rico, live in Puerto Rico, and are very sorry that they’re not
Americans. I’ve seen them. I mean, I’ve seen Puerto Rican legislators that don’t
know how to speak English yet [00:17:00] they’re statehooders. You know, I
think it’s absurd.
JJ:

So, when did you graduate?

MMR: I graduated from Marquette in ’69. By January of 1970, with the money that they
gave me, a friend of mine from the Philippines and I bought this ticket with Swiss
Air, that, it was very cheap then, that as long as you went in one direction and
started in one place and finished in the other, you could make as many stops as
you wanted. So, literally from January to, oh, I guess end of August -- no,
January to September, middle of September 1970, I went around the world, and I
visited all these different countries. You know, India, Egypt, Greece, all of
Europe, Philippines, I spent a month in Philippines, Iran, because we went to a
wedding in Iran. [00:18:00] And it was a complete learning experience. I had
gone to Europe before because as I said, my family was upper middle class.

8

�And when you’re 15 years old, they say, “Do you want a debut or what do you
want?” And I’m not a debutant type.
JJ:

What is a debut? I don’t understand.

MMR: Fifteen-year-old like quinceañera, the quinceañera. I’m not the quinceañera
type, you know, I just never been the quinceañera type. And so, my mother said,
“Well, do you want to go to Europe? Asociacion de Maestros has these summer
tours of Europe. Why don’t we do that?” And so, we had gone, and we’d gone
to Mexico, and I visited a whole bunch of places. But that was my big trip.
[00:19:00] That was my big trip. That was my big learning place. When you’re
on an island, you’re isolated and, you know, it was things I learned then I’ve been
using the rest of my life. I think it was a good choice. It was a good choice.
JJ:

So, did you receive your bachelor’s?

MMR: No, no, I. I got a bachelor’s and a master’s from Marquette. And then I went
onto -- which was included in the masters, I went in 1972 to Chile, and I went to
the Universidad Católica de Chile, and spent I guess two semesters there. I was
supposed to only spend one. And then from there, in June of 1973, after there
had been a coup attempt in Chile, [00:20:00] and the Bordaberry Uruguay had
given over the government to the military. A friend of mine and I crossed the
Andes, crossed Argentina, and went to Uruguay. And in Uruguay -- I don’t think I
really completed a semester because Uruguay was up in arms. The Tupamaros
had been wiped out.
JJ:

Who were the Tupamaros?

9

�MMR: The Tupamaros were the urban guerrillas. And today one of the head of the
Tupamaros, Jose Mujica, is now president of Uruguay. And his wife Lucia
Topolansky, who was also a Tupamaro, and they both spent 13, 14 years in jail,
are the government of Uruguay. But in that time, they were in jail already.
[00:21:00] When we got to Uruguay, there was a general strike going on. And I
went to the university because I had a student visa, and I had to do something
with my visa. But in October, an engineering student was making a bomb at the
university, and it blew up in his hands or something. So, they shut down the
university and it didn’t reopen, I think -- I’m not sure -- until the next semester.
And the next semester, I left in May. I left in May and went up to Texas. And in
Texas I completed, after many years, a doctorate. And I was a teaching
assistant there. I was an instructor there, Chicano politics. I worked with the
Chicanos there, with the Texas migrant workers. I went to Mexican American
Youth Organization, but they kicked [00:22:00] (break in audio) because I was
not a Chicana.
JJ:

That was the only reason they gave you?

MMR: Yeah.
JJ:

I recall that (inaudible).

MMR: Yeah, yeah, no, no, I wasn’t Chicana, I wasn’t Chicana, so they kicked me out of
MAYO. So, we started our own organization. We had two organizations in
Texas, and we were part of the PSP, then. Because in ’71 MPI changed to PSP.
And we had this innocuous type of graduate student organization which was
called the Puerto Rico Graduate Students in the Social Sciences. And we were

10

�the ones that did all of the political stuff. And we would make alliances with the
Blacks, the Palestinians, the Chicanos, anybody. And then there was a general
Puerto Rican organization which was more like a social organization. [00:23:00]
And in ’85, ’84, ’85, I leave Texas, come to Puerto Rico. By that time, I’d gotten
married. I had one child called Claudio [Betanze?].
JJ:

We didn’t get your parents’ names in here.

MMR: My what now?
JJ:

Your parents’ names.

MMR: Oh, my mother name is, or was, [Josefina Famili Quiles?]. My father’s name was
Ernest Merrill Schmidt.
JJ:

Josefina Famili Quiles?

MMR: Famili Quiles.
JJ:

(inaudible)

MMR: So, we’re probably familia.
JJ:

(inaudible) my sisters are married to Quiles.

MMR: Okay. Is he from Mayagüez or is he -JJ:

From here.

MMR: And my Quiles have blue eyes.
JJ:

They’re from all around, yeah. The whole block is Quiles. But then there’s some
[Loquiles?] and [00:24:00] --

MMR: Well, in back of the Mayagüez mall there’s a sector, Sector lo Quiles. And I know
that the Quiles are there from at least 1800 or more. Yeah, because it’s old.

11

�Jose Mon Quiles is the first Quiles I found there. And he lived in back of the
Mayagüez mall, and there’s a big Sava where his plantation was.
JJ:

Oh, he had a plantation.

MMR: Yeah, he had a small plantation. Yeah, he was an hacendado. And my
grandmother -JJ:

Hacendado?

MMR: A proprietor of a plantation. Okay? And my great-grandmother was his house
slave. And he was 70 years old, and he never had any kids. And all of a
sudden, he has a daughter, [00:25:00] which is my grandmother. We’re talking
about 1875 or -- yeah, because freedom came in ’78 or ’73, I have dyslexia and
the numbers with me -- okay. My grandmother was born three years before.
And at one point in time, we had the papers where he recognized her and made
her and her mother, and her sisters, who weren’t his, free. So, I tell my kids, we
know the color of our skin this generation, but we don’t know the color of our skin
other generations, you know? And if she was free, she was Black and she was
probably Indian. So, I’m white this generation, but I don’t know what [00:26:00] I
was, what color my ancestors were. And I don’t know what color my grandkids
will be, which is very Puerto Rican. I like it because here before, before they had
these things where they could look at your stomach and they tell you if it was a
girl or a boy, we had two surprises. You had the surprise of girl or boy, and what
color he’d be, or she would be. And I think that’s one of the neat things of Puerto
Rico. You know, I’m very eccentric in that, but I think so. I think so.
JJ:

And before that, (inaudible)?

12

�MMR: Well, I was going to ask you that.
JJ:

No, you were going to ask me. Let’s come back to it.

MMR: Well, where was I? Oh, [00:27:00] I was having my kids. Okay. I had another
kid in Texas. His name is Jose Gabriel Tupac. He was born in August of 1980,
and he is named after Túpac Amaru because Túpac Amaru started his
organization of his rebellion around August of 1980. November is when it was in
full swing. Didn’t last long. But I always thought Túpac Amaru was one of my
heroes.
JJ:

Now you went to the first picket, but were your parents at all activists?

MMR: No, my parents were, how do I say? I met Luis Ferré because he was in the
living room of my uncle’s house playing piano. You know, these guys were
statehooders. They were friends of [00:28:00] García Méndez. You know, they
were from the good families of Mayagüez, which I have no reverence for.
JJ:

Good family meaning they had (inaudible)?

MMR: They had some money. Yeah, my family came into money because they had
lands, and they sold the lands, and stuff like that, you know. But I had this
background. I had this background of all my youth. They were statehooders.
And in my hometown, we have two big leaders. One came much later when they
freed him, Trafalcan san Miranda. The other one was Juan Mari Brás. And I
grew up with Juan Mari Brás being the devil. And the only one that ever
defended Juan Mari Brás [00:29:00] was one of my mother’s good friends who
was his aunt, Doña Mayan. And when the old ladies would get together and talk
and whatever, and Doña Mayan was there, she would stand up, if they said

13

�anything against Juan Mari Brás, she said, “(Spanish), [00:29:19] don’t touch
Jonnie,” which was his nickname. So, for me, at my house, that was bad. That
was the devil. You didn’t even touch them, you know, you had respect for Doña
Mayan, because, after all, it was not her fault that she was his aunt, you know,
but it was there.
JJ:

So, this is in Mayagüez?

MMR: This is in Mayagüez.
JJ:

So, he’s from Mayagüez.

MMR: Juan Mari Brás is from Mayagüez. The Mayagüezanos are like the Viequesens.
The Viequesens are very exclusive, very, “Yo soy de Vieques, yo soy
Viequesens” [00:30:00], [00:30:01] and the Mayagüezanos are very
Mayagüezanos. And Juan Mari Brás and Mingo Vega and a lot of the people.
And Pupa, Pupa, Traval, Nazario, and Trafalcan san Miranda are all from
Mayagüez. And if you hear them talk, Mayagüez is going to come up there in
some reference. Because we’re proud of being Mayagüezanos, you know? And
we’re very Mayagüezanos. We, no matter where we are, we are Mayagüezanos.
And you could see it in the discourse of the MPI, that was the Movimiento Pro
Independencia was founded in Mayagüez. And in a very Puerto Rican twist, it
was founded in whatchamacallit, Pupa, [00:31:00] Providencia Trabal is a
spiritualist, a medium. And MPI was founded in Pupa’s house, which was the
Centro Espiritista.
JJ:

(inaudible)?

14

�MMR: No, no, it was el Centro. It was where she had her seances and stuff. She said,
“Well, you know, El Centro is big enough to have these people here,” so the 11th
of January, I think it was 1959, Mayagüezanos, or people from all stripes
gathered at El Centro Espiritista of Pupa. And they founded the MPI. And what
is interesting is that when you look at the FBI COINTELPRO papers, they have
no idea that the MPI was founded the 11th of January. So, it tells me that none of
the folks there was a chota, was a stool pigeon.
JJ:

(inaudible)?

MMR: They put the founding of the MPI in the more public meeting in Ponce, [00:32:00]
six or seven months later. But by that time there was something like 20 MPI
missions all around Puerto Rico. And so, Mayagüezanos have always been
proud of, you know, we are more liberal than the rest. [Fort Lares?] in 1868, the
bulk of the people came from Mayagüez. And when you look at the people that
are arrested, you see Mayagüez, Mayagüez, Mayagüez. Maybe it’s because it’s
the farthest from the capital, or because during that time the economy of Puerto
Rico was in the west, it was not in the population. It was not in San Juan. When
you look at 1820, 1868, and you look at the population figures, San Germán is
the largest town. Mayagüez is bigger than San Juan. San Germán is bigger
than [00:33:00] San Juan. San Juan is just an administrative center. It’s only
after that and a little before the 1880s that San Juan gets prominence, and after
the US invasion, San Juan gets prominence. But before that Puerto Rican
history, the people were in the west, they weren’t in San Juan. San Juan was the
administration. So, that maybe that explains a little bit of what Mayagüezanos

15

�feel, because we have -- if you look at all the municipalities in the west, each of
the municipalities in the west have their [proced?]. San Germán, [Loíza?],
Añasco, Mariana, Mayagüez has Hostos, has [Huskevara?]. Now we have Juan
Mari.
JJ:

Of course, that’s (inaudible). [00:34:00]

MMR: Yeah, we have important people that were Independentistas, and they came
from those towns. [Omniveras?] has [Louis Bebes?], Aguadilla has [Diego?].
The west has their proced.
JJ:

And Hostos, you said, was where?

MMR: Hostos is from Mayagüez. Eugenio María de Hostos was born in Río Cañas,
Caguas. And Juan Cruz Rivera, which we called El General, fought in Cuba in
the war for independence. He got to be general in that war. He was the general
[Empinandez Rio?]. He got to be governor of La Havana. They made a special
law in Cuba allowing him to take a position in the Cuban government, even
though he was from Puerto Rico. So, we have that history. And the MPI was
formed in Mayagüez. And to this day, Mayagüez has a different kind of
atmosphere than the rest of Puerto Rico. The left in Mayagüez [00:35:00] has a
higher tendency of working together than the left where the leaders are in San
Juan.
JJ:

Because they’re closer, or because of what?

MMR: Because it’s the same shoes in the street. When we have a demonstration and I
look to the side, I see the guy from PIP. I see Luis Ibrahim next to me. When I
look and I see the, whatchamacallit, [Gisela?] from [Miya Mesete?] on the other

16

�side. I see the guys from La Nueva Escuela. I see [Don Gila?] and the old
nationalists there. When we call a demonstration, everybody comes. There’s no
such thing of, “Oh, MINH called a demonstration. Let’s not go.” We work
together. We like to work together. And in the mother organizations in San
Juan, [00:36:00] especially in PIP and MINH, they look at us like, “You can do
that? We can’t. You can do that?” Right now, at this point in time, there’s a bust
of de Diego be in front of the college in Mayagüez. The rector of the college said
that that bust wasn’t his, he wasn’t going to take care of it. So, [Manuele
Escuela?], El MINH and El PIP are the ones that went, and we put flowers
around the bust. We go every month and cut the grass. We put the flowers nice.
And it’s everybody. FUPI is in on this too. If the group was founded in
Mayagüez and the people there are from [00:37:00] Mayagüez, we work
together. If the group has a lot of people from San Juan, you have some
problems, but not many. Not many. Because we have all realized that if we
don’t work together, you’re just going to have six or seven people at a picket.
That’s not that good.
JJ:

Back in the ’60s, when the Young Lords started in Chicago, the only thing we
heard about was MPI (inaudible), but we knew almost nothing. We just kind of
knew their names. We knew they were protesting and that. But what were some
of the actions that they were taking and why, during the ’60s?

MMR: MPI during the ’60s? During the ’60s, the Movimiento Pro Independencia, there
was the controversy of the minds, in [00:38:00] Adjuntas and Utuado where MPI,
led by Juan Mari Brás, and with the help of many other organizations, literally

17

�won that fight. The young people went door to door in Adjuntas and Utuado.
Alexis Massol and his people were there. And they literally prevented open pit
mining in the middle of Puerto Rico because there was copper there. There was
also the controversy of the super port in Aguadilla. And there it was PIP, MPI
and a whole bunch of -JJ:

What’s a super port? What was it?

MMR: They were going to make a really huge super port where these big boat tankers
and stuff could go. And it would have ruined the bay in Aguadilla. And that was
another fight. There was also the fight against the Vietnam War. There was also
the whole bunch of student protests at that time against ROTC, which [00:39:00]
FUPI, which at that point in time, FUPI was very close to MPI.
JJ:

I knew the building was burned down.

MMR: The building was burned down. Antonia Martinez was killed.
JJ:

How did that happen? I remember hearing --(inaudible)

MMR: Okay, there were people running down the streets, these little streets of Río
Piedras, she’s on a balcony. She sees this cop beat somebody up. She yells
down, “Don’t beat him up. You’re a moron,” or something like that. Guy went
and shot her. What is really interesting about this is that the cops involved in
that, that never came out publicly, but we know, were El Amolao, who was later
mayor of Cataño [00:40:00] and the mayor of Canóvanas now were those two
cops. And there was also, at that point in time, in Puerto Rico, there’s always
been these mobs, okay? And in the turn of the century, they call them the turba
republicanos, the republican mob. And it was turn of the century when Barbosa

18

�and Muñoz Rivera were around. Barbosa literally paid these guys; his name was
Jose Mauleon. And Jose Mauleon would follow Muñoz Rivera everywhere he
went and burn and break into and a whole bunch of things. And these mobs had
their successors in the 1960s commanded by a guy called [Palerm?]. They
called him El General [00:41:00] Palerm. And at one point in time, the MPI
headquarters was at -- I think it was ’69, I’m not sure -- Dates and me don’t -headquarters was in the Plaza of Rio Piedras. The mob surrounded the Plaza de
Rio Piedras with the police watching, and they were shooting, literally shooting,
inside the building. Some people were shot. And they were going to burn the
building down. And there is a story going on around that somebody, I don’t know
if it’s [Gadissa?], somebody called, had the phone number of Rosarito Ferré, who
was the daughter of the Governor Ferré at that time. They got to her, she got to
her father, her father got the people out. Told his people -- his people [00:42:00]
-- told his people that that was too much, to get out. There was also, oh,
something about [Chepa Delitisi?] has this in a book. And there was, I think it
was something like 157 incidents of, whatchamacallit, of statehooders and their
repression against Independentistas, and Impresora Nacional, the printing press
of Claridad was bombed I don’t know how many times, was set afire I don’t know
how many times.
JJ:

So, you mean the statehooders were doing what (overlapping dialogue;
inaudible)?

MMR: The statehooders were exactly -- no, they were Escuadrón de la -- there were
murder squads in the Puerto Rican police that was pro-statehood. Alejo

19

�Maldonado, Cerro Maravilla, [00:43:00] [Caraballo?], who was a labor leader,they
found him tortured in El Yunque. They killed [Muñoz Barela?] in 19 -- I think it
was ’77, ’78, Muñoz Barela was a Cuban that had come to Puerto Rico when he
was very young, and he was in [barria Antonio marcello?], he started the travel
agency to have Cubans go to Cuba. And they killed him. And it was Cuban
exiles together with the extreme right. And in that extreme right were [Granados
Navedo?], [Mesla Dorondo?], a guy that they took out of Puerto Rico after he
was pointed at, his name is Diaz Olmos, Luis Felipe, [00:44:00] or something
Felipe Diaz Olmos. They called him [Aype?]. Freddy Valentin, from Mayagüez.
In Mayagüez in 11th of (break in audio) 1975, Doris Pizarro is the head of PSP in
Mayagüez at the time. Freddy Valentín comes by -- you should interview Doris
on this, and she’ll tell you, Freddy Valentín would come by and say, “Hey, I left
you a little present, I left you a little present.” And Doris and everybody went all
around the plaza, all the buildings around the plaza looking for the damn present.
A little bit down from the plaza was a place called Central Drive-In, that was
owned by [Mulet?] who is the father of Elaine [Mulet?] which is the
communications leader in MINH, now. And in the garbage can there was a bomb
and the bomb went off. [00:45:00] It injured 11 people, it killed two- Milli
Hughes’s husband, [Chabanje?] and one of the workers in the Central Drive-In.
There was drive by shootings all the time. And this was the Puerto Rican right
with the Cuban exiles, Abdallah was in on it, and the FBI and Puerto Rican
police. This was all part of COINTELPRO.
JJ:

So, the FBI was doing drive-by shootings?

20

�MMR: Yeah, Cerro Maravilla, the FBI was watching. The FBI was there. They would
create these groups that they said that were terrorist groups, they weren’t, to
confuse everybody. They were in on it. COINTELPRO shows it. They were in
on it. They were in on Cerro Maravilla only we haven’t touched them. [00:46:00]
JJ:

They would create terrorist groups?

MMR: They would create terrorist groups that would do terrorist acts, and then they
would say that it was the left when it was the right.
JJ:

It was them, basically.

MMR: The left was doing things, but it was confusing. You couldn’t figure out who had
done what.
JJ:

In the United States, they brought provocateurs that would go to demonstrations
and create riots.

MMR: Here in Puerto Rico, they had them.
JJ:

They had groups.

MMR: Yeah, here in Puerto Rico, Alejandro Gonzalez Malavé was the guy from,
whatchamacallit, from Cerro Maravilla. He was recruited when he was 13 years
old.
JJ:

Actually, we did have the Young Lords, there was a group that were called the
Comancheros that wore blue berets. We wore purple. And they were next door
to our church in Chicago, which is what you’re saying. But they were not
sophisticated.

MMR: No, no, these guys were sophisticated. These guys were sophisticated. That
Puerto Rican police [00:47:00] with the FBI, with the knowledge of the FBI, went

21

�and recruited at least five 13-, 14-year-olds, because at that point in time, we had
a student organization called FEPI, which was in the high schools. FUPI was for
college, FEPI was for the high school. They would go to intermediate school and
recruit. They recruited five, at least five. At least five, which is something that I’d
never seen in any of the papers or anything in the US, nothing. Nothing like that.
Then we had Claridad. And Claridad, in a sense, saved the movement a lot of
times because all those anonymous letters, remember the anonymous letters
that COINTELPRO would put out all over the place?
JJ:

Could you [00:48:00] explain a little bit about --

MMR: COINTELPRO, Counter Intelligence Program by the FBI started in the ’50s with
the Communist Party, went on to the Socialist Workers Party, and the third one
that came in, in 1961, was the Puerto Rican Independence Movement. And
before then the FBI had this other program, which is called COINFILE, which was
to get information. And so, they had files on all the Puerto Rican leaders since
the beginning of time, even since the Spanish times. Since the Spanish times,
Puerto Rican Independentistas have been persecuted. In Spanish times, we
know of Betances, and we know when Betances came from Paris, he was exiled
in Paris, but he came in 1880 on a trip to the Caribbean. At that point, the port of
call for everybody [00:49:00] was St. Thomas. And the Spanish had police in St.
Thomas. When Betances gets to St. Thomas, a Spanish man-o-war follows his
little boat everywhere he goes through the Caribbean for at least three or four
months. And then when he comes back to St. Thomas and goes to Spain, the
boat, the Spanish ship left. But can you imagine what that would cost, or what

22

�that cost the Spanish in that time to follow around one man with a whole boat, to
the Dominican Republic, to Haiti, to the places that he went to in the Caribbean.
The Puerto Rican Independence Movement has been repressed since before
1868, since the 1820s, since the time when we had María Mercedes Barbudo,
who was a woman of 50 years old. She was a merchant in San Juan. She was
pro-independence. She was a friend of [00:50:00] Bolívar’s. And she had to be
exiled- or the Spanish put her in jail in Cuba and then she went into exile in
Venezuela. And today she is buried in the cathedral in Venezuela. And since
the time of María Mercedes Barbudo. So, when people tell me, “Well, there’s so
few Independentistas,” I say, “Well, it’s a miracle that we’re still around.” Juan
Mari Brás, leader of PSP, MPI, they would follow him 24 hours a day. If you look
at FBI papers and you see something called “June Mail,” that’s the one they’re
following 24 hours a day. They would go to the schools where his kids were.
They would tell him, “You know that that guy is a son of Juan Mari Brás?” And
the worst thing they did to Juan Mari Brás, in March of, I think it was 1976, they
killed his eldest son. [00:51:00]
JJ:

I read something about that.

MMR: Yeah, Santiago Mari Pesquera. He was 23 years old. He was a pilot. This
Cuban exile said that he had killed him. But the Cuban exile that said that was
crazy. He didn’t know how to drive. And so, the question is, how did he get
Santiago Mari Pesquera’s body from Coupe de Caguas], which is quite a ways.
And the FBI knows who killed him, knows who said that would kill him, and what
they wanted to do was destroy the movement and destroy the head of the

23

�movement at that point. The most effective head of the movement at that point,
and he was Juan Mari Brás. And he was from Mayagüez. When I did my
dissertation, I did my dissertation on FBI [00:52:00] COINTELPRO. I organized
his papers. He was my friend. Until the day he died at the last week of March.
He was completely depressed. You could not go to his house then, because his
eldest son had been killed. And he felt like his eldest son, “He was killed
because of me.” Okay? And in all this time, as a reaction to all this stuff, we had
a series of guerrilla groups that were here in Puerto Rico. The first was CAL,
Commando Armadas de Liberación Nacional. After he died, his son, Juan Raul
Mari Pesquera revealed that one of the heads of CAL [00:53:00] had been Juan
Mari Brás. The guy that signed all the communiques was Alfonso Beal. Beal,
the last name comes from the [dances Albizo?]. Alfonso was a name of one of
Juan Mari Brás’s antepasados. But CAL did not have one leader. It had a group
of leaders. And we’ve lost some of them. Others are still alive. So, we don’t say
-- CAL was never penetrated. It would do things like when the first supermarkets
came into Puerto Rico, because the supermarkets took away so many jobs of
Puerto Ricans. They would blow them up and do other types of actions. After
that, we had Ejército Popular Boricua, or Los Macheteros, which was headed by
Filiberto Ojeda Ríos, [00:54:00] who was killed in 2005, September 23, in
Hormigueros, and whose house, a group of people from the west, many
organizations, take care of the house to this day. Cha-Cha, if you ever want to
go to the house, we can do that. But it’s been a big struggle in Puerto Rico. And
I think that I saw a film on COINTELPRO in Puerto Rico the other day, and it

24

�ignored most of the struggle here on the island. It concentrated on Chicago and
New York. But the struggle has been here. The struggle has been here when an
Independentista knows that to be an Independentista it costs you. You don’t get
money from the movement. You give money for [00:55:00] the movement. You
get satisfaction of doing something that is good for your soul, good for your
conscience, but you don’t get satisfaction of money. The Puerto Rican left is not
like the US left that goes to foundations and this. No, no, no. We make our own
stuff. For example, me, in Mayagüez, has a little house. We pay water and light
for the little house by going and recycling cans. And it’s worked. We tell the
companeros when they come on Wednesday to the meetings, bring your cans.
And they do. And because of the circumstances that Puerto Rico is passing
now, many of our members pay their dues in cans. That’s fine. You know? You
don’t have the money, fine. Give me your cans. Go around your neighborhood
and get your cans. And for two years we’ve been able to pay light and water with
cans. [00:56:00] We also have a bazaar, which this Friday we’re having a
bazaar, which is things that donated. Folks donated, and we don’t sell anything
more than 10 dollars. The clothes go for a dollar. FUPI comes, every once in a
while, and gets T-shirts and stuff for a dollar. The people in the neighborhood
are now patronizing, I think. We also have doctors and nurses from MINH, which
are usually busy doing their things and can’t come to the meetings or can’t give
much time, yet they give us three hours a month. And we’ve been going to
different barrios in Mayagüez and doing a simple health fair, where you take
blood pressure, sugar, oxygen count, the sugar, diabetes count.

25

�JJ:

So, you’re (inaudible).

MMR: Yeah, we have that program. [00:57:00]
JJ:

That was [started by you guys?].

MMR: Yeah. What we do with the health program is we go with our tarp, we put it up,
we put our MINH sign in back, because we don’t go to a place without identifying
ourselves. Because we found out that if you go to a place, you don’t say you’re
Independentista, you don’t say you’re MINH, and then later the people find out,
they don’t like it. So, we are honest. We go with that. We go with a whole
bunch of information on health and with our little thing that’s called [Capá
Prieto?], our monthly magazine called Capá Prieto. And we have a special Capá
Prieto for the health fair. We have Hostos, who is from Mayagüez, on one side,
and Juan Mari Brás, who is from Mayagüez, on the other. And then we go with
this little oposculo, a little flyer, that says “MINH health policy.” [00:58:00] But we
have about 25 things on diabetes, on hypertension, on anything heart, bad
circulation, cancer, anything like that. That’s the bulk of our information. We
have three things that are MINH. The banner and the two informations. And this
is our fourth or fifth time and we’ve been through there. And the least amount of
people that we have helped out is 50. I think that’s great. And then we have a
program of [See Me?], a film, film in the plaza, which we have the second Friday
of each month, and we have a Puerto Rican film there. And we advertise it, and
we put it right in the middle of the plaza. The mayor has been good enough to
give us 50 plastic chairs. And we just put our screen up, put our whatever it is
up, and we do a film that was made in Puerto Rico. What we did this month was

26

�on [00:59:00] [Carlo Pescavara?], and his campaign to free him from 31 years of
prison. And then each month, we have a [Bien asustado?], which is on different
topics. We’ve talked about the Marshall Islands; we’ve talked about the new
political parties that are coming in. We talked about corruption in Puerto Rico
and what it costs you, anything. And we have that in the law faculty in
Mayagüez. I don’t know how much more time we’ll have it there because it looks
like Ana G. Mendez, the private university, is going to take it over. That’s
something we’re going to fight.
JJ:

Ana G. Mendez is (inaudible)?

MMR: Yeah, Ana G. Mendez is like this big pulpo that comes in and takes everything
over. And the faculta is important to us because it was literally [01:00:00] a
Mayagüez movement of lawyers and other activists to do a law faculty that
concentrated on social justice.
JJ:

I wanted to --

MMR: Let’s go back to the Young Lords.
JJ:

Yeah, let’s talk about the Young Lords here, but before that, can you mention a
little bit about the letters (inaudible)? There’s (inaudible) on COINTELPRO, you
were talking about some letters that were being sent out.

MMR: Okay. There were a whole bunch of anonymous letters that were being sent out
accusing various leaders of doing various things, of robbing the organization, of
going out with women that weren’t their wives, anything they could get their
hands on. And these letters in the Black Panther movement resulted in fights,
resulted in murders. But here we had Claridad. [01:01:00] And Claridad is now

27

�the oldest newspaper in Puerto Rico. It’s going to be 51 years old. And Claridad
had two sections. They had section that said, “Know your stool pigeon,” (Conoce
su chota?). [01:01:14] And in the various towns, when they found one of these
police provocateurs, they would get the picture and publish it in Claridad so that
you would know your stool pigeon. And then they would take these anonymous
letters, and they would publish.
JJ:

Sort of like we call pick of the month, pick of the year.

MMR: Yeah, pick of the year, pick of the month. And then they had, they would take
these letters, these anonymous letters, and publish them and say, “This is the
CIA letter.” But before they published the letters, it’s very interesting with the
independence movement, [01:02:00] because the leaders on top are all fighting.
But when you go to the different towns, the people in the towns many times react
like we do in Mayagüez. We know the other guys; we respect the other guys.
We fight with the other guys, but we know that they’re more attuned to us than
somebody else. And so, they would go with the letters to the different
organizations, and they would say, “This is signed by your organization. Would
you please find out if you guys wrote it?” And so, the guys from the bottom, the
rank and file, would go, and they would find out if these letters or these
anonymous letters were written by their group. If not, they would come back and
say, “No, we didn’t write it.” And the other group would be tolerant enough to
accept this, okay? And then it would be published in Claridad, and they’d say,
“This is a CIA letter.” They always referred to the CIA. [01:03:00] They didn’t
refer to the FBI.

28

�JJ:

This is during the ’60s.

MMR: This is during the ’60s. So, the fights between the Socialist League, and the MPI,
and the Nationalists, yeah, fights occurred. But a whole bunch of fights that the
FBI wanted to provoke did not occur.
JJ:

So, there was no split in MPI.

MMR: There were splits.
JJ:

Like, general splitting, (inaudible)?

MMR: There were splits, but usually they were conscious of who’s the enemy, and they
were -- it’s not like Martin Luther King, when he would go and somebody would
go and try and find a job at the SCLC, and he would go to the local FBI office and
he’d say, “Would you see if this guy is good or not?” Never think of that. This
guy’s the enemy. You don’t go to the FBI for anything. They are the enemy. We
knew who the enemy was, and we knew they were attacking. [01:04:00]
Something like the American Indian Movement. I never saw anything of going
and vetting this guy. No. They knew who the enemy was. They knew it was the
FBI, CIA, whatever. It was the Yankee. They knew that. And so, they were
going to defend against the Yankee, and they would pull ranks. Sometimes this
happened, sometimes -- one of the most glaring references that I found in my
work was Juan Angel Silén? Juan Angel Silén in 1967, I think he was head of
FUPI, two or three organizations. He was also in MPI. He was also the young
guy that they put in charge of the first plebiscite, which is interesting because the
FBI intervened in that plebiscite actively. And Silén, what they did was Silén
didn’t have a car. Juan Mari had a car, but it was like the community car. Juan

29

�Mari would lend it out to anybody because Juan Mari [01:05:00] was the kind of
leader that he would command, but he would go. And he was the first one to go.
And he would go to every barrio, and he would go to every micro meeting, and
he would be there. Very little private life as I could see during those days. He
would, you know, not like some leaders that command and sit back, and “You
guys will do it, I’ll sit back here.” No, no, no. Juan Mari commanded and went.
Mando e fue. And then, what happened in ’67 with Silén was, that the FBI and
it’s in the papers, went to Detroit, Michigan and got the key to the Ford, whatever
it was, something Ford that Juan Mari had, used the key to enter the car and put
some very [01:06:00] compromising papers in there. It’s a snitch jacket, is what
it’s called.
JJ:

Snitch?

MMR: Snitch jacket, where you take somebody who is really with the organization and
try to prove that he is (break in audio) and the big snitch jacket that I found in the
papers was Juan Angel Silén. And what the FBI did was they put a series of
papers in Juan Mari’s car so that Juan Mari would find it and think that Silén was
a snitch jacket. But Juan Mari was a very tolerant and astute leader. He read
the papers, he called in Silén, and said, “Silén, this was planted by the FBI.
They’re after you. They want us to separate.” Okay? And the papers were
based on a series of legitimate differences that Juan Angel Silén and Juan Mari
had. Because at that point in time, the youth were saying that the MPI was
[01:07:00] too bourgeois. And they were with Mao, they were Maoist. So, what
they did was they made a pact, and they said, “We will not separate. We will not

30

�look at our differences until after the plebiscite,” which was in July 1967. “We will
continue with our campaign to boycott the plebiscite,” which is a very successful
campaign. PIP joined in that campaign. And that is also interesting because the
FBI had a stool pigeon in PIP. He was Concepción de Gracia’s chauffeur. So,
they knew everything that Concepción de Gracia was doing. And Concepción de
Gracia and Juan Mari Brás had not spoken to each other for years. But in 1966,
when the plebiscite came along, Juan Mari went to Concepción’s house,
[01:08:00] and they made common cause. And there’s a very famous FBI paper
saying, “We have to split this up,” whatever. And they did. They tried to do it.
They also got this university professor, Hector Alvarez Silva, to run the plebiscite.
And Hector Alvarez Silva did. The rumor is, and I’ve never been able to verify
this, that they held something over Hector Alvarez Silva’s head, concerning one
of his sons. I’ve heard it from five or six people, but it’s never been truly
confirmed. And that that’s why he ran a campaign, but it wasn’t really a
campaign. It was just something there so that independence would appear in
that plebiscite. But the history of repression in Puerto Rico is great. Is great.
And I think this [01:09:00] CONINTELFILE or COINETLPRO film should have a
second part which goes to Puerto Rico. And I don’t know, I feel like I’m like a lot
of Puerto Ricans that were raised on the island comfortably. When we go to the
United States and confront what’s happening there and the limitations they put,
because I always felt like it was something that they were trying to limit my
possibilities to do what I wanted, this box that they put in -- you know, you are a
minority. I remember when I was in UT, one of the professors, a really nice

31

�liberal professor -- I mean, he didn’t do this on purpose -- he introduced me to
another professor from another department, and he said, “Maria is our Puerto
Rican professor.” So, the next time I had to introduce him, I said, “Bill is our
white professor.” [01:10:00] And he looked at me like, “What did I do?” And it
was not conscious on his part. He didn’t want to offend me. And, you know, I
kept on saying, “Listen, man, I don’t have Puerto Rican tattooed on my forehead.
Because I am Puerto Rican, I do a whole bunch of things because that’s my
culture and that’s the way I do it. But I don’t represent all of Puerto Rico. I’m just
me.” But they kept on trying to put you in this box of minority. I don’t know if that
happened to you, Cha-Cha, you were raised there. But to me, it was chocante.
JJ:

I don’t know, when we were (inaudible).

MMR: It was chocante. And I don’t think I would have been radicalized, maybe I would
have been radicalized if I’d gone to the UPI. But going to the US radicalized me,
showed me that we were different. We were not part of that empire. They were
not us, you know? [01:11:00] And it’s not a bad thing that I’m saying. I’m not
anti-Yankee. I can’t be. I go to sleep with a Yankee next to me all for the past 35
years. But I’m different. I like the difference. You know? it’s not that I don’t like
you, it’s just that I like what I am. I like the difference. I like being from an island.
I like the fact that when I go up north and it’s dead winter, I get desperate
because I don’t see any light, you know? I like it. I like to be what I am. But the
Young Lords, for me, was a learning experience. It was a big learning
experience. First of all, we had a very good leader. Tony Baez. Oh, Antonio
Baez, PhD. [01:12:00]

32

�JJ:

The University of Milwaukee, right?

MMR: Milwaukee, yes.
JJ:

(inaudible)

MMR: And we went to, as far as I can remember, in my memory, this is what, 40 years,
50 years ago?
JJ:

Yeah, seems right.

MMR: Casi, casi. We went to two big demonstrations. We went to one in New York,
which we went to -- like I said, we went to Chicago in this Volkswagen. You
weren’t there. And we went to New York for a UN thing. We also went to New
York for -- and I don’t know if you were there or not, because we went in several
cars.
JJ:

No, I heard about the big demonstration in New York.

MMR: Okay. But we went to a Puerto Rican Day parade.
JJ:

In Chicago.

MMR: No. Well, I think we went to one in Chicago, but we also went to one in New
York. Were you there?
JJ:

No, no, no. I missed a few things. [01:13:00] (laughter)

MMR: I remember those two demonstrations. I remember going to Chicago for, I think it
was a Puerto Rican Day parade where we marched military style, Young Lords,
putting on that -- our hat was black. At least that’s what I had. Our hat was
black.
JJ:

It might have been New York, (inaudible) but we did march in Chicago, also.

MMR: Yeah. And I remember going to the funeral. Okay.

33

�JJ:

We had a very big (inaudible) in Chicago (inaudible), during the Days of Rage of
SDS.

MMR: Okay. Yeah, yeah. During that trial.
JJ:

The trial of Bobby Seale?

MMR: Bobby Seale’s trial, right.
JJ:

Oh, no. We weren’t in Chicago. We were (inaudible).

MMR: Okay. We went to that trial, but it was so packed. We never got in.
JJ:

Right, we were outside.

MMR: Okay. We were outside. So, packed, we never got in. We went there. I think I
saw you twice. [01:14:00]
JJ:

So, I was there. I was there.(overlapping dialogue; inaudible)

MMR: I think one of the times was you showed us the breakfast program at the church
in the Armitage.
JJ:

Dayton and Armitage, yeah.

MMR: Yeah. Then I later found out that the reverend and his family were killed.
JJ:

The Reverend Bruce Johnson was murdered, and it’s still a cold case, we still
don’t know what happened, stabbed about 17 times, and his wife nine times.

MMR: Oh, I remember him. And I remember the breakfast program, and I remember
that they told us that the Black Panthers had help you set it up.
JJ:

(overlapping dialogue; inaudible)

MMR: I remember some kind of meeting with Mark Hampton.
JJ:

Fred Hampton.

34

�MMR: Fred Hampton. Did we go to some meeting with Fred Hampton where Fred
Hampton spoke?
JJ:

We went to several meetings (inaudible).

MMR: Okay. I remember some kind of meeting with Fred Hampton. [01:15:00]
Because I remember seeing him in person. In the Young Lords in Milwaukee, I
was just one of many. I would come in from Marquette for the meetings. When
Tony Baez said to do something, I would do it. The big thing that we did in
Milwaukee that still stands today is we picketed. I don’t remember if he picketed
every day, or if it was just one day a week. But I would come in one day a week
from Marquette. I would take the bus. And I remember being on a picket with
Tony Baez. Sometimes it was Tony Baez and I, and two more. Sometimes it
was a lot of people. But he was a persistent cuss, very persistent. And he got
what it was called the Spanish Outreach Center, which is a program for Puerto
Ricans to go at UWM in Milwaukee, which still goes today. And Tony Baez was
the first director for many, many years. [01:16:00] And the program worked
because I met many Puerto Ricans that went through this program where they
would get into the university, they would give them tutoring, they would give them
help, they would give them help with correction of English, all sorts of help so that
the student could progress and finish. And I know a whole bunch of people that
did. I know that Baez is not there anymore.
JJ:

(inaudible)

MMR: In the year 2000, I went back, and I was very disappointed. Tony Baez wasn’t
there anymore. The people that were at the Spanish or at whatever it’s called

35

�now, were what I call professional Puerto Ricans. Not Puerto Ricans that are
professional, but that their profession is to be Puerto Rican. [01:17:00] (laughter)
JJ:

To raise funding? To get money or what?

MMR: No, you see them in academia sometimes. You see them in administrations of
universities sometimes.
JJ:

(inaudible)

MMR: No, but haven’t you seen them? Haven’t you kind of come across people that,
you know, their thing in life is to be Puerto Rican, to be a professional Puerto
Rican and to grab that job because of that?
JJ:

It’s like we call them poverty pimps. But now, it’s professional Puerto Rican.

MMR: For me, it was a professional Puerto Rican. I walked in, asked for their program,
stuff like that. They completely ignored me. They wouldn’t attend me. I was just
one of many. I have three kids that went through UWM, and they tell me that
sometimes the program worked for them, sometimes it didn’t. It was much more
of a social thing. That wasn’t why we picketed for a whole year, [01:18:00] sun,
rain and snow. We picketed for a social justice program where our folks could
get through UWM and become professionals. Not for somebody to have fiesta
here and fiesta there. And I was just very disappointed. I went a second time
with one of my friends that’s a professor there. And when he introduced me as
doctor, it worked. (laughs) But since I never use it -- I would say it was very
disappointing. It was like, you know, why did I picket all those hours? Why did I
freeze my toes off for this if this is what it comes out to be 20 years later? But
then I saw Tony Baez, and he’s the head, or he’s the principal of a school for kids

36

�[01:19:00] that don’t make it in any other high school in Milwaukee. And he’s
doing a great job. And he brings people in to talk on architecture and a whole
bunch of stuff. And it kind of redeemed it for me. So, that’s it.
JJ:

Any final, final thoughts, anything I’ve forgotten?

MMR: Final thoughts? Well, I think my ambition is to be like Juan Mari. My ambition is
to stay in the fight for independence and social justice until I close my eyes. You
know, my ambition -- I think that this young generation has a lot to teach us.
They have a lot of things that they know that the old folks don’t know. And I don’t
see them as being, you know, my grandchildren or my children and pat, pat. No,
I see them as companeros and companeras. And I’m so happy [01:20:00] to say
companeras, because there are women coming in. And I see that I can learn
from them, and they can learn from me, and we’re on an even keel here.
JJ:

So, you’re not talking about retiring, and handing over the torch?

MMR: No, no. I like my life. I like my life. I’m 65.
JJ:

Them joining with you or you joining with them?

MMR: Yeah, sometimes on a picket, I’m the oldest one. But I remember when we went
to -- when Obama came, we took over el Morro.
JJ:

I feel like they didn’t make plans (inaudible).

MMR: What?
JJ:

I feel like they didn’t make plans (inaudible).

MMR: Yeah. I mean, Obama came, we took over el Morro. We had a group of people
inside. We were supposed to make a fuss outside, a big fuss outside, so that the
people would think that the action was outside. We were supposed to make a

37

�big fuss. My part in this, [01:21:00] as I was explained by my FUPI colleagues
and [Menjesquala?] colleagues, was to walk through San Juan with two banners
and a bullhorn so that people wouldn’t see it. So, I, old lady walked from one end
of San Juan to the other with the pancarta and bullhorn and the conciernas, the
chants that we were going to say. And I was supposed to give the pancarta to
the young folks, I was supposed to give the bullhorn to one of the girls, and they
were supposed to proceed on from there. And I was supposed to go to the side
and watch on. That was my role. When I get there, I can visually see -- if I had
been somebody that was watching, [01:22:00] I could see, I could point out all
the people that were going to go to the demonstration. I thought, don’t send
folks, you know, young people that don’t know how to fly kites. So, I sit there
with my sandwich and my book and I’m reading. I had a fabulous time with the
breeze of el Morro, and everything. When it comes time, I go, I hand the bullhorn
over. We pull out the pancarta. I go to this one girl, I said, “Okay, this is your
job. I’m leaving.” “No, no, I can’t do it.” You know, I go, [efopista?]? They can’t
chant? Que lo que pasa que? And I will go to the next girl. “Hey, here, this is
what you’ve got to do.” “No, no, I can’t do it. I’m scared.” And I go to the next
girl. “Oh, no.” So, it ends up old lady screaming her guts out in front of el Morro
with all these young people around me. That was not supposed to be. I was not
supposed to do that. And then finally, after half an hour of screaming, one of the
girls [01:23:00] got up enough courage and came over. “I can do it now.” But I
feel that maybe that was my role. You know, what can they do to an old lady?
Put her in jail? Make her the heroina nacional? [01:23:16] You know, what can

38

�they do to me now? Okay? My future is what? It’s the struggle. I live for the
struggle. The struggle gives me youth. I’m not at home cleaning my house -which by the way, is dirty -- doing nothing, or reading a book. I get to go to the
pickets in San Juan. I get to go to the communities and help them out with their
problems. I get to go and do a whole bunch of things that I’ve wanted to do for
years, but I couldn’t do because I was raising a family. I think the revolution
starts at home. Yes. When I was raising my family, I did very few things.
[01:24:00] But the family’s raised. I think it’s time for the old MPI folks, the old
PSP folks that are now getting Social Security, not to sit in their houses and rot,
but to come out and help. Our country is falling apart. Fortuño has been the
worst thing that we could get. I mean, our young are leaving. I’ve got three kids
in Milwaukee. I want them back. They want to come back. They don’t like it
there. They were raised here. And I think it’s time for us to take up the fight
again. What are you going to do? How are they going to affect you? Are they
going to take away your Social Security? What? Yeah.
JJ:

So, I was going to ask you the same question, so that’s what you feel that we
should be focusing right now, [01:25:00] people should be focusing, like the
people on Social Security or other people. As a movement, what do you think we
should focus on?

MMR: I think that we cannot leave our young people alone. I mean, the fight that the
young people here gave at the University of Puerto Rico for a whole year in Río
Piedras and in Mayagüez.
JJ:

What was that fight?

39

�MMR: That was a fight against an up in tuition, against whatchamacallit, making the
university smaller and more technical, against freedom of saying things, but
mostly against tuition. A tuition hike plus 800 dollars. Those guys in Río
Piedras, the marvelous things they would do. I mean, the imagination that those
students used. And then the repression by the police.
JJ:

What did they do? I mean, I heard that they took over --

MMR: Oh, they had street theater. They would go and go visit people’s houses.
[01:26:00] They would do a whole bunch of things that were out of the ordinary.
And I think that it was our place to back up the students. In Mayagüez, we did. I
know a whole bunch of my friends, some of them were statehooders, but they
were frustrated. Some of them were [populares?]. And we would go to the nine
gates at the university, and at least once or twice a week, give them food. We
would go every day to give them coffee and donuts. We would be with them in
their marches. We would be there. I remember one march in Mayagüez, to me,
it was marvelous. And it was a learning experience. One march in Mayagüez,
we were on the military road in front of the college. The police come with horses,
and they throw the horses at us. And so, we take the [01:27:00] [Ming bang?]
and put it right in front of the horses’ eyes, and we’re like this. And we got the
horses to retreat because of this one lousy banner. And it was. And then to my
surprise, first of all, I wasn’t used to walking the military road in Mayagüez.
That’s the highway. I mean, you go in the car, you don’t walk down the middle of
the street. Very few marches you walk down. So, I wasn’t used to that. It was a
new experience for me. I loved it. And then to actually make them retreat, and

40

�then they came in motorcycles. And this one motorcycle guy came, and we were
at the end of the march, and we were protecting the students with our banner.
Me, the old folks, and me. And we were preventing them from coming in and
cutting the march up. And this one guy comes and steps on my foot with his
motorcycle. And so, I go back, and I said, [01:28:00] “You’ve got to go, and
you’ve got to (break in audio) apologize to your grandmother, kid.” “What?” I
says, “Because you stepped on an old lady.” And he said, “You’ve got to be
home.” I said, “No, no, my place is to be here and to protect these guys against
you.” Then I found out that his name is Inocencio Reyes and he’s from
Mayagüez. So, every time I see a motorcycle cop in Mayagüez, they all know
each other, I go, “Saludo hachencho. Saludo hachencho.” “Yes, abuelita.” But
to me, it fascinates me. It fascinates me that you can get away with doing things
now that you couldn’t get away with doing [01:29:00] when you were young.
Because they don’t expect it. As this guy said, he expected me to be home
crocheting and I’m not home crocheting. And I think that we cannot leave our
youth alone. We cannot leave our unions alone to fight against the laws like [law
seven?], where we get 30,000 people put out of the job. And then I’ve never
seen corruption as up close and personal, and as crass and out in the open as
we’re seeing in Puerto Rico today. Never, never. And I get frustrated -JJ:

How are we seeing it?

MMR: How are we seeing it? Elections. You know it’s bad when the statehooders have
to rig a [01:30:00] party primary. I mean, you know, it’s bad. You know it’s bad
when, in Guaynabo, when they take a census in Guaynabo, and they have the

41

�heads of departments going to the different people that work in Guaynabo and
that don’t live in Guaynabo and have them moving to these addresses that they
found that had no people living in them. You know it’s bad. They’re doing it
against their own folks. If they do it against their own folks, what have they done
against us? You know it’s bad when you hear that the first lady of Puerto Rico -and I’m a feminist -- has a law practice of signing mortgages, closing mortgage
closings, which she makes millions of dollars with, and which she has taken the
money away from other lawyers, and which she thinks is correct to do. She
wasn’t doing it before she was the first lady. Is that ethical? You know
[01:31:00] it’s corrupt when you have the senator from Mayagüez who doesn’t
seem to have a brain in her body. Why did she get to be senator? Because of
her physical appearance? Yes, she is very pretty. But that’s not the
qualifications that I have for a senator. Pretty is incidental. Brains is just, you
have to have it. And I don’t like brains that all that you do is to follow orders. I
mean, you know there’s corruption when you have a whatchamacallit, when you
have an election for the community representative from the electric company and
they come in with [01:32:00] a box full of votes that’s so neatly packed and has
rubber bands against it and goes completely against the trend of two
companeros that we made a campaign for. I mean, what are they doing? What
are they doing when they allow police to torture? Because that’s what they did to
the university students when they locked arms in front of the gates. They would
come in and press the [caroti?], I don’t know how you say that in English, which
causes pain.

42

�JJ:

Carotid.

MMR: That is torture. When you allow torture, you know, that’s corruption. You know
that’s antidemocratic. I mean, if you saw, the other day, they took away the folks
from Plaza del Sol in Madrid. Madrid. And they didn’t use that tactic. They’ve
never used it. In none of the [desausio?], the [de sa lohos?] [01:33:00] of the
different occupy, have they used that tactic. They used it here. Who taught
them? Why were they taught? Why? Why in June of 2010, did they go and they
nightstick, [macanasos?] to the university students that all they wanted to do was
give a letter to the legislature of Puerto Rico? They target women. I thought it
was poetic justice when the goons from the riot squad were at their hotel, and the
floorboards that were rotten gave way and they all fell down to the first floor. But
never, never in the history of Puerto Rico have we seen a government that
[01:34:00] is as corrupt as Fortuño. And he doesn’t care. I mean, born and bred
in Puerto Rico; he wants to be American. He’s a Guaynabito.
JJ:

Guaynabito?

MMR: From Guaynabo. These folks that have no love for Puerto Rico. Guaynabo is
the richest municipality on the island. And so, you call them Guaynabitos. You
know, he doesn’t know what it is to be a Puerto Rican. He doesn’t want to be a
Puerto Rican. He’s ashamed of being a Puerto Rican. He’s a Republican. He
has so many contradictions on him, it isn’t funny. Every weekend he goes to the
US. For my beans, he should go up there. [01:35:00] And if he wants to be by
the president, fine. Go do to the empire what you did in Puerto Rico.
JJ:

We’ll support you in that.

43

�MMR: We’ll support you in that. (laughs)
JJ:

Okay, anything else?

MMR: No, I’m talking too much.
JJ:

Thank you very much.

(break in audio)
MMR: It was a Young Lords name?
JJ:

A Young Lord is what they call it.

MMR: Okay, I remember that Tony was like a -JJ:

He called it (inaudible)

MMR: Okay, that’s why I can’t remember what it was.
JJ:

Yeah, which is the name (inaudible) and then the other one that said, I don’t like
that, I want [Ariana Hor?], and I (inaudible) because I had to do it for record, but I
just wanted everything the same thing. (inaudible)

MMR: Well, I remember he would write most of the articles.
JJ:

Tony Baez would put the paper together.

MMR: Would put the paper together, and sometimes he didn’t have enough time. He
was amazing. He was amazing. He was doing a lot of things and sometimes he
didn’t have the time, and he’d hand me the paper. Or [01:36:00] he’d call me up
or something and I would go and correct the paper. And when I didn’t know how
to correct, I would go to a friend of mine that was at the U of Chicago, and who
was taking Spanish, and she would. So, it was a very well written paper.
JJ:

Oh yeah. It was a pretty good paper, yeah.

MMR: Yeah, I remember that.

44

�JJ:

And then you said you went to the church, (inaudible)

MMR: I went to the church. I remember and I don’t know if my memory is right or not, of
you explaining the breakfast program. That was one of the times. But it was a
group. This is the first time I meet you one on one because I was always in the
background. And in Milwaukee I would always come in when called, or when a
march or something like that. And that was my thing. I remember Milwaukee
worked [01:37:00] a lot with the Brown Berets.
JJ:

(inaudible) remember

MMR: I remember [La Lovaldez?] and I remember this guy whose name was [Jesse
Tages?] he was “Jeep”. And I was a VISTA volunteer for a summer, and I kept
getting beat up by Polish women and they put Jeep as my bodyguard. I
remember that. I remember working at a place called United Spot, which our
friend Juan remembered the United Spot. I remember we were supposed to give
coffee and stuff to the youth and give them books and stuff, but they didn’t want
it. (laughs)

END OF VIDEO FILE

45

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
      <file fileId="26639" order="2">
        <src>https://digitalcollections.library.gvsu.edu/files/original/03470fd3f9ec3539f5ee5cadf65098cd.mp4</src>
        <authentication>f16df1c53da4fe14946d9ec92ed537b4</authentication>
      </file>
    </fileContainer>
    <collection collectionId="24">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="446395">
                  <text>Young Lords in Lincoln Park Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447054">
                  <text>Young Lords (Organization)</text>
                </elementText>
                <elementText elementTextId="765923">
                  <text>Puerto Ricans--United States</text>
                </elementText>
                <elementText elementTextId="765924">
                  <text>Civil Rights--United States--History</text>
                </elementText>
                <elementText elementTextId="765925">
                  <text>Lincoln Park (Chicago, Ill.)</text>
                </elementText>
                <elementText elementTextId="765926">
                  <text>Personal narratives</text>
                </elementText>
                <elementText elementTextId="765927">
                  <text>Social justice</text>
                </elementText>
                <elementText elementTextId="765928">
                  <text>Community activists--Illinois--Chicago</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447055">
                  <text>Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives.&#13;
&#13;
The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447056">
                  <text>Jiménez, José, 1948-</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="447057">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491"&gt;Young Lords in Lincoln Park collection (RHC-65)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="447058">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447059">
                  <text>2017-04-25</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447060">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447061">
                  <text>video/mp4&#13;
application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447062">
                  <text>eng&#13;
spa</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="447063">
                  <text>Moving Image&#13;
Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="447064">
                  <text>RHC-65</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="447065">
                  <text>2012-2017</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="4">
      <name>Oral History</name>
      <description>A resource containing historical information obtained in interviews with persons having firsthand knowledge.</description>
      <elementContainer>
        <element elementId="59">
          <name>Título</name>
          <description>Spanish language Title entry</description>
          <elementTextContainer>
            <elementText elementTextId="455558">
              <text>Marie Merrill Ramirez vídeo entrevista y biografía</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="60">
          <name>Descripción</name>
          <description>Spanish language Description entry</description>
          <elementTextContainer>
            <elementText elementTextId="455561">
              <text>Marie Merrill Ramirez a trabajado como activista para la comunidad y la sección de Young Lords en Milwaukee por mucho tiempo. Ayudo con los problemas de la vecindario en el norte y el sur de la cuidad, enfocándose en estabilizando educación bilingüe en las escuelas. Ahora vive en Mayagüez, Puerto Rico donde sigue advocando para la autodeterminación de Puertorriqueños. Durante la huelga de estudiantes en 2010-2011, que fue la huelga mas larga y grande en la historia de Puerto Rico, Marie Ramirez tomo parte y trabajo con otros en coaliciones de uniones de trabajo, profesores, estudiantes, y activistas dentro de Puerto Rico. El gobierno tuvo que dejar la tarifa que iba doblar el costo de atender la universidad. Pero la victoria más significante fue que le movimiento de estudiantes forzó que el gobierno se sentara en la mesa de negaciones.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="61">
          <name>Sujetos</name>
          <description>Spanish language Subject terms</description>
          <elementTextContainer>
            <elementText elementTextId="455572">
              <text>Young Lords (Organización)</text>
            </elementText>
            <elementText elementTextId="455573">
              <text> Puertorriqueños--Estados Unidos</text>
            </elementText>
            <elementText elementTextId="455574">
              <text> Derechos civiles--Estados Unidos--Historia</text>
            </elementText>
            <elementText elementTextId="455575">
              <text> Lincoln Park (Chicago, Ill.)</text>
            </elementText>
            <elementText elementTextId="455576">
              <text> Narrativas personales</text>
            </elementText>
            <elementText elementTextId="455577">
              <text> Justicia social</text>
            </elementText>
            <elementText elementTextId="455578">
              <text> Activistas comunitarios--Illinois--Chicago</text>
            </elementText>
            <elementText elementTextId="455579">
              <text> Puerto Rico--Autonomía y movimientos independentistas</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="62">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="568370">
              <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491"&gt;Young Lords in Lincoln Park (RHC-65)&lt;/a&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="455556">
                <text>RHC-65_Ramirez_Marie</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455557">
                <text>Marie Merrill Ramirez interview and transcript</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455559">
                <text>Ramirez, Marie</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455560">
                <text>Marie Merrill Ramirez is a long-time community activist from the Milwaukee chapter of the Young Lords. She was actively involved with many neighborhood issues both on the north and south sides of the city, focusing especially on supporting of bi-lingual education efforts. She now lives in Mayagüez, Puerto Rico where she continues to advocate for Puerto Rican self-determination.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455562">
                <text>Jiménez, José, 1948-</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455564">
                <text>Young Lords (Organization)</text>
              </elementText>
              <elementText elementTextId="455565">
                <text>Puerto Ricans--United States</text>
              </elementText>
              <elementText elementTextId="455566">
                <text>Civil Rights--United States--History</text>
              </elementText>
              <elementText elementTextId="455567">
                <text>Lincoln Park (Chicago, Ill.)</text>
              </elementText>
              <elementText elementTextId="455568">
                <text>Puerto Ricans--Personal narratives</text>
              </elementText>
              <elementText elementTextId="455569">
                <text>Social justice</text>
              </elementText>
              <elementText elementTextId="455570">
                <text>Community activists--Illinois--Chicago</text>
              </elementText>
              <elementText elementTextId="455571">
                <text>Puerto Rico--Autonomy and independence movements</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455580">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455581">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455582">
                <text>Moving Image</text>
              </elementText>
              <elementText elementTextId="455583">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455584">
                <text>video/mp4</text>
              </elementText>
              <elementText elementTextId="455585">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="455588">
                <text>2012-05-16</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1030047">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="54756" public="1" featured="0">
    <fileContainer>
      <file fileId="59027">
        <src>https://digitalcollections.library.gvsu.edu/files/original/53ebfd5830814fbb40070409a4725c4e.pdf</src>
        <authentication>01b1f9bac1ed079e853ba828455b7918</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="1009179">
                    <text>Marilla Township
Master Plan
Revised 2018

Adopted by the Marilla Township Board: April 12, 2018

�TOWNSHIP OF MARILLA
COUNTY OF MANISTEE. MICHIGAN
Resolution number _ _ _ _ _ __
TOWNSHIP 80AAO RESOLUTION TO AOOPT (OR AMEND) MASTER PLAN
WHEREAS, the Michigan Planning Enabling Act (MPEA) authorizes the Planning
Commi$Sion to prepare a Master Plan for the use. development and preservation of all
lands In the Township; an&lt;!
WHEREAS, the Planning Commission prepare&lt;:! an upoated Master Plan and submitted
the plan to the Township board lor&lt;eview and comment; and
WHEREAS. the Planning Commission held a public hearin9 on March 22. 2018 to
oonsider public oomment on the Master Plan, an&lt;I to further review and comment on the
updated Masler Plan; ano
WHEREAS, the Township Board find finds Iha! the update&lt;I Master Plan is desirable
and proper and furthers the use, preservation, and development goals and strat~ies of
the Township;
WHEREAS. the MPEA authorizes the Township board to assert by resolution ijs ri~t to
approve or reject the proposed Master Pian:
THEREFORE BE IT HEREBY RESOLVED AS FOU.OWS:

t. Adoption of 2018 Master Plan, The Township board hereby approves and adopts
the proposed 2018 Master Plan, including ell of the chapters, figures, maps and tabres
contained 1herein. Pursuant to MCL 125.3843 the Township 8oa·d has asserted by
resolutioll its rifl\1 lo approve or rej8C1 the proposed Master Plan end therefore the
approval granted therein is lhe final step for adoption of the plan as provided in MCL
125.3843 and therefore the pten is effective as of April 12, :2018
2. Findings of Feet. The Township Board has made the foregoing detennination based
on a review of existing land uses in the Township, a review of lh&amp; existing Master Plan
provisions and maps, input received from the Planning Commission and public hearing.
and wilh the assistance of a professional planning group, and finds that !he updalecl
Master Plan will aocurately reflect and implement the Township's goats and &amp;ttategies
for the vse. preservation, and development of lands in Man11a To..,nship.
3. Effe,:;live Date. The Master Plan shall be effective as of the date of adoption of this

,esofutioo.

The foregoing resolution oftered by Boa\C\Member
Second offered by Board Member

~,.,;J'~

k,/().,&lt;,&lt;. 6 ~

�•
Upon roll call vole the tollowing voted: "Aye•

&amp;tl?ai: BL.JIM~'R~
lilJ,u.. ~
'

7i

Upon rod call vote lhe following voted: "Nay"

&lt;1 a,..,

7

I ha !lupe,v1sor decla1E1d the resolulions adopled.

8onnle I I ~. Marilla Township Clerk

:Da:c?i.R JI

RohC~:i ::---L-

'

~

C

�Table of Contents
Introduction.................................................................................1

Purpose....................................................................................................1
Legal Authority to Plan............................................................................1
Township Location and Description.........................................................1

Chapter 1: Township History........................................................ 2
Chapter 2: Natural Resources...................................................... 5

2-1 Glacial Features................................................................................. 5
2-2 Surface Water and Drainage Systems................................................ 5
2-3 Mineral Resources............................................................................ 6
2-4 Slope of the Land............................................................................... 6
2-5 Hydric Soils....................................................................................... 6
2-6 Soils with Limited Ability to Handle Wastes or Industrial
Development............................................................................................... 7
2-7 Unique Agricultural Lands................................................................ 7
2-8 Definitions of Soil Types from the Manistee County Third Level Soil ..
Association Report:................................................................................. 7

Chapter 3: Currant Land Use and Land Cover.............................17

3-1 Land Cover....................................................................................... 17
3-2 Land Use.......................................................................................... 17

3-2.1 Agricultural........................................................................................ 17
3-2.2 Residential.........................................................................................18
3-2.3 Public Lands/Forestry.......................................................................19

Chapter 4: Demographic, Economic &amp; Housing Characteristics. 27

4-1 Population....................................................................................... 27
4-2 Housing and Households................................................................ 29
4-3 Education/Employment/Income..................................................... 30

Chapter 5: Infrastructure and Facilities..................................... 33

5-1 Transportation................................................................................ 33
5-2 Community and Private Facilities.................................................... 33
5-3 Education System............................................................................ 34

Chapter 6: Marilla Township 2018 Master Plan Goals &amp; Objectives
39
6-1 Goals and Objectives........................................................................ 39
6-1.1 General Community Goals................................................................. 39
6-2.2 Residential Goals.............................................................................. 40
6-2.3 Commercial Goals............................................................................. 40
6-2.4 Agricultural Goals............................................................................ 40
6-2.5 Community Services and Infrastructure Goals..................................41
6-2.6 Forestry Goals...................................................................................41

Chapter 7: Future Land Use Plan................................................ 43

7-1 Residential District:......................................................................... 43
iv

�7-2 Rural-Residential District:.............................................................. 43
7-3 Commercial-Residential District:.................................................... 44
7-4 Resource Preservation District:....................................................... 45
7-5 Forest Recreation District:.............................................................. 45
7-6 Wetland District:............................................................................. 46

i

�Map Contents
Environmental Inventory Map..................................................... 9
Soil Map...................................................................................... 11
Hydric Soils................................................................................13
Locally Essential Farmland Soils................................................15
Land Cover Map..........................................................................21
Parcel Assessment Classification Map........................................ 23
Residential Housing Locations Map........................................... 25
Transportation System Map....................................................... 35
School Districts Map.................................................................. 37
Future Land Use Map 2012........................................................ 47

Appendices
Appendix A: Survey and Public Forum Results.......................... 49

ii

�Page Left Intentionally Blank

�The Master Plan Update Process, conducted in 2017-18 is to the existing 2013 Marilla
Township Master Plan. The 2013 Master Plan had undergone a revision process that included
adjustments to various sections of the plan, updating of maps, inclusion of a Park and Recreation
Chapter and revisions to the goals and objectives and future land use plan.
The 2018 Plan Update Process would make adjustments to the plan content, while also
updating sections of the plan. Major updates and revisions were conducted to sections including
History and Background, Socioeconomic Profile, and the Plan Goals. Other minor revisions were
conducted periodically throughout the remaining plan sections. Maps were updated when new or
updated spatial information was available. Removal of the 5 Year Park and Recreation Plan Chapter
was necessary, since the Township Recreation Plan was folded into the 2016 Manistee County-Wide
5-Year Park and Recreation Plan. The County Recreation Plan and all subsequent local units plans
contained therein meet State of Michigan approval guidelines through 2022.
The Marilla Township Master Plan was approved and recommended for adoption following a
public hearing held by the Planning Commission on March 22nd 2018 and adopted by resolution of the
Township Board on April 12th 2018.
A thank you is extended to the Planning Commission membership who spent time reviewing
and critiquing the document. A thank you is also extended to the Township Board members and
residents of Marilla Township for your participation in the process and public input.
Marilla Township Planning Commission:
J. Louis Hughes, Chair
Gary Cilman, Vice-Chair
Betty Buda-Joy, Secretary
Pat Ellis
Jan Thomas
Zoning Administrator:
Victor Ellis
Marilla Township Board Members:
David Barrett, Supervisor
Debra Roberson, Clerk
Phyllis Cholette, Treasurer
Bruce Bahr, Trustee
Jan Thomas, Trustee
Jared Litwiler, Assessor

Manistee County Planning Department:
Rob Carson, A.I.C.P., Planning Director
Nancy Baker, Planning Assistant

iv

�Introduction
Purpose
The preparation of a Master Plan is a process that is being undertaken by Marilla Township
in order to properly identify resident’s needs, prepare accurate data, shape goals and objectives and
formulate a Future Land Use Plan policy to be undertaken by the Township. The completion of a
soundly accurate Master Plan provides the policy driven authority to institute and enforce zoning
regulations that are based upon the information within the plan.

Legal Authority to Plan
This Master Plan for Marilla Township, Manistee County, Michigan is being drafted and
adopted pursuant to the Michigan Planning Enabling Act of 2008, P.A. 33 of 2008, as amended
M.C.L. 125.3801 et seq.

Township Location and Description
Marilla Township is located in the northeast corner of Manistee County. Its easternmost border
is the county line between Manistee and Wexford Counties. Benzie County lies six miles to the north
of Marilla Township. On the west border of Marilla Township is Maple Grove Township, to the south,
Dickson Township, and to the north, Cleon Township.
Marilla Township is almost exclusively rural and is considered to be within the Kaleva
Hinterland within Manistee County. Only a portion of the township is within the City of Manistee’s
area of secondary economic influence. That portion may be described as being the southerly and
westerly line drawn diagonally across the township from the northwest corner to the southeast corner
of the township.

Space Left Blank for Plan Text

The township is served by the Kaleva Telephone Company within the 362 exchange and in the
northeastern section by the Ace Telephone Company. It is served by two electric utilities: Consumers
Energy and Cherryland Electric Cooperative. Consumers serves the eastern and southern portions of
the township and Cherryland serves the northern and western portions of the township.
Location of Marilla Township
in Manistee County
Benzie County

£
¤ ¬
«
US 31

Gr. Traverse
County

M-115

¬
«
M-22

Lake Michigan

Marilla
Twp.

¬
«
M-37

Manistee County

Wexford
County

¬
«
M-55

£
¤
US 31

Mason County

Lake County

1

Location of
Manistee County
in The State of Michigan

�Chapter 1: Township History
An early 1866 description of the area that became Marilla Township noted dense forests of
maple, beech, hemlock and pine filled with “birds and beasts”. C. Churchill from Empire State arrived
there in June and found rich soil, numerous springs, streams and dense solitude. The Churchills built
a log cabin in this dense forest and were soon joined by other northern pioneers. These early dwellers had to be persevering and energetic. Cows had to be content with twigs and moss in the mangers
at night and there were “dark days of disease and misfortune”. Most provisions had to be walked in
from logging camps in the nearby forest. As time passed, more land was cleared, fields were cultivated
and more prosperous times came.
Originally, Marilla was part of an expanded Brown Township. In 1870, Marilla petitioned for
township status. This petition, presented by James Winters, asked that “Town 23 North of Range
13 West…be detached and organized into a new township”. When he asked a county official to draw
up the township organizational papers, the county official agreed to do this on the condition that the
township be named after his daughter, Marilla. The Manistee County Board of Supervisors accepted
the petition on January 4, 1870.
A state study in 1870 showed Marilla with only nine farmers, 15 laborers, two carpenters and
one sailor. These first township citizens ranged in age from 19 to 65, with the majority in their 30’s
and 40’s. By 1873 a post office had been established and it remained open until 1932. George Brimmer
was its longtime post master. Leander Hall initiated the organization of the township in order to organize a school. In the next four years, four school districts were established. They were named Clark,
Evens, Gilson and Marilla schools. The Marilla Township Cemetery was established on Erwin Road
early on and is still used today.
Marilla Township’s history is one of a pioneering community integrated into the northern
Michigan booming lumber industry. Michigan led the nation in lumber production from 1870 to
1900. Close proximity to the Manistee River made Marilla an attractive place to the early lumber
barons. Growth was rapid during the beginning of this frenzied deforestation period of Michigan’s
lumbering orgy (1870 to 1900). As early as 1882, Marilla was becoming strong agriculturally. Marilla
had proved to have some fairly heavy loam soil and some generally good farm land. According to the
Michigan census dated June 1, 1904, Marilla farmers were becoming significant producers in several
areas of the county’s crops. At that time, there were 76 farmers in Marilla with an average farm size of
112 acres. Around that time (1903), there was no state or national forest land in Marilla. Much of that
land was owned by lumbering companies and land speculators.
As the lumbering era came to an end, a group targeted to move north when the lumber industry was declining and farming was being promoted, was the Church of the Brethren community
in northern Indiana. In 1902, Hezekiah Grossnickle, who had been a successful farmer in Indiana,
moved his family and belongings from Indiana to Brethren in a railroad boxcar along with other
Brethren families. Some returned to Indiana, some remained in Brethren, but the Grossnickles chose
a different path. Hezekiah moved his family to Marilla Township in search of better farming prospects. The family eventually owned 240 acres in Section 27 of Marilla Township. E. Judson Ulery,
Hezekiah Grossnickle and others purchased the then existing Baptist Church and initiated the congregational formation of the Marilla Church of the Brethren that is still active today.
Eventually much of the logged over area of the township became part of the Manistee National
Forest and at some point, the Marilla Trail head of the North Country Trail was established and is a
popular place for hiking because of its high bluff above the Manistee River.

2

�In 1919, there was a post office, a blacksmith shop and three general stores located along Marilla Road about ¼ mile north of present day Nine Mile Road. The three general stores were named
Brimmer’s, Stark’s and Danville’s. The Brimmer store served as a post office as well as offering general
merchandise. At some point, there was a pickle receiving station located along the railroad tracks. Today a pickle receiving station still exists at the Howes farm on Marilla Road. The River branch of the
Manistee &amp; Northeastern Railroad ran through Marilla from east to west. The railroad made the isolated community of Marilla more accessible to the outside and the outside more accessible to Marilla
folk. When the lumbering industry collapsed, the railroad left also, and only one store remained after
1930, the Brimmer Store later became Jack and Adeline McDonald’s Oshkosh “Jack’s Store”. It operated well into the 1990’s before its owner, Adeline McDonald, retired.
The northwest corner of Marilla Township could be referred to as “Old Marilla” because our earliest
settlers first homesteaded there. Benjamin Yates carved out a homestead there and eventually the
area became known as “Yates Corners”. It bordered on Lemon Lake to the west, an area which eventually included a logging camp, a railroad depot, blacksmith, and post office. “Yates Corners” eventually included a general store/post office, a W.C.T.U. Chapel, a “Modern Woodsmen Hall, and the
“Royal Neighbors of America” met as well.
In the early days of Marilla Township, the first school established was constructed of logs and its first
teacher was Miss Jennie Pope. Early settlers relate that boys were asked to crawl under the floor of
the school to retrieve the slate pencils that had fallen through the cracks in the roughly hewn plank
floor boards. Thereafter when milled lumber was available, 4 “handsome” one room schools were
built to accommodate a growing number of students. They were located in the corners of Marilla
Township in such a way that each school could be within a reasonable walking distance. They were
Evens School near Yates Corners or “Old Marilla” in the northwest, Gilson School in the west region,
Clark School in the northeast area, and Marilla in the northern part. These schools served Marilla’s
students until the new consolidated school, the new Marilla Standard School, was completed in 1922.
Due to changing needs, this school closed in the late 1940’s and students attended Kaleva, Mesick,
and Copemish Schools. Of the four schools, all closed except Clark School which remained independent for a number of years before closing and the students then attended Mesick School. The Marilla
Standard School now in 2017 serves as the township hall with multiple uses: government center, community center, and a fine museum called “Marilla Museum &amp; Pioneer Place” consisting of a main museum in the lower level of the building, an 1870’s hand hewn log home, the Nels Johnson Cabin, and
the 1900 Pioneer Barn. The old school has served the community in many capacities. Among uses are
a senior center and a meal site for “Meals On Wheels”, a food pantry, a TOPS weight loss meeting site,
“Friends of Marilla” a service group, a knitting group, computer assistance, and a place to walk inside
in the winter months. The building also is rented for public use which includes a faith community and
other groups.
Farming in our rural community has changed through the years. In the early years, people settled in
Marilla Township mainly because they wanted to farm the land. Logging and farming existed side by
side. There were many farmers and the land was highly cultivated. The population reached a high of
379 in 1940. This trend continued through the 1950’s. Then a shift began to happen. Fewer people
farmed and our children didn’t stay in the community. New retirees from “downstate” moved in and
only a handful of farmers were actively farming. Marilla Township became a retiree community and
the children became fewer and fewer following the 1980’s. Beginning about 2012, another shift happened. Two corporate farms purchased or leased large tracts of land and now the amount of land
under cultivation is again growing rapidly. On the other hand, families are moving in and doing small
scale farming so that the number of children is growing. Marilla still remains a sparsely populated

3

�community.
Some other commercial enterprises have developed through the years including: Cilman’s Feed Store,
Flaughers’ Bakery, Howes’ farm markets, Howes Pickle Station, Smith’s and Usher’s farm meat sales,
maple syrup sales, and Ashcraft’s Irrigation Service. Job opportunities are few in Marilla so it has
become a place live while working someplace else. Marilla remains a peaceful, pleasant rural atmosphere of hills, valleys, and some flat tableland. Snowmobiling, hunting, fishing, boating, and swimming in the nearby “Mighty Manistee”, use of ATVs, and hiking the Marilla Trailhead of the North
Country Trail system are popular recreational pursuits for residents and visitors.

4

�Chapter 2: Natural Resources
2-1 Glacial Features
Marilla Township has four (4) separate areas of glacial features, being one of the most varied
townships in the county in this regard. By far the largest glacial feature is the network of hills known
as the “Marilla Hills” extending north and south through the central portion of the township. These
hills are known geologically as “marginal moraines” which are deposits created by water running off
the edge of a stationary glacier. These hills contain the highest spot in Manistee County at about 1200
feet above the sea level. The moraine soil type will normally support hardwood and pine forests.
The second type of glacial feature, known as an “esker”, is found on the northern border of the
township in the northwest corner. An esker is formed by a flowing river on a glacier. When the glacier
melts, the deposits and sediments formed by the flowing river leave a long narrow snake-like hill on
the ground. This is a rather rare geological formation as many of them in the state have been removed
or destroyed by gravel extraction. As this suggests, eskers are a good source of gravel.
The extreme western portion of the township is glacial “out wash plain” and is part of the larger
flat area which runs north and south through the eastern central portion of Manistee County. An out
wash plain is formed by water moving away from the glacier as it melts, depositing sand and silt in
large flat expanses. The Manistee County out wash plains are characterized by the presence of wetlands and poorly drained soils. Unfortunately, the soils associated with the out wash plain are relatively infertile and poor for farming.
The fourth glacial feature in Marilla Township is a “lacustrine plain” located in the extreme
southeastern portion of the township. This is basically a glacial lake bottom with irregular water tables
and infertile soil, which is poor farming.

2-2 Surface Water and Drainage Systems
Marilla Township has seven (7) watersheds located within its boundaries. Four (4) of them, the
Bear Creek above Glovers, Bear Creek below Lemon Creek, Bear Creek at Manistee River and Bear
Creek below Little Beaver Creek are portions of the larger Bear Creek Watershed. The other three (3)
watersheds are associated with the Big Manistee River and consist of the Manistee River at Hodenpyl
Pond, the Manistee River below Sands Creek, and the Big Manistee watershed below Slagle Creek.
The largest area of wetlands in the township is located
in the northwestern portion of the township and is associated
with the Lemon Creek watershed. This lies within the glacial
out wash plain and is, accordingly, particularly susceptible
to pollution. Other smaller areas of wetlands are located in
the southeastern portion of the township and border on the
Big Manistee River, below Hodenpyl Dam , just north of the
southern township boundary, and the Hodenpyl Dam Pond
which meanders across the Wexford County line into the
extreme eastern/central portion of the township. Another
smaller area of wetlands exists in the northwest corner of Section 23 of the township.
Manistee River Below Hodenpyl Dam

5

�The only area of surface water other than the Manistee River and the feeder streams of Big
Bear Creek associated with the wetlands described above is the Hodenpyl Dam pond. This pond, only
a portion of which is in Marilla Township, is a reservoir behind the Hodenpyl Dam, a hydroelectric
project of Consumers Energy in western Wexford County.
While no area of Marilla Township is classified as a flood hazard zone qualifying for participation in the National Flood Insurance Program, the area downstream of Hodenpyl Dam has flood
emergency contingency plans in event of dam failure. Watersheds and surface water features can be
found on the Environmental Inventory Map on page 9.

2-3 Mineral Resources
Of the varied mineral resources in Manistee County, only two (2) are important to Marilla
Township and these only marginally. A series of underground reefs has been the major area of oil
and gas activity in Manistee County, with the majority of the activity to the west and north of Marilla
Township.
The other mineral resource in Marilla Township has historically been gravel, extracted from
areas in Section 20 of the township. Further gravel production could pose a threat to the glacial esker
in the township, as this type of formation is usually rich in gravel.

2-4 Slope of the Land
Because Marilla Township’s varied glacial features, several large portions of the township are
moderate in slope (10% to 25%) and a few areas have extreme slope (25% or more). The major areas
with a moderate slope run north and south through Sections 5, 8, and the northern part of Section 17
of the township; diagonally from the north/central section of Section 9 through the southeast portion of Section 4, and diagonally in a northeasterly direction through Section 3; east and west through
Sections 29 and 30 and then southerly through Section 32 and easterly through Section 33 and into
the southern portion of Section 34. Other areas of moderate slope exist in the southern portion of the
eastern half of Section 11 and Section 12 through the southern and central portions of Sections 13 and
14 and in certain areas in the central portion of Section 26 and the northwestern portion of Section 35.
Areas of extreme slope are associated with the esker in Section 4 of the township, in a valley
ridge which runs more or less parallel to the west of the Manistee River and in scattered portions of
Sections 29, 30 and 35. These areas of moderate and extreme slope may pose limitations for high density residential development, due to problems with erosion and the installation of septic tank absorption fields which is made more difficult. The 50’ contour lines display topography changes and are
displayed on the Environmental Inventory Map on page 9.

2-5 Hydric Soils
There are numerous areas within Marilla Township which have soils with high moisture content. The largest areas are associated with the wetlands described earlier. There are also several small
areas scattered throughout the township and as indicated on the map on page 2-6, which are listed by
the United States Soil Conservation Services’ land resource inventory as having high moisture content. These areas pose particular problems with septic tanks, pollution of ground and surface water,
and are considered to have poor load supporting ability. Hence, residential or urban-type development is limited in these areas. Locations hydric soils can be found on page 13.

6

�2-6 Soils with Limited Ability to Handle Wastes or Industrial
Development
The areas within Marilla Township which have soils with limited ability to handle wastes or industrial development are defined geographically in terms of a combination of those areas previously
described as having a high moisture content and limited ability to handle septic and drain fields and
that portion of Marilla Township within the glacial 0ut wash plain. Because of the nature of the soils
in these areas, intensive residential development with individual septic systems and industrial uses
with large volumes of volatile waste products should be avoided. Locations of soil types can be found
on the Soils Map on page 11.

2-7 Unique Agricultural Lands
The U.S. Soil Conservation Service defines two (2) types of farm lands: prime farm land and
unique farm land. Manistee County does not have either
of these types of farm land, but has several areas of farm
land within its borders which are unique to Manistee
County and are considered by the county to be locally
significant or essential. Marilla Township has a large area
of locally significant farm land in its central sections and
to a lesser extent in the northeastern portion of the township. The unique farm land in Marilla Township is based
upon factors such as good soil (loamy and clay) associated
with the glacial moraine and certain areas in the out wash
plain, generally sufficient height around sea level to escape
frost or less expensive, i.e. close to the surface, irrigation
Crop Duster in Marilla Twp.
water to fight frost and the potential or existence of irrigation on the land. The areas classified as locally significant farm land are not necessarily presently held
in active farm production and their identification is not meant to imply that active or potential farming may not occur in other areas within the township. Locations locally essential farmland soils can
be found on page 15.

2-8 Definitions of Soil Types from the Manistee County Third Level Soil ..
Association Report:
The following soil types are taken from the Third Level Generalized Soil Association map data.
The Soil Code displayed below can be found on the Soils Map on page 11. This information can be
used to identify different soil types, and the locations in which they are found.
B-1: Rubicon Soils-Somewhat excessively drained sandy soils. (2,545 acres or 11%)
B-2: Rubicon Soils with features near or below 3-4 feet that result in higher productivity and dominant tree species different from a typical Rubicon- Somewhat excessively to well drained soils. 		
(1,045 acres or 4.6%)
C-2: Emmet, McBride, Menominee, Newaygo and Ubly Soils -Well to moderately well drained loamy 		
soils. (98 acres or .4%)
C-3: Loamy soils such as Emmet and Menominee series in complex with sandy soils such as Blue 		
Lake, East Lake, Kalkaska, Karlin, Leelanau, Mancelona and Montcalm- Complex of well drained
loamy and sandy soils. (1,193 acres or 5.2%)
C-7: In untilled areas of soils like Kalkaska series but with weaker profile development (formerly iden		

7

�tifiable as Seney series). In tilled areas these soils lack appearance and capacity- Well drained-san		
dy soils- weakly developed or degraded due to man’s activity. (1,665 acres or 7.3%)
C-8: Dominantly Kalkaska and Montcalm Soils. Also, East Lake, Karlin and Mancelona Soils - Well 		
drained and sandy soils with moderate Development. (13,917 acres or 61%)
D-2: Croswell Soils -Moderately well drained sandy soils. (276 acres or 1.2%)
E-1: Iosco and Kawkawlin Soils -Somewhat poorly drained soils (189 acres or .8%)
E-4: AuGres and Finch Soils – Somewhat poorly drained sandy soils (72 acres or .3%)
E-5: Loamy Soils such as Richter series. Sandy soils such as Gladwin, AuGres and Finch series- Com		
plex of somewhat poorly drained loamy and moderately well drained soils (32 acres or .1%)
E-6: AuGres and Finch Soils in complex with moderately well drained Croswell Soils- Complex of 		
somewhat poorly and moderately well drained sandy soils. (411 acres or 1.8%)
E-7: Somewhat poorly drained AuGres and Finch Soils in complex or association with poorly drained 		
Roscommon Soils -Complex of somewhat poorly and poorly drained sandy soils (14 acres or .1%)
F-2: Clayey soils such as Bergland series. Loamy soils such as Brevort and Ensley series. Sandy soils 		
such as Roscommon- poorly drained mineral soils. (107 acres or .5%)
F-4: Dominantly sandy solids like Roscommon series and organic soils such as Tawas and Lupton. 		
Also clayey and loamy soils such as Bergland, Brevort and Ensley series-Complex of poorly
drained mineral and very poorly drained organic soils. (1,375 or 6%)

Soils in Marilla Township lend to locally significant agricultural areas.

8

�A

B

C

D

E

1100

10
00

Environmental Inventory Map

850

Thirteen Mile

0
110

1100

0
105

105
0

Erwin

100
0

Hulls

2

00
11

2

105
0

Benton

1

11
00

Litzen

90
0

1100

Yates

Reno

1100

Harlan

1100

Viaduct

1

10
00

Erwin

Marilla Township Environmental Inventory

Marilla

900

East Bigge

0
100

950

Beers

Nine Mile

3

1000
0
95

Howes

Old N
ine M
ile

McClish

950

3

FR
8

South Wiitala

01
9

00
10

950

0
85

75
0

10
00

On
e

Winters

000

22
80

5
FR

Litzen

1100

Lintula
900

West Bigge

FR

0
95

Nu
mb
er

105
0

1050

950

A

11

ry

80
0

Number One

arill

Bl
ue
be
r

20
71

R
Manistee River atFHodenpyl
(pond)
Manistee River below Sands Crek
Manistee River below Slagle Creek
10
50
2

B

Ri v
er
Up
pe
r

I

Map produced by
Manistee County
Planning Dept.
1100

3
Miles

C

9

75
0

Slagl

e C re
ek

1

Bear Creek below Little Beaver Creek

North

4

Number One

0.5

11
00

1050

80
75

FR

076

FR
8

100
50

1100

Bear Creek below Lemon Creek

2
809

11
00

11
00

10
50

-

[::-_::J Wexford County R 54D
8

FR

4
802

0
80

F

Po
Bear Creek at Manisteele
River

80
80

~

Marilla Township

Bear Creek above Glovers Creek

FR

.....

,11 ■ - ■ r:

vin
e

ch
an

7
Bodies
D R 80Water
F Wetlands
l?Za

Ra

R

9

1050

Streams

D
D
D

ets

p
ee
Sh

5

a

Watersheds

1050

50' Contour

la

00
11

Roads

Pole
Open Roads D
---- USFS

we

95
0

FR

1100

06
3
50
10

Legend

W
iit
a
00
11

FR
8

1000

tS

1100

1100

11
00

We
s

1150

50
10

50
10

FR 5482

50
10

1050

11
00

10
00

4

044

950

8
FR

Old
M

North Star

D

E

5

�Page Left Intentionally Blank

�B

C

D

E

Erwin

Soil MapTownship 3rd Level Generalized Soil Map
Marilla

Harlan

A

Viaduct

Thirteen Mile

1

4

3

2

Litzen

5

Yates

6

1

1

Benton

Reno

7

9

Erwin

8

2

16

10

11

12
2

Hulls

Litzen

FR

22
80

13

000

14

5
FR

15

East Bigge
FR

19
80

South Wiitala

McClish

23

24

27

26

25

3

am

hW

ut
So

Howes

Nine Mile

22

yl D

ine M
ile

Beers

21

20

p
den
Ho

19
Old
N

16

17

West Bigge

3

Marilla

Lintula

18

iita

29

la

30

28

A

2

B

Up
pe
r

C

11

4

26

e C re
ek

W

1

4

G
-1

2

F-

I
3
Miles

Slagl

Number One

36

Ri v
er

1

F-

E7

E6

D

-8

-3

-2

-7

C

C

C

C

54
81

2
809

80
80

0.5

20
71

North

FR

6
807 F
Wexford
FR County R

FR

Number One

Manistee County

0

B2

B1

075

FR

Marilla Township

35

4
802

ch
an

79
80 Marilla Twp Sections

vin
e

R

FR

FR
8

Water Bodies

5

Po
le

-2

Soil Code

USFS Open Roads
Streams

Ra

p
ee
Sh

3
FR 807

Pole

FR

ets

FR 5482

Legend
Roads

34

we

la

E5

06
3

E4

W
iit
a

33

E1

FR
8

32

tS

Bl
ue
be
r

a
arill

77
79

31

Old
M

FR

4

ne
ber O

We
s

ry

Num

North Star

Map produced
by Manistee County
Planning Dept.

D

E

5

�Page Left Intentionally Blank

�A

B

Hydric Soils

C

D

E
Harlan

Erwin

Marilla Township Hydric Soils Map
Viaduct

Thirteen Mile

1

4

3

2

Litzen

5

Yates

6

1

1

Benton

Reno

7

Erwin

8

2

9

16

10

11

12
2

Hulls

Litzen

FR

22
80

13

000

14

East Bigge
FR

19
80

South Wiitala

McClish

23

24

27

26

25

3

am

hW

ut
So

Howes

Nine Mile

22

yl D

ine M
ile

Beers

21

20

p
den
Ho

19
Old
N

15

5
FR

16

17

West Bigge

3

Marilla

Lintula

18

iita
la

30

29

28

D

Manistee CountyFR

Water Bodies
6

Wexford County

0.5

A

1

80
80

0.25

1.5

2
Miles

B

Slagl

Number One

Ri v
er

Streams

2
809

FR

0

Marilla Township

807 F
FRSoils R 5
Hydric
48
1

36

I
Map produced
by Manistee County
Planning Dept.

C

13

D

4

26

e C re
ek

ch
an

FR

20
71

1

9

FR

North

Marilla Twp Sections

FR
8

Roads

la

Po
le

7
====
80 USFS Open Roads

35

4
802

R

5

vin
e

Number One

Legend

FR

Ra

p
ee
Sh

3
FR 807

Pole

34

ets

Up
pe
r

06
3

33

we

FR 5482

W
iit
a

075

FR
8

32

tS

Bl
ue
be
r

a
arill

77
79

31

Old
M

FR

4

ne
ber O

We
s

ry

Num

North Star

E

5

�Page Left Intentionally Blank

�A

B

C

D

Locally Essential Farmland Soils

E
Harlan

Erwin

Marilla Township Locally Essential Farmland Soils
Thirteen Mile
Viaduct

8

1

4

3

2

Litzen

5

Yates

6

1

1

ft'
Benton

Reno

7

9

Erwin

8

2

16

10

11

12
2

Hulls

Litzen

14

FR

22
80

13

000

\

5
FR

15

East Bigge
FR

0

19
80

South Wiitala

McClish

23

24

27

26

25

3

am

hW

ut
So

Howes

Nine Mile

22

yl D

ine M
ile

Beers

21

20

p
den
Ho

19
Old
N

16

17

West Bigge

3

Marilla

Lintula

18

iita

29

la

30

28

8
FR

0.25

0

0.5

A

FR

1

C-3
1.5

2
Miles

B

Slagl

Number One

Ri v
er

C-2

54
81

36

1

I

Map produced
by Manistee County
Planning Dept.

C

15

D

4

26

e C re
ek

ch
an

-

2
809

80
80

0

Marilla Township

Marilla Twp Sections Locally Essential
FR Soils
Water Bodies
76

20
71

North

Wexford County

FR

D
D

FR

R

FR

USFS Open Roads

79
80 Roads

la

P
Manistee County ole

FR
8

====

35

4
802

p
ee
Sh

5

FR

vin
e

Number One

Streams

3
FR 807

Legend
Pole

34

Ra

Up
pe
r

06
3

33

ets

FR 5482

W
iit
a

075

FR
8

32

we

Bl
ue
be
r

a
arill

77
79

31

Old
M

FR

4

tS

ne
ber O

We
s

ry

Num

North Star

E

5

�Page Left Intentionally Blank

�Chapter 3: Currant Land Use and Land Cover
3-1 Land Cover
Land cover in Marilla Township are predominantly undeveloped forest lands and working
agriculture lands which help give the township its character. In recent years more forest and
agricultural acreage has been acquired for the construction of residences. A significant percentage
of these new residential units are for seasonal or occasional use. The existing land cover is shown on
the Land Cover Map on page 21. As can be seen from this map, nearly three-fourths of the land area
in the township is presently covered with forests or fields. Farming operations are spread throughout
the central, northern and western portions of the township. Wetlands comprise the bulk of the
remaining land in the township with small pockets of residential development existing in the area of
the Hodenpyl Dam and along Marilla, Nine Mile and Yates Roads. With the exception of the extreme
southeast portion of the township, the density of living units per square mile is quite different from
section to section. The highest density of living units is in the area of the Hodenpyl Dam in Section 24.
Directly south and north of this area and encompassing a large portion of Sections 13, 25, 31, 35 and
36 there is a distinct lack of living units.
Within the Kaleva hinterland, of which Marilla Township is a part, there are a number of manufacturing, retail and service businesses. By and large, these exist outside of Marilla Township. The
smaller economic center is defined as a “hamlet”. Copemish and Brethren are the nearest hamlets to
Marilla Township.
A large portion of the land area within the township is owned and controlled by the United
States Forest Service. A full one-third of the township is within the purchase boundary of the Manistee
National Forest. (A purchase boundary is the boundary within which the United States Forest Service will
purchase or exchange land in accordance with its policies to expand and/or consolidate its land holdings.)
Under the federal system of government, the township has no jurisdiction to regulate the uses or activities which are permitted on federally owned land and,
likewise, the federal government does not regulate the use of privately held land, that task being left to
the State and its political subdivisions. Nevertheless, each has some impact on the other which must
be taken into account. In Marilla Township, the National Forest areas are regulated under a multiple
use theory which permits timber and forestry operations, recreation and mineral extraction.

3-2 Land Use
Presently, the three primary land uses in Marilla Township include agricultural, residential and
forestry. Though there is little commercial and industrial activity (outside of larger established farms)
these current uses are also summarized within this chapter.

3-2.1 Agricultural
Agriculture was historically the predominant land use within Marilla Township. Its is expected that Marilla Township will change from an agricultural community to a rural residential community with changes already taking place. In 1997 there were 97 parcels classified as agricultural. In 2004

17

�that figure was 102, but in 2007 the number of parcels had dropped to 63, with a further decline to 56
parcels by 2017. This is an approximate 42% decline in the number of parcels classified as agricultural
for tax purposes from 1997 to 2017. In 2017 there were a total of 4,336 acres classified as agricultural,
this was a decrease from 4,700 acres measured in 2007. Assessment classifications have changed
for many parcels, but this alone does not display that agricultural land is diminishing. Further data
should be explored which can identify the amount of acreage of active farm operations. View the Parcel Assessment Classification Map on page 23 to identify the classification of agricultural parcels for
assessment purposes.

3-2.2 Residential
There are approximately 23,040 acres in Marilla Township. The largest classification,
residential, has 400 parcels, totaling 11,315 acres in the 2017. This was an increase from 388 parcels
totaling 10,865 acres measured in 2007.
Residential property is the largest assessment classification in Marilla Township. This is expected to slowly rise based on previous trends. The township is mostly low density residential, with
only a couple of smaller areas devoted to higher density residential uses. Township residents want to
maintain and preserve the open spaces, with occasional homes located throughout the countryside.
The residential land use shown on the Parcel Assessment Classification Map on page 23 displays that
it is likely the largest land coverage assessment category within the Township next to agricultural
uses. Residential structures are displayed on the Residential Housing Locations Map on page 25.
Current land uses pertaining to residential allowances through agricultural preservation style
zoning have limited the availability for larger landowner families to provide buildable lots for their
children. This issue should be addressed by creating allowances for the splitting of land into less than
40 acre lots, but still maintaining lower density such as through 10 acre minimums. This style of land
division and zoning is not conducive to maintaining agricultural preservation, but should be explored
until a proper provision for conservation based subdivisions can be placed into the zoning ordinance.
Conservation based design looks to regulatory measures that can be provided to include incentives
for higher density developments in rural areas, where current zoning mandates a low density. Open
space can be preserved by allowing a developer to increase density by shrinking minimum lot sizes
to say 1 acre, within an area that requires 40 acre minimums, with the trade off that the developer
Conventional Development

Conservation Based Design

The images above display a typical subdivision design on the left with a conservation based
designed subdivision on the right. Through using conservation based design, the lot sizes decreased
while still maintaining the same number of lots, land area was preserved as open space and all lots
have scenic views with road frontage. This can be accomplished through a subdivision ordinance.

18

�provide at least 50% open space. The 50% open space should be mandated to be placed within
permanent conservation easements. This will in turn ensure that at least half of the land area is then
protected. This option is only applicable where septic systems will perc, and water is available for
denser development. See the illustrations on the previous page as an example.
Seasonal/recreational residential growth is expected to be a major development trend in the
foreseeable future due to the in-migration of retirees and those wishing to get away from large urban
centers, as well as those wishing to take advantage of the township’s forests and streams.

3-2.3 Public Lands/Forestry
State and Federal forestland may have a smaller number of parcels involved at 23, but the
parcels are larger, totaling 6,431 acres or 28% of the township. This number has remained relatively
constant in the last 20 years. Most of this land is located in the east and southern portions of the
township. These areas are utilized for forestry, open space and recreation. They are identified as
exempt lands on the Parcel Assessment Classification Map on page 25.

3-2.4 Commercial/Industrial
Commercial and/or industrial
expansion in areas other than the production
of hydroelectricity and forest enterprises
is not expected to be a major development
trend in Marilla Township in the foreseeable
future. Tests conducted in the early 2000’s
through the use of an anemometer for
determining and recording wind speeds and
other data to identify the potential for wind
turbines didn’t produce significant results
to show that the development of utility
wind energy systems would be beneficial
in Marilla Township. Without the proper
Consumers Energy Hodenpyl Dam
conditions for the development of wind
energy it is likely that the expansion of industrial uses will not be a major factor in land use changes
within the Township. It is important for the Township to monitor for utility companies wishing to
conduct further tests or site turbines within Township boundaries. The development of wind energy
regulatory zoning provisions may be needed in the future, and at a minimum regulatory measures
should be addressed for personal or residential style turbines.
There are four parcels classified as industrial, all under ownership of Consumers Energy
totaling 309 acres. The hydroelectric dam and accompanying support infrastructure occupies little of
the total acreage. The remainder is managed for recreational use by Consumer’s Energy.
A commercial area could possibly develop along Marilla Road where there has been a
commercial center in the past. It is not anticipated that this area will grow much larger in the near
future. The township would like to provide commercial services for the needs of local residents while
not detracting from the beautiful view sheds. In order to provide for this, regulatory allowances
for commercial businesses should outline size standards for signs as well as the use of good quality
building materials and appropriate lighting and landscaping. Please view the Parcel Assessment
Classification Map on page 21 for the location of properties assessed as industrial and commercial.

19

�20

�8
FR

076 FR

06
3

le
Po

Po
le

54
81

2

8
FR

3
Miles

C

21

I

ch
an

80
80

B

092

R

1

8
FR

West Sweets Ravine
ry

nt
Poi
Nu
mb
er

On
e

Litzen

Viaduct

Erwin

Township Land Cover
Thirteen Mile

024

la

D

Harlan

D

FR
22
80

East Bigge
FR

FR
20
71

North

Slagl
Bl
ue
be
r

Litzen

Marilla

Yates

1

Number One

ril
la

North Star

1

W
iit
a
Ri v
er

Ma

Erwin

2

Up
pe
r

Ol
d

Nine Mile
Howes

Reno

Map produced
by Manistee County
Planning Dept.

Number One

Land Cover

5482

Six

en
er Re
al
si
ly
, R Fo r
d
es
D ent
C
o
e
O
t
o
t
a
ci ial
ed
rc
n
t
i
d
i
ha on
uo
(w f e r
,
rd
o
s, and ood us us)
Vi
ed F o
P
ne
e
) W re
y a rm
s
rd an etl t
en an
s,
an
t P ds
Pe d O ast
ur
rm rn
an am e
e
e
n
H Sh nt
t
er
Pa al
r
ba ub
s
ce Ra tuFR
ou
n g re
s
el
R
a
St
re Op ang nd
am en
el
a
s
a
an nd nd
d
O
W
th
e
at
er r
w
Ex ay
tra s
ct
iv
e

G

West Bigge

FR

A
South Wiitala

Land Cover Map
Marilla

p
ee
Sh

0.5

st
(

Manistee
9 County
07
County
8Wexford

nd

FR

pl
a

USFS Open Roads

ro

Aspen

C

5

re

Marilla Township

Fo

Water Bodies

075

Old N
ine M
ile

d

Streams

FR
8

3

av
e

Roads

le

Legend

3
FR 807

9
FR 806

0

'

C

000

77
79

FR
8

B

5
FR

FR

4

ad

C,

Br
o

Lintula

Winters

A
E

1

Benton

Hulls

2

19
80

McClish

Beers

3

E
4

e C re
ek

5

�Page Left Intentionally Blank

�B

C

D

Parcel
Assessment
Classification
Map
Marilla
Township
Parcel Assessment

E

Classification

Harlan

A

1

1

2

2

000

22
80

5
FR

FR

FR

19
80

3

3

FR

4

FR 5482

A

id
e

ia

nt

es
R

id
e

2

2

80
80

c~-=-1

809
FR
FR

0

6
807 FR
FR County
Wexford
54
8
0.5
11

es

,---7
l___ , Manistee County

R

D

nt
l-V ial
ac
Ag
A
a
ric gric nt
ul
u
l
C t ur a t ur
om
al
lm Va
. F ca
In
nt
du or e
st
st
Ac
Ex ria
lt
e
Ex mp Va
c
t
em
an
-I
t
pt m p
ro
-U
v
ni
m ed
pr
ov
ed

075

FR
8

Streams

79Water Bodies
80,
::i ■ - ■■
FR 11: Marilla Township
11....

B

I

1

propclass

USFS Open Roads

Number One

3
FR 807

Roads

5

20
71

06
3

9
FR 806

Legend

5
05

053

FR
8

FR

FR

4
802

Number One

8
FR

8
FR

77
79

4

Map produced
by
Manistee County
3
Miles Planning Dept.

C

23

D

E

5

�Page Left Intentionally Blank

�A

B

C

D

Residential
Housing Locations
Map
Marilla Township
Residential
!
(

!
(

!(
(
!
(
!
!
(
!
(

1

!
(

!
(

!
(

!
(

!
(

!
(

Housing Locations

!
(

!
(

!
(
!
(

!
(

!
(

1

Ii

!
(

!
(
!
(
! (
(
!

!
(

!
(

!
(

!
(

!
(

!
(

!(
(
!
!
(
!
(

!
(
!(
(
!
!
(
!
! (
(

!
(
!
(

E

!(
(
!
!
(
!
(
!
(

!
(
!
(
!
(

!
(

! (
!
!(
!(
(
!
!(
(

!
(

!
(

! (
(
!

!
(
!
(

!
(

! (
(
!

!
(

!
(

!
(
!
(
!
(

!
(
!
(

i

!
(

!(
(
!

:

I

!
(

2

!
(
!
(

!
(
!
(

!
!(
(

!
(

!
(
!
(

!
(

I

!
(

!
(

!(
(
!

!
(
!
! (
(
!
(
!
(
!
( (
!
!
(

!
!(
!(
!(
(
!
(

!
(
•

&lt;I'

!
(
!
(
!
(
!
(
!
(
!
!(
!(
(
!(
!
(

.

!
(
!
(

!
(
!
(

!
!(
(
!
(

!
(

!
(
!
(

! (
(
! (
!
!
(

!
(

!
(
!
(
!
(

!
(
!
(

!
(

!
(

!
(

II

·'···
!
!!
(
!(
(
(
!
(
!
!
(
(
!
(
!
!
!
(
(
(
!
(
!
!
!
(
(
(
!
(
!(
!
(
!
!(
(

!
(
!
(

!!
(
(

!
(

3

!
(

!
(

!
(

4

8
FR

8
FR

77
79

5
05

053

!
! (
(
!
(
!
(
!
(

FR

FR

4
802

20
71

Marilla Township
075

3
FR 807

9
FR 806

Roads

79Streams
80

FR
8

USFS Open Roads
Water Bodies

,---7
L ___
,---7
L ___
_J

_J

FR 5482

06
3

Legend

D

19
80

!
(

FR

FR
8

FR

2

!
(
!
(

4

5

• Q

!
(

!
(

FR

8
!
(

!
(
!
(
!
(

!
(

!
(

!
(

!
(
!
!(
(
!
(
!
(
!!
!(
(
(
!
(
!
(

! (
(
!

22
80

Q

!
(
!
(

X

!
(
!(
! (
(
!!
! (
(
! (
(
!

!
!(
(

!
(

!
!(
(

!(
(
!

!
(

!
(

FR

!
(

000

!
(

5
FR

!
!(
(

!
(

TYPE

Marilla Twp Sections

!
(

HOME

Manistee County

!
(

MOBILE HOME

2
809
Wexford
FRCounty

6
0.5807 FR
1
2
FR
54
81
Map produced by Manistee County Planning Dept.
FR

0

! (
!(
!
(
!(
(
! (
!
!(

!
(
!
!(
(

3

I

!
(
!
(

3
Miles

80
80

A

B

C

25

5

I
D

E

�Page Left Intentionally Blank

�Chapter 4: Demographic, Economic &amp; Housing Characteristics
Updating of Socioeconomic data for Marilla Township during the 2018 Master Plan Update,
allowed for utilization of US Census American Fact-Finder data from 2016. With full census of the
American Population conducted every 10 years, American Fact-Finder provides estimates for certain
data categories for time periods between the full census of the population. The limited data provides
updates for data categories such population, race and age. This limited data allows for the updating
of certain categories of this Socioeconomic Profile, but one will find that categories such as housing,
income and educational attainment still are reliant upon 2010 data, until after the completion of the
2020 census.

4-1 Population
In 2016, Marilla Township had 285 permanent residents according to the U.S. Census Bureau’s
American Fact-Finder Data. With an 8.6% increase from 2000 to 2010 in population, the decrease
of 27.5% between 2010 and 2016 is eye-opening. The trend in population within the Township
has been generally positive over the last 48 years, with a sudden downturn from 2010 to 2016. The
most notable periods of growth were seen from 1970 to 1980 and again from 1990 to 2000 with
approximately 25% and 35% change respectively over those time periods. The latest percent change
from 2000 to 2010 was minor in comparison at 8.56%, but still continued to show an increase in
population until the estimates for 2016 were released. There are many aspects to population change
and shift; one must look at a combination of datasets to gain an understanding as to the dynamics
of the population. As noted within other datasets displayed in the section, the population of the
Township is aging, and maintains a rather high median income. There is a high probability that
much of the population loss identified in 2016 are permanent residents whom have become seasonal
residents of Marilla Township. By maintaining a permanent residence elsewhere they would be
removed from the population estimates of Marilla Township by the US Census Bureau The
population trend dating back to 1970 is displayed below.

Population Chage 1970 to 2016
(Marilla Twp.)
Population

500
300
200

393

362

400

268

266

213

~

285

100
0

I

1970

I

1980

I

1990

I

2000

I

2010

I

2016

Year

-+- Population Chage 1970 to 2010 (Marilla Twp.)
Source: 2010 US Census &amp;
2016 American Fact-finder

27

�The 2000 census data displayed an average household population of 2.51 people per home,
in 2010 this decreased to 2.32. The decreasing average household size correlates with an aging
population within the Township which often reflects new “empty nesters”. Updates on average
household size are not available from the American Fact-Finder data for 2016, but will be very useful
when they are released with the 2020 census. If this trend of decreasing average household size
continues it will help support the theory that the rapid decrease in population from 2010 to 2016 is in
part due to a move from permanent to seasonal resident population.
Displayed in the graphs below are the comparison of age groups in Marilla Township, Manistee
County and the State of Michigan for 2016, as well as the changes in population of age groups for
Marilla Twp. from 2000 to 2016. The data displays that Marilla Twp. has greater proportion of the
population in older age cohorts than the State of Michigan, and of Manistee County in most cases.
The trend for the population in the Township from 2000 to 2016 shows that there are less an less
young people with more of the population in age cohorts greater than 34 years of age.
When reviewing the data for 2010, Marilla Township continued to trail the County and State

% of Population

Age Group Comparison, 2016
Marilla Twp., Manistee Co., Michigan
30.00%
25.00%
20.00%
15.00%
10.00%
5.00%
0.00%

&lt;5

5 - 19

20 - 34

35 - 54

55 - 64

65 - 84

&gt;84

Age Group
■ Age Group Comparison 2016 (% of the population Marilla Twp.
■ Age Group Comparison 2016 (% of

the population Manistee Co.

■ Age Group Comparison 2016 (% of

the population Michigan

Source: 2016 American Fact-Finder

Age Comparison as % of Population 2000-2016
Marilla Twp.
40.00%
30.00%
20.00%
10.00%
0.00%

&lt;5

5 - 19

20 - 34

35 - 54

55 - 64

65 - 84

■ Age Group Comparison

(% of the population) 2000

■ Age Group Comparison

(% of the population) 2010

■ Age Group Comparison

(% of the population) 2016

&gt;84

Source:
2010 US Census
2016 American Fact-Finder

28

�in percentage of age group younger than age 55. By 2016, the Township had seen an increase in the
percentage of those younger than 5, which rose above the county average, but still trailed behind the
State of Michigan. The Township still maintained lower percentages for all age cohorts between age 5
and 54 in comparison to both the County and State. Percentages of the Township population between
ages 55 and 64 remained larger than the County and State, and had grown significantly from 2000 to
2016.
The information above points to the fact that Marilla Township continues to age, and the
population is not being supplemented by new younger transplants to the community. There has been
an increase in children younger than age 5 which shows that there has been a small uptick in younger
families. The data supporting the aging population with a decreasing average household size may
point towards more retirees in the area and the movement towards aging families where children have
since left the home. Marilla is likely continuing to move from the rural agricultural community to a
rural residential retiree and seasonal recreational residence destination, which seems to be backed
by the change in land use assessment patterns for agricultural lands, as well as information gleamed
from seasonal housing trends as displayed in the following section.

4-2 Housing and Households
Between the years 2000 and 2010, the census data indicates 36 new housing structures were
built, representing 14% of the total housing units. This compares to 57 new housing structures built
between 1990 and 2000 and 40 structures built between 1980 and 1990, which represents 22% and
16% of the total housing units respectively. This trend displays a peak in the 1990’s in terms of new
housing units, but the decrease during the 2000’s isn’t so significant to display that the community
will continue to have a marked decrease in new residential homes, rather the decrease likely aligns
with the poor housing market and economy of the late 2000’s.
As of 2010 there are a total of 258 homes in Marilla Township, of these 80 are listed as
seasonal use or 31% of the housing stock. This compares to past census data from 2000 which
displayed that 65 homes or 29.3% were for seasonal use, and in 1990 there were 43 homes for
seasonal use or 21.5% of the housing stock. This trend towards an increase in homes considered
seasonal use over the last 30 years continues to provide data that suggests that Marilla Township is
becoming more and more a seasonal rural recreational enthusiast destination.
Due to a lack of data for housing type in the 2016 American Fact-Finder estimates, we
are unsure at this time if the number of residential structures utilized as seasonal residences has
increased. If this happens to be the case in 2020 it will provide further evidence that population

Pe rcentag,e of Seaso:na I Use of Tota1I
Structures.

Source:
2010 US Census

29

�loss that occurred from 2010 to 2016 was in large part due to a significant portion of the population
becoming seasonal residents of the Township.
77.2% of housing units in Marilla Township are 1 unit structures, mobile homes make up the
second largest category at 22.8%. The percentage of mobile homes of the total housing units within
the Township has decreased by about 5% since the 2000 census, while the number of 1 unit structures
has increased.
During the decrease in mobile homes and the increase in 1 unit structures, the median value of
homes increased substantially from the 2000 census, though this may only be a coincidence. In 2000
the median value of homes in Marilla Township was $72,000; this was comparable to the median
value for the County at $77,400. Data from the 2010 census displays a median value of $157,000
with a margin of error of $21,000 for Marilla Township, while the County displays a median value of
$124,000 with a margin of error of $3,940. If the margin of error for Marilla Township is subtracted
from the median value both the County and Township become comparable in terms of median home
value.

4-3 Education/Employment/Income
According to the 2010 census, attainment of a High School education within the Township was
high for those in the population aged 18 to 24 years old, 71.4% had received a high school education.
This was greater than the percentages of those in Manistee County and the State of Michigan at
42.3% and 29.4% respectively. Looking at those individuals aged 25 or older the attainment of a high
school education or higher remains high at 82.1%, with at least 23.6% having some college, and 9%
earning a 4 year degree. The attainment of a high school education or higher in Marilla Township
is slightly lower than that of Manistee County at 86.9% and the State of Michigan at 88.0%. See the
graph below for comparisons of education for the population aged 25 and older for Marilla Township,
Manistee County and the State of Michigan. The graph displays that Marilla Township is keeping
pace with both the County and State in educational attainment.

Educational Atta:i nment
25 years old and older
100

■

llie: h Sohoomor II iE:htr

■ 5Dme• Col

e

11 yea, de

ee

Source: 2010 US Census

30

�Employment in Marilla Township relies on a labor force of 155, of which 109 are employed,
44 are unemployed and 2 are active military as detailed by the 2010 census. Over 93% of the labor
force commuted to work via a car, truck or van either alone or in a carpool. The remaining population
worked at home or had other means of travel.
The largest occupational categories for the labor force in Marilla Township are management,
business, science and arts occupations, service occupations and sales and office occupations. Marilla
is a rural township with limited large employment centers, so it is likely that residents travel to other
areas for employment. The mean travel time supports this assumption with an average commute of
27.7 minutes for employed residents.
The median family income in Marilla Township is $57,708, with a mean family income of
$85,057. The median family income has increased by almost $18,000 over the last 10 years in the
Township. 11% of the population lived below the poverty level in 2010, which was an increase from
the 2000 census which displayed 6% of the population below the poverty level. Marilla leads both
Manistee County and the State in median family income and poverty percentage. See the graph
below for comparisons. The information gleaned from the data could suggest that the existing local
population may be struggling in some regards in terms of employment opportunities, wages or
earnings with the increase in the poverty level, but the increase in the median family income suggests
that more skilled/highly trained commuter oriented residents are moving into the Township.

$60, _-

,OQ

:to.~

■

.00

fs

B..90

rttlO..OO

ffl'II

■

; SS.q,ooo..og

!

$5 000.00

.:5
111

11!

l~

G%

~~000..00

1·i -\0'.lo..oo
Si

6-,~

s

. OXJ.00

4 ~

~

~

l.

■ Med "

r

■

!'!,ff:t!M

P-D~-ltY

nily lnwin~
- I!'

2:ib

g: _::1!,COO.,OO

0%
Metrt

Manl!llrl!il!!

Mk.h

l'1

Source: 2010 US Census

31

�Page Left Intentionally Blank

�Chapter 5: Infrastructure and Facilities
5-1 Transportation
All of Marilla Township is rural in nature and there are no state highways within the township boundaries. There are two major east-west roads, namely County Road 598 (Nine Mile Road and
Beers Road) and County Road 600 (Thirteen Mile Road). The major north-south roads are County
Road 597 (Yates Road) and Marilla Road. There are many other county roads, paved and unpaved,
which are mostly in the northern and western portions of the township and served by the Manistee
County Road Commission. Please view the Transportation Map on page 33.
There are two small subdivisions within the township: Johnsons Manistee Shores (Section 24)
and the Village of Lemon Lake (Section 6). They have one or two platted private roads within them.
These roads and some of the roads through the State and National Forest are not certified public
roads.
The Manistee Transportation Dial-A-Ride buses service the Marilla Township area. There are
two runs daily, at 9 a.m. and 3 p.m. and if residents call before 8 a.m. they can schedule a ride for that
day for a nominal fee. They have a toll free number 1-800-775-RIDE.
There are no railroads or airports within the township. However, the township is serviced by
two nearby airports, Manistee Blacker Airport in Manistee and Cherry Capital Airport in Traverse
City.

5-2 Community and Private Facilities
Located on Marilla Rd. is the Marilla Township
Hall which serves as a government and community
center. Marilla Museum and Pioneer Place is owned by
the township and is operated and financially supported
by the Marilla Historical Society. It is located on the
same township property as the Marilla Township Hall.
The Marilla Church of the Brethren is located within
the township.
There are three colleges within a reasonable
commute to Marilla Township: Northwestern Michigan
College in Traverse City, Baker College in Cadillac and
West Shore Community College in Scottville.

Marilla Twp. Hall

Police protection is provided by the Manistee County Sheriff’s Department and the Michigan
State Police. The Maple Grove Township volunteer fire department covers Marilla Township, and both
Maple Grove and Thompsonville provide emergency medical service, along with West Shore Medical
Center.
Four hospitals are within an hour’s drive of Marilla Township. They are West Shore Medical Center
in Manistee; Mercy Hospital in Cadillac; Paul Oliver in Frankfort; and Munson Medical Center in
Traverse City.

33

�The Kaleva branch of the Manistee County
Library, along with the Mesick branch of the CadillacWexford County Library and the Thompsonville Library provide library services for people within the
township.
There is a yearly trash pickup service provided
by the township and roadside service weekly garbage
disposal is contracted by individual participation.

5-3 Education System
Marilla Township is served by three different
school districts. A major portion of the township is
within the Mesick school system, with most of the balMarilla Twp. Museum and Pioneer Place
ance being within the Kaleva Norman Dickson school
system. A small portion of the township in the northwest corner is in the Benzie County Central
School district. View the School District Map on page 35.
The school districts offer education from kindergarten through twelfth grade, with a variety
of extra-curricular activities in the form of team sports and various clubs relating to academics, band
and orchestra, art and drama. It is important to emphasize the importance of education to the youth
of the Township, and efforts should be made to participate in regional programs that pursue higher
educational opportunities in the form of college or trade schools for those children in high school.

34

�A

B

C

D

E

Transportation System Map

Harlan

Erwin

Marilla Township Transportation System
Viaduct

Thirteen Mile

Benton

Erwin

Reno

'

t&gt;

1

Litzen

Yates

1

2

2

Hulls

Marilla

Winters

000

22
80

5
FR

Litzen

Lintula

FR

East Bigge

West Bigge

FR

McClish

South Wiitala

3
Old N
: ine Mile

19
80

Beers

Six

nt
Poi

North Star

ry

West Sweets Ravine

FR

Po
le

..-----,

CJ Water Bodies

I
I
[ ____ I Wexford County

809
FR

6
0.5807 FR 1
FR
54
81

2

2

FR

0

..-----,

I

e C re
ek

ch
an

FR

I

Slagl

R

5

FR
8

USFS Open Roads [ ____ I Manistee County
79 Streams
80

I

North

1

075

Marilla Township

Number One

le
Po

Roads

Ri v
er

la

p
ee
Sh

3
FR 807

9
FR 806

Legend

20
71

Up
pe
r

06
3

FR

FR 5482

FR
8

W
iit
a

FR

4
802

3
Miles

80
80

Map produced by Manistee County Planning Dept.
A

B

C

35

4

Number One

Ol
d

Ma

ril
la

77
79

4

Bl
ue
be
r

Aspen

Nu
mb
er

On
e

Howes

Nine Mile

3

D

E

5

�Page Left Intentionally Blank

�B

C

E

School Districts

Erwin

MarillaMap
Township
School Districts

D

Harlan

A

Viaduct

Thirteen Mile

1

4

3

Litzen

5

Yates

6

1

2

1

11

12

ti!"
Benton

Reno

7

Erwin

8

2

9

10

2

Hulls
Lintula

\

14

FR

22
80

East Bigge

West Bigge

FR

19
80

Beers

21

20

23

24

27

26

25

3

28

77
79

FR
8

W
iit
a

06
3
le
Po
075

Roads

......

Marilla Twp Sections

,------,

l____ Manistee County
2
809
I
I
FR County
l____ J Wexford
I

J
,------,

0.5807 FR 1
FR
54
81

2

Benzie Central

36

Mesick
3
Miles

80
80

B

Slagl

C

37

4

e C re
ek

Kaleva Norman Dickson

Map produced by Manistee County Planning Dept.
A

20
71

North

School District

FR

0

FR

ch
an

CJ Water Bodies
6

35

4
802

la

.,
Po
, ....J Marilla Township
le
I

FR

vin
e

R

FR

79
80 Streams

FR
8

USFS Open Roads

5

34

Ra

p
ee
Sh

3
FR 807

9
FR 806

Legend

33

ets

1

,i.....

32

we

Ri v
er

;

31

tS

Up
pe
r

i

FR 5482

■

We
s

Number One

4

Old
M

FR

arill

a

North Star

ry

la

29

Bl
ue
be
r

iita

30

Nu
mb
er

hW

On
e

ut
So

Howes

Nine Mile

22

Number One

Old N
ine M
ile

13

McClish

South Wiitala

19

3

15

Litzen

16

000

17

5
FR

18

Marilla

[

I
D

E

5

�Page Left Intentionally Blank

�Chapter 6: Marilla Township 2018 Master Plan Goals &amp; Objectives
6-1 Goals and Objectives
6-1.1 General Community Goals
1. Preserve the history and rural atmosphere of the township.
-Protect farm and forestland through the use of PDR and open space 					
preservation
		
1. Encourage preservation tools to be used in the Township to help preserve valuable 		
		
natural features and maintain rural character
-Encourage denser development where infrastructure is available
		
1. Research and determine the locations of service areas and infrastructure that can 		
		
provide for higher densities
		
2. Research areas where soils will allow septic/well in higher densities
-Promote the preservation and restoration of historic structures
		
1. Promote the use of grant funds and/or private investment to preserve and restore 		
		
historic sites within the Township
-Promote the history and uniqueness of the Township
		
1. Maintain an archival collection of Marilla’s historic past
		
2. Continue to promote the Marilla Museum and Pioneer Place as a tourist attraction
2. Preserve and protect the quality of life within the Township.
-Encourage opportunities for community fellowship
		
1. Continued support for groups and programs such as the Senior Meals (meals on 		
wheels), Food Bank, Friends of Marilla and Historical Society as well as promoting the
		
availability of the Township Hall for rental
-Promote opportunities for community service
		
1. Compile list of ways people can help such as with spring cleanup of Twp. properties, 		
		
Funeral dinners, etc.
3. Preserve and maintain the natural beauty of the Township.
-Promote clean landscape and roadways
		
1. Encourage active citizen participation in programs such as “Adopt a 				
		
Highway” through the County Road Commission.
		
2. Enforce the Township Junk Ordinance
		
3. Provide at least one Township wide cleanup opportunity for residents per year
-Protect the natural resources within the Township
		
1. Continued enforcement of Environmental Ordinances.
		
2. Work with Federal, State and local agencies as well as private groups such as land 		
		
trusts and conservancies to purchase and protect valuable environmental locations

39

�6-2.2 Residential Goals
1. Promote and maintain a quality housing stock.
-Encourage proper building codes so new structures meet State guidelines
		
1. Work with building code officials to ensure all construction projects obtain proper 		
		
permits
-Encourage enforcement of zoning regulations to reduce blight; i.e. structures, cars, trash, 		
junk, etc.
		
1. Educate residents on how to notify the Township of potential zoning violations
		
2. Keep sound accurate public records of zoning violations and the correspondence with 		
		
property owners of said violations
-Maintain an inventory of blighted structures throughout the Township; i.e. damaged, 			
dilapidated, unhabitable structures
		
1. Develop and enforce appropriate guidelines regarding removal of such structures
		
2. The Township Zoning Administrator and Assessors should work in collaboration to 		
		
maintain a list of blighted structures.
-Maintain regulatory measures for screening/buffering
		
1. Enforce screening and buffering through land use permitting.

6-2.3 Commercial Goals
1. Plan for commercial growth near areas such as Marilla Rd. which have seen
commercial development in the past.
-Encourage commercial enterprises to locate in areas which do not detract from the visual 		
character and rural atmosphere of the area.
		
1. Enforce buffer zones and landscaping so commercial enterprises do not detract from 		
		
the aesthetics of the township.
-Maintain higher intensity commercial uses solely in commercial districts
		
1. Maintain commercial uses that fall under home occupation or cottage industry for 		
		
both commercial/residential districts
		
2. Maintain intense commercial uses i.e. gas stations, convenience stores, oil change, 		
		
etc. to be located in the commercial district

6-2.4 Agricultural Goals
1. Recognize that agriculture is an important aspect of Marilla Township and adds to
the scenic and rural character of the community.
-Educate about the use of farmland preservation applications
		
1. Have P.A. 116 applications available at the Township Hall
-Maintain variable lot sizes to allow both small family farms and large agricultural enterprises
		
1. Enforce lot size standards in the zoning ordinance
-Maintain a subdivision ordinance that promotes preservation of agricultural areas
		
1. Developers seeking to create subdivisions should be do so through the use of conser-		
vation based design. Utilization of the cluster development standards should be a priority
		
with the incentive of density bonuses providing leverage.

40

�6-2.5 Community Services and Infrastructure Goals
1. Determine ways to improve community services and infrastructure within the
Township.
-Develop a list of roads in need of improvement
		
1. Work with the County Road Commission on maintaining and improving county roads
-Examine ways to improve Township solid waste services and encourage recycling
		
1. Continue support and maintain enrollment in the County recycling program
-Encourage options for improved telecommunications services (internet, cell phone)
		
1. Examine current height restrictions and district uses for towers
		
2. Increase cell coverage in the community.
-Monitor Township buildings and properties to ensure they are properly maintained
		
1. Property maintenance will avoid costly unnecessary capital expenses due to neglect.
2. Maintain a Township Zoning Administrator.
-Provide fair equitable treatment when administering zoning regulations
		
1. Enforce the zoning ordinance as written, equally for all residents
-Maintain quality records to be kept and made available at the Township Hall
		
1. Accurate public records of all land use permits, zoning violations, citations, evidence 		
		
and correspondence should be kept on file at the Township Hall

6-2.6 Forestry Goals
1. Promote sustainable forest management practices on both public and private lands.
-Support open space and forest preservation programs
		
1. Encourage timber management programs
-Encourage proper forestry management through the use of forestry management plans.
		
1. Obtain pamphlets that outline methods for development of a forestry management 		
		
plan.
		
2. Identify opportunities for hosting or attendance by Township residents of forestry 		
		
management workshops/lectures through the Manistee Conservation District and/or 		
		
Natural Resource Conservation Service.

41

�Page Left Intentionally Blank

�Chapter 7: Future Land Use Plan
The future land use plan provides a direction for the policy of how a land area is to be shaped
through the regulatory requirements of zoning. Future land use districts differ from zoning districts
in that they are established policy, and are not regulatory in nature. The policy established by land
use districts provides a broad summary of the allowances and characteristics that Marilla Township
should use when developing the regulations of the Township zoning ordinance.
Through this master plan revision process of 2012, the following land use districts are established within Marilla Township and can be seen displayed on the Future Land Use Map on page 63:
•
•
•
•
•
•

Residential District
Rural-Residential District
Commercial-Residential District
Resource Preservation District
Forest Recreation District
Wetlands District

7-1 Residential District:
The establishment of the residential land use district is to provide a more dense area for the
development of residential homes. Lot sizes should be maintained in a fashion that allows for the
development of denser residential subdivisions, but should also allow for ample room to provide for
both septic and well systems in the absence of sewer and water service which is currently unavailable
within the Township. Lot sizes approximately 1 acre in size is desirable in this district and should be
complimented with appropriate setbacks and limitations for quality housing stock.
Pre-existing locations of residential structures on small lots and areas that have been subdivided for such a purpose of smaller residential lots should receive a land use designation of residential. Uses within this district should limit intense industrial and commercial operations, but should
have allowances for cottage industries and home based occupations perhaps as a special use or use by
right with appropriate provisions. Regulatory provisions for home based businesses should have allotments for signage, parking, access, and lighting and in some cases screening or buffering.
Use of the land for gardens or other similar agricultural or hobby farm type use should be encouraged, but may be limited to the production of fruit and vegetable crops. The keeping of livestock
should be weighed carefully and if allowed, precautions should be taken regulatory wise to ensure the
protection of neighboring properties via limits on the number and/or type of animals or method in
which they are fenced or housed.
This district may be amended in the future to provide for more suburban style growth in the
form of Planned Unit Developments (PUD’s) or more strictly residential style neighborhoods. In the
event that revisions are made it will be very important to explore conservation based design, which
will promote and preserve the rural character while still allowing increased density. A subdivision
ordinance should be instituted also at that time.

7-2 Rural-Residential District:
The rural residential land use district is established to provide for a medium to low density

43

�land use for rural residences. Marilla Township is a rural community with abundant forest lands and
agricultural uses. Protection of the character of the Township and the rural atmosphere is sought
after by many residents within the community. Large lot sizes are desirable in many locations, but
can cause difficulty when minimum lots sizes are dictated at upwards of 40 acres for the protection of
agricultural lands and resources, making it difficult for existing property owners to provide parcels of
land to relatives for the purpose of building a home.
Existing rural residential land uses captured areas of the Township with parcel sizes and existing residences that fit the current character of the land. Expansion of this district was sought after,
but not at the expense of the protection of agricultural lands and the character of the community. Discussion amongst appointed and elected officials as well as residents of the Township sought to seek
a solution to the issue. It was decided that expansion of the district linearly along paved roads to a
depth of 300’ would provide allowances for the subdividing of larger parcels to place rural residences
along roadways, while still providing the protection for larger lots located further off of the roadway.
All structures for residences should be placed within the 300’ of this district.
Provisions within this district should provide for minimum road frontage and/or minimum
parcel width that will allow for the placement of residential structures, but won’t allow for extremely
skinny lots with minimum frontage that could be utilized to fit as many residences as possible along
roadways. Protection of view sheds is important to the character of the community and limiting the
density of development through minimum widths along the paved roads will help to ensure this.
Land uses within the district should allow for agricultural uses, whether in typical farming
practices or in the form of support structures for agriculture such as feed/machinery stores, silos, accessory structures and other agricultural uses. The placement of hunting or vacation cabins should
continue to be allowed and encouraged. Cottage industries and home based occupations are also
rather important to the district and should have provisions for allowances and site planning such as
signage, parking, lighting and screening/buffering where appropriate.
This district may be amended in the future to provide for more suburban style growth in the
form of Planned Unit Developments (PUD’s) or more strictly residential style neighborhoods. In the
event that revisions are made it will be very important to explore conservation based design, which
will promote and preserve the rural character while still allowing increased density. A subdivision
ordinance should be instituted also at that time.

7-3 Commercial-Residential District:
Historically commercial presence within the Township was located along Marilla Rd. between
9-Mile Rd. and Beers Rd. The few existing commercial uses within the Township are located here and
as such the establishment of this district relies upon placement within this land area. The commercial-residential land use district is developed to host both commercial and residential land uses. As
the character of Marilla Township is very rural there is limited commercial development within the
community. As continued development occurs, albeit projected to be rather slow over the coming
years for the Township, commercial uses should be directed to this land use district with allowances
for commercial type uses that are above and beyond the definition or scope of a home based occupation or cottage industry. As time passes and land use changes, there may be a point where the direction of this land use district may turn solely towards allowances for commercial use. In the event
of this occurrence, to protect existing residences, regulatory measures should be flexible enough to
allow for the replacement of a structure within the original footprint should a home be destroyed by a
weather event, fire or malicious intent of man, even if residential uses are no longer allowed.

44

�Provisions within the zoning ordinance for this district should outline setbacks, parking, building materials, driveway access and connections to neighboring properties, signage, lighting and buffering/screening when needed. These provisions should be drafted to protect neighboring properties,
provide higher quality commercial buildings, but still be flexible enough to promote business without
creating undue hardship to potential business owners.

7-4 Resource Preservation District:
The resource preservation district is created with the purpose of protecting the rural character,
open spaces and agricultural areas of the Township. Establishment of large areas of land as Resource
Preservation meets the existing conditions of those areas, which in most cases are large parcels located off of seasonal roads or greater than 300 feet from a maintained road right-of-way. Residential
development of these areas is limited due to distance from maintained roads, and the growth pressures of the region don’t warrant these large expanses to be made available for housing.
Agricultural uses are encouraged within these areas as are lands maintained under forest management plans for the harvesting of timber. Uses associated with agriculture whether in typical farming practices or in the form of support structures for agriculture such as feed/machinery stores, silos,
accessory structures and other agricultural uses should be allowed. Recreational uses of these large
land tracks are also important, and should be encouraged by the permitting of hunting or recreational
cabins. Roadside stands and other temporary means of selling local produce or agricultural products
should be allowed and utilized. Cottage industries and home based occupations should be permitted
as well.
These areas are rural lands and should be maintained as such with limited development, and
the maintaining of large minimum parcel sizes. Subdivision development should not be allowed in
the future in all land areas within this district, and should be directed to the Rural Residential District.

7-5 Forest Recreation District:
Lands owned by the State of Michigan Department of Forest Resources or Department of Natural Resources (DNR) as well as the United States Forest Service (USFS) for the purpose of passive
recreational open space can be found in several areas of Marilla Township. These lands set aside in
the public trust are portions of the Pere Marquette State Forest and the Manistee National Forest.
Primarily used for passive recreational uses such as fishing, hunting, hiking, biking, snowshoeing, cross-country skiing, snowmobiling and camping, the lands are not slated for, or open for development as directed by policy or regulated via zoning through the Township. Placement of these lands
within a land use district which focuses on the encouragement and promotion of passive recreational
use simplifies land use issues for the Township.
Uses promoted within this land use district should be primarily passive recreational. The
township should support and incorporate plans for these public lands that have been created by the
Federal government in the form of the Huron-Manistee National Forest Management Plan and similar plans adopted by the State for the management of State Forest Lands. There should not be any
densities denoted, minimum parcel size or regulatory measures for the use of this property outside of
recreation.

45

�In the event that a portion of State or Federal land is turned over to private ownership, that
new property owner should be given the flexibility of a waived fee for rezoning of that particular piece
of property. The rezoning of the property should align itself with the neighboring zoning districts,
character and use of the site. Rezoning shall take place in all cases when a land transfer has occurred
from public to private ownership, before the issuance of a land use permit for development activities
undertaken by a private resident.

7-6 Wetland District:
The wetland district is created to provide protection of unique wetlands 5 acres in size or larger
or connected to a riparian system or lake within the Township. The boundaries for the wetland district were taken from the National Wetland Inventory and are identified as such.
Uses within the district should be limited to passive agricultural processes such as the grazing of livestock and passive recreational interests such as hiking, fishing and hunting. No dwellings,
structures or earth altering activities should be allotted for within this district.
It is recognized that there are inaccuracies in the boundaries of the National Wetland Inventory. A property owner wishing to challenge and alter the boundary of the wetland district to provide
for the expansion of the neighboring land use district, shall provide a wetland delineation plan by a
professional wetland specialist, landscape architect, soil scientist or horticulturist approved for wetland plant identification which displays the appropriate boundaries and provides evidence for the
delineation of the site. The Township Planning Commission would then take action to amend the
Future Land Use Map, and the Zoning Map if evidence supports the action.

46

�A

B

C

Future Land Use Map 2012

D

E
Harlan

Marilla Township Future Land Use Map 2018

14

1

1

6

3

4

5

2

1

.

-i

16

-~I

-I

"'\ •q; r6

7 'JJ . I

8

11

12

'0

'

2

10

9

,---;!

2

FR

22
80

000

14

5
FR

15

16

17

18

FR

3

19

20

30

21

22

23

24

28

27

26

25

3

22 1/2

4

075

D

[~::] Manistee County

[~::::J Wexford County

6
807 FR
FR

A

154

-

8
FR

B

R-1

092 CR-1
RP-1

2 Miles

81

W-1

RR-1

0
08

0.5

Parcels

D
D

8
FR

0

36

26

FR

I

5
Number One 1

FR

7
80

35

Future Land Use

Marilla Twp Sections

FR
8

D

Water
9 Bodies

....,

.11■11 Marilla Township

USFS Open Roads
Streams

FR

20
71

FR 5482

Roads

34

FR

06
3

3
FR 807

9
FR 806

Legend

053
FR 8

FR
8

33

32

4
802

Number One

77
79

31

5

19
80

FR

4

29

13

Map producd by the
Manistee County Planning Dept.
12/14/2017

C

47

D

E

�Page Left Intentionally Blank

�Appendix A: Survey and Public Forum Results
The following information contained within Appendix A displays the actual results of the
survey and public forum conducted in 2007. A public forum was held during the 2012 Master Plan
Revision Process and the comments received mirrored those results from 2007. The following pages
are scanned images of the Appendix from the 2008 adopted Master Plan.

APPENDIX A
CommLFn«y Su~ Results
150 surveys wet&amp; mailed out 1n A ~ 2007

1

Ctieck a~ a1 !he
Ma,ma TOIMlShip.

74 Wl!!!re ,etume&lt;:i. or 49%

~ th.!t c1 re ~ lhat you INl!!I

or have

~ 110

Like nJral rnting w: 59 che&lt;'J,:ed
Like ttie recreational ov1}0ftunb:'.IS .. 50 chedc:ed
No clo,a,e ne;g~ = 2'9 ~ e d
Br;imand ,a~ he.re- 24checked
Uke the conirriuney =- 22 chedc:ed

Farmi11g .:. 21 checked
c~ w remity • 21 checked
~ t e , ~ ;::; 18 chedc:ed
Retired here • 16 ~edl
Qua~ of schook =- 12 ched;l!ld
Moro.able- hou!i~ = 8 ~
Commam:s made by peop4e w1'-lo ~ ottl&amp;-r:
Low tnes ~ smali doM- community_
Quiet
lnYe!!b'ne!nt.
W.llm to retire ~re.

F'rOXUTlity to the n:B1ion:ltlstate fOl88'f.
Price in 1986.
Hopng fof cllilr)g&amp; and growtt,_
Can't sell the ptace for what wa:!i pan:t

2.

What Elf8 you most coocemed about ;,n Manila- Towns hip?
Taxes .:: 44 c:h6d«td
Bhgl'lled prope~ = 29 ci'leckP-d

Job$=28~
YCM..11h IB-2\ling the a~ :.: 1g ~Eld
Old mobile ~ = 1-8 ~
Air arid W3tef" qiJo8Aity =- 1a checbd
Traffic .:. 12 checked

Ht!alltiS11!1~=11 ~
mede by people ""10 checked orh&amp;r:.
PQssible- dlange ir1 v:iniog allowing sman paroois 10 be bullft on caLJs:lng

~

........

ry

ll]~g-o'Wdjl')QI,

No businesses.
Sfower pace of liff!' 'than ii'! b!irge ~

Rflt.ain rural ag.

w~.

TaxM muc;h ~ h.gh,

49

.

�Neighbol ts. a je11t;.
lad; of l"IO'W" h ~ . OQn--gnJWJOg community.
Abser'ltee ~ ~ i n g here- with AlV!J and high wcFiclGilJ- WE!a~.
'IN(N.d(I like :s.QITie -growth in seleded are.As. Woold lb to s.ee- mote !fDUng

t!imi1~.

~i41-tam toJesr-s aM water 1;1uetity,
We do l"lav-e Sa'n8I ~ cmi ~oned homes in gmat d,11;irepair,
3

Marirta TOW2l.$1'Np '5hoiJld g.-ow ~~ populaCk&gt;n in the otNTijog years.
4 eltoog~ ~

?.839..-ee
12 oo opinKJn
19disagr~
12 strongty ar.iag,ee
4

Marnia Town$hli;i ~ I d hBYe fflOf"e d 8 ~ in the oomjng ye-.ars.
4 stt-ongly "Ql"ee
27 agr«&gt;
11
opinion
17di§grM
16 !lml'lg~ &amp;sagn;,e

"'°

How do you feel the followir-.g ~ ~ Q'\i-ng,ad in MarHla Townsti.i9 jn
thepas.tftveyears?
Ro1'd CtJ:nditiorrs.
2 = ~ \l'!Onl9; 1!':i - ..wor.i.e-, 38 :-:- ~ - 17 =- belUer, 0 ■ ffll.JC.l'J ~
Traffic.:
S = l1KKft 'WOl"9&amp;, 22 ■ W'(Jq,I;; -46 = $illfll!I; 0:..: lbettfl,_ 0 • mudi ~

Natural l=nvirnnment:
1 ... .11'1udll worw; 1-4 "' ~ . 44 !!' Ml'l'le; ~ = bettor, 0 = mucl'I ~
T~~ServioeG;
1 = ml.ld'l ~ . 7 ■ ~ ; "41 ■ :5-llffl!I; 8, = beth!1r; 'l II rr.dl ~
Ovefillt Quality of Lite:
0 a IT-IL!d'I ~ ; ,d = ~ . ~ " !I.Sm!!', 1-4 = ~ 1 = muct, beltsr.

6.

Maril~ Town:shiJ) stiou~ plan ki,r mQfe single- ramiy t\ome::s,
9 strongly ;agree

:2..5

i:lgPll;M;I

11

t1a

opinJQn

19 disagree
11 ~~ d~ret!
7.

In wheit ilre&amp; of ~ TOWT1$hi:p :liho,,i.lll;j there be .f'OOfl!I ~kienti.a• det.'eiopffleril
if any?
12 :9.a1d .no where
Atl!II~ l}~t af-e uosuilable for fufe&amp;try and egricuitureMal'll1$! Road

50

�Off Bai:tra Road - Litten Road

Be-t!:ton 21nd Man~ ~~$
Keep developmenl where tha-11;1 ;;1lr~ i s ~
Nine Moo Road, Va~ ~oad An!:i::11 -c::~ to Kaleva
Change 40 acttr minirnurn to ?O acres
A.roolld C-JCistiftg
T'1irteen Mile Road
A r i ~ . as more '1-olnetL would raise- lt'8 tax baseAfiy .ate.a Uiil'i i$. n o t " ~ fannlaoo

•0Wn!i

a

Agria.J ltl.lr4 is an ~ ~ of M,uil la T~s.ti]p's econom~30 ~ t y 1!9~
~~,~

8 no opinioo
1 disagn!e
2 WOtlgly disagree
9.

A,grictJll,1,J11;1! is "'" importan• featl.Jre cf Mariila Town:ship':s l~md'~~pe.
J5 stroogl',' agree
28 agree
7 no0piflioll

.td~
1 s1rong1y d~me
10.

Pri\lat!:! l)ruPf.!rl:v ~ldi b8 ma~~l"liBd ~n a ~Y 10 avoid n1,,1i:$.ari¢e'$, eye3Q1es
heallh or ~

haulrus.
~2 mting~ agree
37~
4 no op,ir\;iQn
1 diaagtee

1 woogry dis.agree
11 _

M.i!inl.;li TQ'WJ"!Wlip should' Pf-O'l'idfi: mo,e, P',!btiic ~ M l opportuooie.s.
5 wongry agree
24.igteeo
l7 l'IO ~niQn
2'0d,sagree
9 sfropgly d~ltll!II

12 .

\IV'hat ~ the 0ne thing you woukl do k:I impmve M;;11nlla

TO'Alnsliip?

Sh)I) the 40 aa-11 requlranent - 4%
Need beneJ bt.Jiltfi'.g i n ~ .

nnprove ~ ~-

Maka ~ r t y ~ clean up pmpeny_
Be ~ to put a docent size trailef on smaller~knproYe hunting hatiit;;lt,

51

aoo

�0
&amp;

C
~}

K6'Bp aae.age requ,irernet1l8 up ror tiullk1-jr,g.
Keep ta&gt;:e-s. low-.
Donl s.eet to a d d ~ ~t Jii~1 W;;tnted.
l..Jl&lt;e it lbs way ;t is.; keep it rum I; -leave it 1;111~

(t:

q
(J_~

lmP,O't8 road ~ i ~ , routine gr~i.-.g, irn~roved Sl'Kl'fll plowir19.
Make- &amp;utl!I al• Oldinam;es that ,1;11~ p.l;IIS~ 8re enfon:iealMe.
LQWer blxe~ because we ga1 ootfl~ng for them.
Bike ~f'ks.
Grocery store.
Bring m new ii,ornes, ~ growth.
Mo~ $eilior t:itize11 acmiities ~l'Nice ii week).
A.s,.&lt;;urniFlg a, nude.Br weapons dl!Jtonation is 01.Jl or thE!- qu8Slion, Lc1iking a
bulldozer to !hat moos1rosity 11n f rorn of tt,e cemet8f'/ "WOUk:I tie the next

0
$
{~)
@

(h

e
0
©
®
G
0
0
0

.

~tlhmg.
Plan, and al~ groJilllth.
OWSl'p(lpl.llsre.d.
Keep lhe area pristine and
Paw R'IOf&amp; road:s.
R~ation: Blk-e. hike "nd i;;ki nil e~9:lll. Inocre.a!Se PJllO'll'tfT10i:iiie
l'er'lt.:IIEi, wr;,,11: with -i;;ki lod!tii» to p ~ tov.rism.
Slow- thl! traffic Or'I Beers R~
l&lt;Hp -&amp;.):sstirtg bt.isi ~ -illn;I keep tlloe de~lc;ii;,ment aOWfl ,
R ~ toownahiJ) bo,Elrd,
l&lt;et;!p M$ril~ ~~ SI n.1rat 10'Ml!Sllip,
Provide tree tnJSh ~ P ~ a y,e3r lo h e l p ~ &amp;yes.ores..
A Cilring towMhip board 'lll'T1t'I good \/iBiofi.
Give ~ attenli-oo 10 'What we ha\11!1 .
Tfilffic :iilld trudts.

*'®

RemoVf! lt'8 fee lo u~ •~ ~ Country 'f~i• on Beers Rosid,
Provide tt&amp;h G C I ~ .

"°'

trt
@

fo

G

@

&amp;
@
@

0
@

t;::

e
¼
?
0

Continue 1o develop an and culture and tys10n,c pttlM!JNa'bon.

13.

yt!UJ w.on fol MeJrjla l'&amp;wn&amp;n_. 11'1 1en ~ ?
8 ~ lt"dils - 1,&amp;~er;t;ed
Rutal chara(;isr rneiml;lllined - 24 dleticed
ThrMng agncutrure -· 41 chocked
Good oounby roads - 51 i:hecked
OiVet&amp;e agliCultute - 25 ched(ed
Nothing c h ~ - 13 ooecl(ed
Recteatic)rlEII QPPQ1tuniti8!:ii - 19 dledl;ed

"w\"hal is

JQb QPpomlriities

~

21 ched:;~

Other - 6 ched&lt;ed:

f:}-

*11
0

~h

52

�.
0

.
.
.

Good tOi:ld:5.

Job oppo,,tunities wi!I occtJf lMth 1r'l(;rf;!l41sed rec:reali-on-a• anc:1 toumm
opporlu nit ie-5..

P.ayi11g 52,000 a ~ , to h.1Jve yc)I.Jr ro&amp;d pkN;ed IS .a st'IElme; no
seririoes rar 0\11" ~e!i is a .ti;gger s.h.a:rna-.
Q1,1iet Bgria.Jlturar ctM!'NTH,mity wiUlin a oomfoft'lble drMr!g distance
tc city life - an ~pe.
New home! aoo fan'i11~ bringing growth to an outdlilted com.mt.1nity
~

- ~ let's ~o,p.

More ~has.~ on ~ii and nerura1 pl'e$f;!irv~'lion of ~andg. ~11;1

.
.
•

waterways.

COl'lbvJred growth iw;a1 allow e;Kll8nsion or ~ . b\l-$inei:!ies and
recteatioll. Thfs w;n help maintain tne- tural areas aoo grow tne- ~

base to benefit 1;111! ~ii:fon,s...
Eyesores aM elirnlr'l8ted .
Dirt roads. pine trees, (»yOtes and 'Weeda. SH me as it's b&amp;en fot
138 '.)'ei811"$. On.,i"1ks, iri-bfed hilfbll- t(IQ !Wiry lo get a Joo. Hope I

am oot h~~ 1n ~ O years.
I ~kf iite, t¢- see more yQulJ'I cQm~r19 .in to live heM. They are
lmf.lOltP l"lf to growth ar a OOMmooity,
r would like 10 see it stay a i;lc)$e QQlllmunlty and fllll'tle1e ~ l e can
.affOid to li\l'E! on a birt intlolne or SSI ,
Al'lllOUnce ~ P mee~ ~ wi1h irrvitati(ll"I for aiir board meet,ng~.
Offer programs. fD, ehirdren to gel ~ inle~ted in farm lr\ling .
I-tome o o s i ~ ilre a b"eod. How-t:IQ we regulilte lhem?:
Le1 newer rurtgll!;!I wide trailer~ be put i"t.

53

�0

APPENDIX B
Co,mmi.mity I r1?,lt and Planning P~e;

MarMla Tl!Wn$h~ Plan11i~ Corfvrusmn metriber$ fiJSt met Novemtier 20_2[)()5 to~ n H.,., ~ of updatillg the ~ter pl~ri. Al the end o1 Novernbe1". two
mernbett. ot the pti11niflg comm:iss.on ~ ~ Sue W&amp;gncr, ~nty f&gt;Lenner. to
get in,_put into the- proce::u and seek t:M- pbnrang (S,eQ,aP1meril's Milfi 1n 11,1p:;1:;rting
tht!iit plc1n.

A 1afmel contract belW88n Marill'il TQWne.hip aM the Mani~ C:11.mty Planning
DePa,rtmeflt WM ernered into ~n t=etil1Jj1)1 of 2007. On March 5, 2007 a Notice of
lnlimt lo uQdffle their ma stet pt.ea, was sen1 out tiy Marilla TQ'liYI\Ship to
neighboring comm1.1n-itiM. and Qther l)erties ais required tiy law.

~te began in April 2007, 'With the cou~ planner
meeting wi1tt the ! ~ i p pl;anning oommjsslon on April 9 ,1;1 nd ~ril 25_ JLJM 4,

P~iminary W'0l1i: on t.M!

2007wasanod'M!twalk~n0fl

~

?laPl.

A p~ic input l"n&amp;B\Jng waa. seheduled for August 13, 2007 to get ideas .and
ttxMJghts. fmm Marillti TrMffl-h•p ~ - A,ppl'O:irirootefV severi ~ attandf;!d
this mo.Ming , in iidditiorl to the .,ta r'ltlif'IS C"-Q1T1m~iQ11.

It WH, 818,o, ~ to $end OU! .a SU~ to get a ~rg6J nUl"l"ti4!Jr af Marillo
TOWll:!ihit:J property ovmefl!i lnvolVe&lt;l . Random name:s and l:lldd~ ware
g,et.e(:ted fnxn the tax ~I and 1:50 surveys were $.t}(I{ ovt, of wnicfl 74 IN8f8
1'8b.Jmed (See .Appendl)I A).
On Oc:tooer a. 2007 lhe $11.Jrvey result'! were ai,s.cuU(!,(f
The planri~ng
00lMlmio.r'I nw ~ t ~ Umes during ll'lis s,nxies.s. fNe of lhosa ~ ~
couflty planl'le,. All r'nfJifJtings wero posted and the public in'l'itec:I .
A

pubic

heafil'I!}

on the p4an was fllo,p,e,rfV noticed and
The tiealif1g .atso pmvidt!d si time for ~bo1ic

.:,,

w

54

held ot1
,tlf)U1 and

�Questions or Comments regarding the content of this
Master Plan should be directed to the
Marilla Township Planning Commission.

55

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="62">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998780">
                  <text>Wyckoff Planning and Zoning Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998781">
                  <text>Planning &amp; Zoning Center (Lansing, Mich.) (Organization)</text>
                </elementText>
                <elementText elementTextId="998782">
                  <text>Wyckoff, Mark A.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998783">
                  <text>Municipal master plans and zoning ordinances from across the state of Michigan, spanning from the 1960s to the early 2020s. The bulk of the collection was compiled by urban planner Mark Wyckoff over the course of his career as the founder and principal planner of the Planning and Zoning Center in Lansing, Michigan. Some additions have been made to the collection by municipalities since it was transferred to Grand Valley State University.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="998784">
                  <text>Michigan</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998785">
                  <text>1960/2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="998786">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/870"&gt;Planning and Zoning Center Collection (RHC-240)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998787">
                  <text>&lt;a href="http://rightsstatements.org/vocab/NoC-US/1.0/"&gt;No Copyright - United States&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998788">
                  <text>Michigan</text>
                </elementText>
                <elementText elementTextId="998789">
                  <text>Comprehensive plan publications</text>
                </elementText>
                <elementText elementTextId="998790">
                  <text>Master plan reports</text>
                </elementText>
                <elementText elementTextId="998791">
                  <text>Zoning--Michigan</text>
                </elementText>
                <elementText elementTextId="998792">
                  <text>Zoning--Maps</text>
                </elementText>
                <elementText elementTextId="998793">
                  <text>Maps</text>
                </elementText>
                <elementText elementTextId="998794">
                  <text>Land use--planning</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="998795">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="998796">
                  <text>RHC-240</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998797">
                  <text>application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998798">
                  <text>Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="998799">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="1">
      <name>Text</name>
      <description>A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1009165">
                <text>Marilla-Twp_Master-Plan_2018</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009166">
                <text>Planning Commission, Marilla Township, Manistee County, Michigan</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009167">
                <text>2018-04-12</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009168">
                <text>Marilla Township Master Plan</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009169">
                <text>The Marilla Township Master Plan was prepared by the Marilla Township Planning Commission and was adopted by the Township Board on April 12, 2018.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009170">
                <text>Master plan reports</text>
              </elementText>
              <elementText elementTextId="1009171">
                <text>Marilla Township (Mich.)</text>
              </elementText>
              <elementText elementTextId="1009172">
                <text>Manistee County (Mich.)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="1009173">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/870"&gt;Planning and Zoning Center Collection (RHC-240)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009175">
                <text>&lt;a href="http://rightsstatements.org/vocab/NoC-US/1.0/"&gt;No Copyright - United States&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009176">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009177">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1009178">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1038381">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="47649" public="1" featured="0">
    <fileContainer>
      <file fileId="52741">
        <src>https://digitalcollections.library.gvsu.edu/files/original/e9fc8f33ddb2d73f751b1ef3f8ac72c3.jpg</src>
        <authentication>4d8355055d14298e0f93049827a3b24a</authentication>
      </file>
    </fileContainer>
    <collection collectionId="56">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887512">
                  <text>Faces of Grand Valley</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887513">
                  <text>Grand Valley State University</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887514">
                  <text>University Communications</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887515">
                  <text>A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887516">
                  <text>1960s - 1990s</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="887517">
                  <text>GV012-03. University Communications. Vita Files</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887518">
                  <text>In Copryight</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887519">
                  <text>Grand Valley State University</text>
                </elementText>
                <elementText elementTextId="887520">
                  <text>College administrators</text>
                </elementText>
                <elementText elementTextId="887521">
                  <text>College teachers</text>
                </elementText>
                <elementText elementTextId="887522">
                  <text>Colleges and universities -- Faculty</text>
                </elementText>
                <elementText elementTextId="887523">
                  <text>Michigan</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="887524">
                  <text>Grand Valley State University. Special Collections and University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="887525">
                  <text>GV012-03</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887526">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887527">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="887528">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="899968">
                <text>MarinoMaria</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899969">
                <text>Grand Valley State University. University Communications</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899970">
                <text>Marino, Maria</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899971">
                <text>Maria Marino</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899972">
                <text>Grand Valley State University – History</text>
              </elementText>
              <elementText elementTextId="899973">
                <text>College teachers</text>
              </elementText>
              <elementText elementTextId="899974">
                <text>Universities and colleges – Faculty</text>
              </elementText>
              <elementText elementTextId="899975">
                <text>Michigan</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="899976">
                <text>University Communications. Vita Files, 1968-2016 (GV012-03)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="899977">
                <text>Grand Valley State University. Special Collections and University Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899978">
                <text>In Copyright</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899979">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899980">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="899981">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="26598" public="1" featured="0">
    <fileContainer>
      <file fileId="28714">
        <src>https://digitalcollections.library.gvsu.edu/files/original/6685203ceadfb4f275e944580d09002f.jpg</src>
        <authentication>b19685a46909ec50a3b28ed4e3b2d26e</authentication>
      </file>
    </fileContainer>
    <collection collectionId="29">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464843">
                  <text>Decorated Publishers' Bindings</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464844">
                  <text>Book covers</text>
                </elementText>
                <elementText elementTextId="464845">
                  <text>Covers (Illustration)</text>
                </elementText>
                <elementText elementTextId="464846">
                  <text>Graphic arts</text>
                </elementText>
                <elementText elementTextId="464847">
                  <text>Publishers and publishing</text>
                </elementText>
                <elementText elementTextId="464848">
                  <text>Pictorial bindings</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464849">
                  <text>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.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="464850">
                  <text>Seidman Rare Books Collection</text>
                </elementText>
                <elementText elementTextId="465152">
                  <text>Michigan Novels Collection</text>
                </elementText>
                <elementText elementTextId="465153">
                  <text>Regional Historical Collection</text>
                </elementText>
                <elementText elementTextId="465154">
                  <text>Lincoln and the Civil War Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="464851">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464852">
                  <text>2017-08-30</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464853">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;, &lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464854">
                  <text>image/jpg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464855">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="464856">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="464857">
                  <text>DC-01</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="62">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="493407">
              <text>Seidman Rare Books. HF3161.M4 M6 1921 </text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="493392">
                <text>DC-01_Bindings0273</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493393">
                <text>Maritime History of Massachusetts: 1783-1860</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493394">
                <text>Binding of Maritime History of Massachusetts: 1783-1860, by Samuel Eliot Morison, published by Houghton Mifflin, 1921.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493396">
                <text>Book covers</text>
              </elementText>
              <elementText elementTextId="493397">
                <text>Covers (Illustration)</text>
              </elementText>
              <elementText elementTextId="493398">
                <text>Graphic arts</text>
              </elementText>
              <elementText elementTextId="493399">
                <text>Publishers and publishing</text>
              </elementText>
              <elementText elementTextId="493400">
                <text>Pictorial bindings</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493401">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493402">
                <text>&lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493403">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493404">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493406">
                <text>1921</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1030503">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="23692" public="1" featured="0">
    <fileContainer>
      <file fileId="25894">
        <src>https://digitalcollections.library.gvsu.edu/files/original/e39f44916cb267a4b197696c6996dcd5.pdf</src>
        <authentication>21e356d985b46dc53b436cea0d00ae82</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="432558">
                    <text>Speaking Out
Western Michigan’s Civil Rights Histories
Grand Valley State University Special Collections
Interviewee: Mark Connorton
Interviewers: Brandon Gummere, Tyler Helinski, Joseph Rocco and Julio Ortega Vasquez
Supervising Faculty: Melanie Shell-Weiss
Location: Grand Valley State University Special Collections
Date: 2/24/2012

Biography and Description
Mark Connorton is a mathematics major at Aquinas College in Grand Rapids, Michigan. He discusses
his alcohol and drug addiction issue and how it affected his relationship with his parents.

Transcript
GUMMERE: My name is Brandon, and I am here today, February 24th, 2012, with Mark at Grand Rapids
Michigan. We are here today to talk about your experiences with civil rights in Western Michigan. Could
you please some basic information about yourself? Your full name, date, and place of birth?
CONNORTON: Okay, my name is Mark Connerton the date today, is that what’s part of it?, It’s the 24th
right?
GUMMERE: Yes.
CONNORTON: And 24th of February, 2011, 2012 actually, and I was born in Ham Lake Minnesota. And I
live here now at 16 Jefferson, in Grand Rapids, Michigan.
GUMMERE: Okay, and how old are you?
CONNORTON: I’m 22
GUMMERE: Alright do you, what are your parents names, and do you have siblings?
CONNORTON: Yeah my parent’s names are John and Mary Connerton, respectively, and I have an older
sister. She’s the oldest of the four of us she’s 27. I have an older brother, he’s 25. And I have a younger
brother, he is, he’s now 20. So my little brother’s name is Pat, my older brother’s name is Tim, and my
older sister’s name is Amber.
GUMMERE: Okay, and do you have a girlfriend slash wife?
CONNORTON: I have a girlfriend, her name’s Sarah Allen and she lives here in Grand Rapids
GUMMERE: Alright do you attend college?

Page 1

�CONNORTON: Yeah, I go to Aquinas College in Grand Rapids. That’s where I met my girlfriend Sarah.
GUMMERE: Okay, do you have any religious affiliation?
CONNORTON: I grew up, my parents, they’re Pentecostal, Protestant Christians. I guess I’d affiliate
myself with the Episcopalian Church ‘cause that’s where my girlfriend and I go to church here in Grand
Rapids. She’s Catholic, I’m not, but we both find kind of what we about religion in in the Episcopal
Church.
GUMMERE: Okay. when did you come to western Michigan?
CONNORTON: Let’s see, I came here it was the fall of 2007 after I graduated from high school. I came
here from from Pittsburg, where I spent the summer with my sister after graduation. so I came to
Aquinas in the fall of ’07 to start college.
GUMMERE: Okay, how would you describe your own identity?
CONNORTON: My own identity. Okay so my name is Mark. I guess my identity would be how other
people, see me. What I do, I’m a student. I’m average performance academically. I do really try to get
the most out of my classes. I guess I’m pretty open minded, if you ask me to talk about something I care
about what you think too. I try to keep that in daily conversations, even. I’m a musician, I love music. I
have faith in God. I think that I am alive and that and because of his work in my life. And, I also I love my
family. I consider them seriously , a part of my identity, and. I’m dedicated to my girlfriend too. So that’s
basically my life. And I have a good work ethic, wherever I’m working, I try to work as hard as I can.
GUMMERE: Okay. What are your, career aspirations, and, I guess what is your, what is your major now,
what course study are you taking?
CONNORTON: I’m a mathematics major at Aquinas. I’m gonna be graduating at the end of this semester,
hopefully. (Chuckle) And, I, previously declared a math major just ‘cause I love the subject. I feel
academically, it’s it’s really the most important thing to know just because it’s a basic form of knowledge
that hasn’t changed throughout the years. When when there’s new math introduced, it doesn’t change
the old stuff, it just adds onto it, and even in the hard sciences that’s not the case. Sometimes, they have
to make modifications, but that’s still useful, so even though it’s academically right, I feel just because
it’s been around, and it’s just solid knowledge. as far as marketability, it’s not there’s only so much you
can do with just math. But you can teach it, and if you’re really good at math you can be an actuary,
which I’ve looked into. And, I really, I really don’t think I for the amount of time I’d have to put into it, I
wouldn’t enjoy it very much because I’m not naturally good at, math that involves heavy calculation. I’m
more of a theoretical mathematician, I to work with theorems and proofs.
GUMMERE: Okay
CONNORTON: And so even with that, there’s kind of a limited there’s a limited market for that. So last
semester I declared a, a computer networking minor. And, that’s what I plan to go into. and my
background in math is gonna help me with, a lot of the the programming aspect of what goes into
networking and developing and programming software for servers and stuff. but I think that’s what’s

Page 2

�gonna make me marketable is my math major, not just my my knowledge of the of the field of
computers and stuff. So I’m excited to go into that.
GUMMERE: Okay to kind of switch gears a little bit, I know you personally, obviously. I met Mark
through alcoholics anonymous slash our therapist. So we have some things in common there. But
basically how would you, how would you describe your experiences with drugs and alcohol?
CONNORTON: That’s it?
GUMMERE: That’s the question.
CONNORTON: Okay so, it’s a lot. I’ve had a lot of experiences with drugs and alcohol. But would you to
me to historically, start from the beginning or just in general?
GUMMERE: So I guess we’ll start out, when was your, when was your first experience with drugs and
alcohol?
CONNORTON: Okay so my first experience with drugs, is kind of typical American kid what their
experience with drugs would be. now a days. I guess not so typical because I never I never wanted to do
drugs to be cool the first time I did drugs was, I think I had smoked cigarettes once. You know? And that
was with my friends just the kind of be cool and hang out. But, I didn’t really care for it, but the first time
I actually did drugs, to feel good, was by myself, I remember I was mad at my parents, and my parents
were kind of strict growing up. But, they wouldn’t let me go and do stuff sometimes, my friends, the
wouldn’t let me hang out, it pissed me off, but. Sorry, I have to try to watch my language. (Laughs)
GUMMERE: You’re fine. (Laughs)
CONNORTON: But I remember one time, I I was hanging out with my friends, after school, and my
parents called me and told me, that “you gotta come home now and you have to come home now!”,
and I didn’t want to, I was hanging out with these girls, I was having a good time, and I wasn’t doing
drugs or anything, so I didn’t want to but they made me come home, and it irritated me, really badly,
‘cause I didn’t have much, many friends in high school, but I wanted to. But, so it’s what I did, that was
my way to kind of vent, I decided I’m gonna go find some pot, I’m gonna go smoke pot, and I didn’t
know anything about drugs I didn’t have any close friends, who smoked pot, I didn’t have people who
were all into it. So I just went to the kid in my neighborhood who I knew was the pot guy he was, he sold
drugs, I just knew it. And very innocently I just walked up to his house and I was “hey man I wanna buy
some pot”, and he was obviously very kind of intimidated a little bit taken back, because he knows I’m a
good kid, and obviously he’s suspicious, so. But, he ended up telling me come back the next day or
whatever, and, he started selling me pot, and I didn’t know this at the time but, I was actually getting a
pretty good deal with these guys they were, they were pretty rich kids and they had a very good
connection. And they had a house in Costa Rica, and the found a way to smuggle this pot back and they
were making really good money. And because I was their neighbor, and I was kind of innocent, they
gave me very good deals but they didn’t they never told me I would get, a quarter ounce, of really good
pot, for 25 bucks. And, at the time this was in Minnesota where, what, where good marijuana was
difficult to find, but I didn’t know that either. But when I first started using drugs, it was I was way into it

Page 3

�because I didn’t have any friends who used drugs, I didn’t know what was moderate so, I basically, and
this was just during the summer too, so I basically smoked pot, all day, and I, and it was mostly by myself
and sometimes with my friends, because, it took a little while to be able to do it with my friends because
none of my friends smoked. So I got them to do it, it would be “oh well Mark’s buying pot, if, I mean he’s
pretty straight laced, so it must be okay”. So then I would start smoking it with my friends and stuff, but
that how I was introduced to it, and I didn’t really realize until college. how, how drastic that change was
from nothing, to a quarter ounce of pot, every day and a half, every two days. It was a lot, for personal
consumption. But that’s, that’s, basically how it started, and then from, and, and, from using marijuana
as almost a coping mechanism, not really for, for fun, just to kind of escape from reality, just “oh I don’t
my parents” rather than talking to them about it, and telling them this is what I want to be doing. You
know? I just “why don’t I just get high?” I’ll feel good, and that’s, that’s how it started, was with, with,
mostly with just pot, and it eventually developed into other things.
GUMMERE: Okay, and you would, you would consider yourself, an addict?
CONNORTON: Yeah, yeah, in a sense that , right now, I’m not addicted to drugs. I have responsibilities
I’m a college student, I have a girlfriend, my family cares about me. I can’t, I can’t be addicted to drugs
right now, but I am an addict in a sense that, if I can’t control the extent to which I use substances. I
can’t, it’s either that I don’t use anything at all, including alcohol, cigarettes, or, anything really, or I am
extremely addicted. not that addicted, but I’ll just keep doing it until I die basically, that’s how it is with
me. I can’t, I can’t just have one drink of alcohol. and this was a problem in college too, and that, and it
was easy to kind of blow it off, but everybody drinks in college, come on I mean, it’s just it’s, it’s just
accepted, it’s, it’s funny, and in our, in our culture that’s just, that’s just what happens. And so for me to
be drinking with my friends, and and not stop until I pass out, it’s just normal, it would ne normally
accepted, but if I’m 40 years old doing that. what I mean? Which would have probably happened had I
not realized, that I have a problem. you’re an alcoholic when you’re doing that. You’re not you’re not
having a party, you’re not having fun, you’re sitting there, you’re at home, you might be alone, you
might have a family, you’re drinking, and you can’t stop, until until you pass out. And I, granted that not
everybody’s that. some people, some people can have a couple beers, and be good, but the way that my
body chemistry is, and this might be a result of my previous drug use, is that, I can’t, I can’t just have one
drink, if I have one, it’s just “okay now let’s do some shots”. You know? And it, and then it turns into
“let’s go get a fifth” and then it turns “okay, I need some smokes” and then it, and then it turns into
“let’s get another fifth” and then it turns into “okay what else can we, let’s go find some blow, let’s go
find some smoke.” You know? “Let’s go get some pills” whatever, that’s how, that’s hoe, that’s what
happens in my nights, if I were to go, and that happened a lot in college, and it’s dangerous and it’s why
I consider myself lucky to be alive. And that my life is kind of grace from God, and I’m still alive, and then
able to not get back into that. And then, it will kind of build up, my resistance to drugs and alcohol. But,
yeah I’m an addict in that sense, that I can’t control myself.
GUMMERE: I’m right there with you, you don’t see a whole lot of 70 year old alcoholics, they pretty
much die off earlier then that. (Chuckles)
CONNORTON: Yeah, you basically die. (Laughs) So you have to make the choice. (Chuckles)

Page 4

�GUMMERE: So I guess, in the regard, when did you first realize that you were, that you were and addict?
CONNORTON: well I guess, I in a sense, I kind of, I kind of knew it, while I was going on. I guess my,
junior year of college. I got to the point where I I decided that maybe, I should really focus on my
academics, and my career, and my career goals, and stuff. And I could, I could control it, for a certain
amount, it used to be, when I was, and I think I told you this, but when I was first starting doing drugs, it
wasn’t “oh okay, when do I get to do drugs next,” what am I gonna, what am I gonna what do I, what
am I gonna do “what do I have to get done first”? ? at the end of the day, when am I gonna be able to
look forward to getting high. It was what do I have to do, what, what is there that, does not involve,
getting high? I wanted to be high all the time, and I wanted to do the very minimal amount of things
possible, to stay alive, and be a functional human being. So it eventually got to the point, where it was
okay you need to get some of this stuff done, you don’t wanna end up in debt, from college, and flunk
out, and be nowhere, and only do worrying about when you’re gonna get your next hit or whatever. ?
So I eventually started focusing a little bit on my school work, that was when, going into my sophomore
year. Then my junior year, I kind of picked it up a little, but, I, when I, when I was you kind of come to
terms with it. when you really it, when you’re when you’re pleased by the lifestyle. you’re an addict, but
you won’t realize it, you won’t tell yourself that. I guess when that happened, would have to have been
‘cause you know it in the back of your mind but you accept it. But I, eventually got a prescription for
Adderall, because I do have A-D-D, but before I got this script, I abused Adderall too, I knew the
addictive properties of it, but, I wanted the prescription just for that, purpose. So, I got the prescription
for it, and I started taking, it as prescribed, but it was fun. But, I would still get stuff done, and I don’t
know. I kind of realized, that, as in and out of the times where I would stop taking it, I would stop taking
it over the weekend. Or when it, when it started to not get fun, that’s when I realized I was an addict.
When it wasn’t fun anymore, when it wasn’t when it didn’t feel good. When it felt, (Sigh), I don’t know.
It’s, it’s hard to explain. when it really felt crappy, when I was sober, and it really felt, I was just,
miserable, that when I knew I was an addict. I knew that I needed drugs, at that point. I was ‘cause I
remember, you’re supposed go off Adderall, you’re not supposed to supposedly you’re not supposed to
take it all the time, every day, no matter what, it’s good to give yourself, I think they call them vacations,
a vacation from Adderall, so that so you can think about it, not think about it, but just give your brain a
break.
GUMMERE: So your body can readjust to…
CONNORTON: Yeah. And I remember, I remember, there’s periods of my life that are just entire years
have gone by and I can’t, I can pick out individual events, but I can’t tell you when they happened,
there’s a lot of my past, is just kind of blurred. But , I remember being on the Adderall and it would
cause my, addictive tendencies to just flare up really bad, and sometimes, the doctors don’t tell you that
which I think they really should “hey look if you have addictive tendencies at all, if you have alcoholism
in your family, you shouldn’t be taking this,” because I would literally smoke a pack of Newport’s in a
shift at work when I used to work at, Olga’s Kitchen, I was a cook there. and I would literally smoke, I
would bust my butt I would get a lot done. In a day at work and and I was a really crappy cook before I
got the adderall and then know I was much quicker the servers d me and stuff. But I smoked a pack of
Newport’s and not in a day but in a shift a six hour shift so every chance I got I would be in and out but I

Page 5

�wouldn’t do that if I wasn’t on the Adderall. So I would take these little vacations from Adderall and it
would be it would be I was waking up from hibernation. I would try to try and remember everything that
happened in the past month and I would be dough that was a month all of that all of that stuff had
happened in a month that felt that was a week. everything was just whizzed just whizzing by and I
remember I would just not take it for five days and I would just go back to it. It ok and when I was taking
the adderall it also increases your tolerance ¬for alcohol and other certain, certain other drugs. a lotta, a
lotta, a lot of college kids abuse it for that property. if you want to go out clubbing or if if you want to go
out to bars whatever it it allows you to drink a lot and not actually feel intoxicated. So I guess even
though I had a prescription for it and even though I did have ADD I remember, I shouldn’t have been
taking it, but furthermore I new that I really shouldn’t have been. Because I used it before but I really
new I was an addict during that period of my life. With the adderall coming off adderall every once and a
while and thinking about dude your life is going by so fast. you can’t even remember everything that
happened and granted yeah I might have been being really productive which is what you do when your,
normal people what they do when their on adderall. But I didn’t I was a robot and I remember my
girlfriend telling me . She thought it was a good idea originally for me to get on it because I had a hard
time focusing. But she would tell me your a zombie I don’t, I don’t, you have no personality and I was
okay with that I get all my stuff done all my homework done and work and I still get to party at night. it’s
it works its fine but really if that’s if your not you what’s the point of you being a live. if you don’t have
your own identity if if the substance makes up your identity and that’s how you get everything done you
have to depend on it. that’s that’s called being an addict and that’s what I realized.
GUMMERE: When did you say describe your kind of the beginning of your use when would you say your
use picked up to the point where started to know you needed to make a change?
CONNORTON: Oh yeah
GUMMERE: When did your use really start to escalade was there a point where you kind of you know?
CONNORTON: Yeah. Well I think there was a lot of low points in my life that I should have realized it but
I didn’t none of them was strong enough so well one of them was but none of them were strong enough
to get me to really say alright your not nothing you really can’t, you really can’t do this anymore. it’s not
you’ll die you shouldn’t I’ve been arrested I used to steal stuff to get money for drugs and I was, I was I
was charged, I was charged for that I’ve been I almost died a couple times. just from drugs but I mean I
wouldn’t say almost died but I’ve been in very dangerous situations and I put my body in very in
extreme conditions with substances. but really the main thing that, that made me stop with everything
it happened a year ago last September so it happened about about a year and a half ago.
GUMMERE: This would be considered your rock bottom, I guess?
CONNORTON: Yeah. This I guess so I mean I guess so yeah I mean at this point in my life as far as as far
as my drug use it really wasn’t the rock bottom. But but but just what happened to me and my, my lack
of respect for the fact that I don’t have self control with chemicals lead to this and I’ve been, I’ve been, I
had been at that time I had been worse with drugs I had been using marijuana every, every day all day,
not every day, all day every day. that was the worse incentive sleeping and eating that was all I did.

Page 6

�there have been times where that was my life. Or if that was pot or what ever at at night then you start
drinking and then once I started drinking it was that opens it up to anything and when people ask how
many drugs have you done. And I’m dude how why that’s the incorrect question ask me how many
drugs I haven’t done. What types of drugs have I not done then I can actually count it. what I mean? But
at this time in life this was this was Sept…September 2010. Right, yeah September 2010, I still have the
police report here I can show it to you if you want it’s kind of embarrassing. But this was when I was on
the adderall and I was really really allowed me to get a lot of stuff done with my studies. But my
personal life was not there. I had no friends my relationship with my girlfriend was just that of I don’t
know just daily productivity. what are doing today how can I help you get your things done? The
weekends it was lets study I didn’t, or I’m going to go drink with my friends it’s either I wanted to do
drugs or I wanted to I don’t be as productive as possible. It was weird it was extremes, but it was a
Friday night and I hadn’t been taking the adderall and my girlfriend she said that her plans were to one
of our friends she knows her through work. They were going to go over to my girlfriend’s house and
hang out. with her parents or something that they had plans to do this and it was this girl thing. And I
asked you want me to come over I can watch a movie later. Or whatever and then I think her parents
ended up saying something about I don’t know it was a girl thing or something that. So I decided okay
well I decide to go get fucked up what I mean. So I decided I was going to take some more adderall I
went to go see her, I went to go see her at the on campus at the coffee shop first. And we talked for a
little bit and she decided yeah go ahead do your thing, we’re gonna, we’re gonna hang out tonight so I’ll
see you tomorrow or whatever. So I’m cool I’m I can do whatever I want I’m not gonna study tonight, so
I decided I was gonna take another adderall which I had already taken one that day and this is a routine
thing for me. sometimes I would take three or four of them and they were I forget how many milligrams
they were that’s not important. Anyways so I took another one and I’m feeling freaking just, (deviated
from interview) my cat you just gotta be rough with him. He’s used to that otherwise he’ll just do
whatever he wants and stuff. You can hit him or whatever, he’s ridiculous. Ok anyways I decided I was
gonna take another adderall because that would allow me to drink more and I called up my buddy I did
have some friends whose existents in my life was solely for drug use not not some for the purchase of
and some for the consumption with I would want to get intoxicated with them. And so I came over there
at this point I was buzzed and it was a little at this point it was little bit difficult for me to get stoned
from adderall just because my tolerance was so high. It was I had to take it no matter what right after I
left campus and I was going to go and see what was, and I hadn’t this in a long time I was actually Pretty
studious and with the quantities that I took. But so I went to go hang out with them any way’s this is
taking to long. So I we went out we gotta liquor first we got a fifth of Jameson and I drank it with him in
probably half and hour. just back to back and we took shots and then I decided I’m smoking habitually
heavily at this time even though I had quit at that point I had quit for a long time I hadn’t smoked in
three months, but I started smoking on this night. And then I decided I was going to find some drugs, I’m
gonna find something. So I’m asking people around and somebody came over to his house and he had
mushrooms, so I’m sweet yeah lets do some mushrooms and everyone’s all they didn’t really even want
to do them. I was yeah I want to do some mushrooms so I bought a quarter from him. And a quarter
ounce and I just, I just started eating them and the guy was dude you shouldn’t eat the whole thing
that’s a lot and I actually I hadn’t had mushrooms probably since high school. I did them once in high
school, I think I ate a whole bunch of them went to school and I we watched some video in class and I

Page 7

�just had to leave. I left school I was just gone and that’s all I remember of mushrooms and I don’t really
remember my trip or anything. So I decided I just kept eating them and I ate a whole bag of them. And I
couldn’t I’m not gonna feel them right away they they take a while to kick in and I was drunk so I didn’t
really care anyways it had to have been cocaine or something I would have used some self restraint.
Because you feel that immediately but with mushrooms it’s whatever I’m just eating it’s eating pizza or
whatever. you don’t really care so yeah I ate the mushrooms and then we we decided to go to this party
I got another fifth and the other fifth that was for me nobody was and it was another fifth of Jameson.
And I was just pulling the, pulling on the bottle and was swigging it. And I was I mean straight out of the
bottle. So are we good is it.
GUMMERE: I’m just making sure it’s recording your good
CONNORTON: So then we’re at this party and after drinking almost finished the fifth, I started to feel the
mushrooms and stuff. And I was I was wow I felt this was probably, this might have been one of the
most one of the times I have been most intoxicated. Because it was pretty those of some weird, that’s a
weird kind of combination. adderall, mushrooms, alcohol, nicotine and then at the party I had pot too.
when we go there we started smoking a lot of pot. And, and I kind of remember kind of feeling really
disorientated and feeling there was something else I should have been doing, I was walking around
outside, these are the last, eventually I blacked out, but I’m trying to tell you the last things that I
remember. And so I was walking around outside and their were people on the porch and we’re people
were we were having a good time at this point. And I just felt I don’t know I felt I was having an out of
body experience. I needed something to bring me back. So I decided I’m going to smoke a cigarette now.
And that’s the last thing I remember that, that I did. I smoked a cigarette actually I took a couple drags, I
took a couple drags and I was and blew it out and I don’t remember anything. I remember felling really
weird the nicotine and then wow, it was just black. I passed out, but apparently what happened, what
people tell me is that I just took off I took off running. I started running as fast as I could and I don’t
know I don’t know where I could have been running to but I was, I was running really fast and I was
freaking out. And I mean I have the police report you can look at it if you want it’s pretty embarrassing
but that’s what happened I totaled lost it and I just, and instead of just passing out I went into excited
delirium I just was screaming I was running all over the place running through people’s yards, hopped
the fence and was running around in this outside in this retirement facility or something that. I was
going through people’s yards and stuff and eventually somebody called the cops, the cops came and
they they commanded me to stop, I wasn’t doing anything illegal I was just extremely intoxicated and I
was running around and screaming a freaking crazy person. So and I don’t remember any of this by the
way this I’m going off of what was on the police report. And the last thing I remember was the cigarette.
And so there are some accounts in the police report about what people saw apparently I picked up a
dumpster, a garbage dumpster and threw it on somebody’s car. I don’t remember any of this but so the
cops came and so when the cops were trying to detain me you have to stop you can’t move and I wasn’t
showing any sign of submissive behavior at all I was screaming I didn’t want to and I talked to the cop
afterwards and he said this was days afterwards, but he said that I wasn’t trying to attack them but I
would not go into custody. I wouldn’t, they had to use tasers he said that well actually he didn’t tell me
this but this is in the report, they had to use tasers three times, they had to tase me three times to get
me to actually be contained. have my hands around my back and everything. And they said that well

Page 8

�this is what happened, but they, they were, there was three guys and they were struggling to get me
into into custody. And when they finally got me in handcuffs I was trying to get out so hard, so badly I
wanted to get out I dislocated my own shoulder. I popped it out while it was behind my back and they
didn’t know this at the time, I guess. But and I think at that time, I passed out and that’s in the police
report. Yeah I passed out loss conscious I was still breathing still had a pulse, but I was unconscious. And
the cops said that they thought I was suffering from excited delirium which is were your body pressure
keeps heating up and heating up and heating up until you die. Which I don’t know if that was happening,
I don’t know if it was that, the drugs might of induced that. I don’t know probably maybe it wasn’t
happening maybe I was just having a violent reaction to the mushrooms and all the other stuff in my
body. But they took me to the hospital instead of taking me to jail because of that. So they took me to
the hospital at the hospital, I was recovering, I don’t remember any of this either. Actually apparently,
apparently one of, this is what some of the nursing staff said that when I came into the hospital, by the
time I had came I had come to, I had regained consciousness. And I was violently trying to get out of this
stretcher they had to put restraints on me and stuff and and I was being very violent and using
obscenity’s and just being nuts psycho. And I don’t remember any of it, I don’t remember any of this. So
and also my shoulder was dislocated which extremely painful and I was still going nuts. I couldn’t feel it
and I can’t remember it. But when I was in the hospital I remember finally coming to and okay I’m in a
hospital. Everything’s fine I was I thought was I’m alive and that’s okay. Because the vague memories
that I do have of freaking out are utter hell it felt, if I were to imagine what hell would be that’s what
that’s what it would be. it was, it was really bad. Was that a phone or was that the recorder. So I was
just for it to be done. Basically and I came to and remember being in extreme pain they were giving me
morphine and stuff. So I was feeling but when I wasn’t on the morphine I was just ahh, just ugh. whining
and what I mean ugh and grunting and stuff. so they, they eventually realized that my shoulder was
dislocated and put it back into place and everything. And then I guess after that event I realized that I
should have been dead. I really should have been dead that day. And I realized I should probably, I
should probably do something with my life. I shouldn't first of all I should not use drugs anymore first of
all I won't take the adderall anymore and I won't ... ....when I tried; up to that point I tried to stop
smoking pot it would be it would a.... a. It always every other day type of thing when I was in college at
least that that much or if not every day or ..... in the beginning of college it was just as bad as it was in
high school all day every day, but when I tried to quit smoking pot it was it was always I always wanted
the last time smoking pot to be memorable or the last time the last time doing blow or whatever the last
time on pills I always wanted to be memorable so that would be ohhh yeah have a positive memory or
something or at least something to send me off do what I mean. But I never did it was always crappy the
last time it was. I wanted to be and I always ended up come down and be ohhh man that wasn't enough
I need to do it again that that was my thought was .... but after this event I just realized that....that I
should of been died and that was enough I needed to do some my life I have been granted to me
because I really really should of been died and another thing involve this even was that the same night
not even kidding I got tased three times and I was I still having a violent reaction still violently
aggressively not wanted to be detained and ahhh the same night in Indianapolis which is my home city a
kid died he got tased and he died he was he was shot with a taser and he died the same night so it's kind
of. Just a creepy thing for me and a realization that ...that that my way of living and my way of resp....
not respecting my limitations substances it's just just silly just not ahhh I don't know it was gonna lead to

Page 9

�my death. I kind of realized that I was gonna die that's what it took that's what it took me avoiding death
that was wakeup call and then I realized that it has to be a god up there somebody had, something or
someone had been looking out for me, because there are so many things I could of been doing I
remember car lights I could of. I don't know I could of been in a high way or something I don't know man
but that was what it took mm it was a near death experience for me to realized that I needed I needed
to turn it around if I didn't want to die.
GUMMERE: Describe that feeling I mean I don't think a lot of people ever experience the feeling that, I
could of realistically kill myself right there. Describe the feeling you get knowing that kind how push you
to get sober I guess ...is that?
CONNORTON: I don't know I guess I'm motivated by the people around me and the the the goals that I
have in life because once you ....I haven't really talked about this before but once you have that
experiences were you you could have died and really you should be died there is not much that can
happen to you that you are not gonna be prepare for; what I mean, I I know what death feels when I
was trippin and the stuff that I don't remember if I can try to explain it to you it would be everything.
Not just my vision but everything was black everything and in my head everywhere was black and then
and then there would be a tiny little spec of light a white dot that I would try with everything with every
ounce with every measurable of whatever energy that I had in my body try of seek out that light and just
just really try to get to it and then getting closer and closer and this is funny I was probably running my
ass off (Laughs); trying to get to the light of whatever its sounds totally abstract and stupid but then I
would finally get it and then get bigger and bigger and bigger and then everything would go white
everything is white now but I still feel so lost and need to get back to where a a normal place is and then
it would be a little black dot and then it would be the same thing over and over again just agonizing and
it wasn't I need to the black dot it was . Not only would I be died but everything would just see to exists
if I don't seek this thing out with everything I have and finally get to it and have everything normal again;
but then once you finally get there it just something is also completely abstract and abnormal but the
near dead experience is . Once you are alive after it, you just appreciate being alive more for the good
things in life ... you really think about all the consequences of what you do and the benefits of what you
do, you know why, you try to look back and think what I my motives for everything I do, why am I alive
you think about live little more and I kind of look at it as a positive experience because first of all if it
wouldn't happened in that way I'm sure down the road if some other crazy things would of happened
and odds are that I would of died from a serious drug overdose. Because by the way my ahh my my drug
alcohol level is it was point .22 something so, it was pass .25 so if I would gotten to. If I would being in
the hospital, I probably would of died because I was running around randomly. I might not died from the
alcohol poisoning but I mean it would of done some serious liver damage but I probably would of passed
out somewhere in a ditch and I would of die ...... or any other things could of happened; hit by a car
whatever start a fight with somebody or whatever, but I forgot where I was going with that. But but I
don't know once you realized that your life is been spare you really start to look at all the aspects of
your everyday life who are you helping. You know? what good are u doing for for greater human
population or even just your family; who you have around you that that that cares about you that you
would to see. ? prosper and then you want to take care of or something that just you need to look at
your goals more. You know what I mean? it's not just I should of do this I better go to college I better get
Page
10

�a job it's . Why? why am I here why. There has to be a purpose for my life now because I really should be
died why am I not just died instead of being alive right now. I have to be doing something and you think
about what it is that you should be doing and for me I found guidance through prayer and a read the
bible I find a lot of wisdom in there specially in the words that Jesus actually said but that's that's just for
me that's my thing I still respect other religions and what not but but I just kind of a desired to just be a
good person to be good because otherwise you only serving yourself and that is just pointless I may as
well be dead (Laughs) what I mean what what. If you are not helping people who are really in need or
who are really suffering or want to live they are on such at risk of dying what's the point of what's the
point of you being alive in access what I mean? So you tend to a ....think to think about that stuff a lot
more and you. Also we were saying it prepared you for anything really. my girlfriend always tells me
when bad things happened to us I'm always okay what do we do now; instead of ohh I can't believe
this!! are you serious? this has just happened (Laughs). I'm always ohh that is terrible that is just bad
okay. Now what is the course of action that we must take. Because, okay I'm not getting torture and I'm
not dying so now just solve the problem (Laughs) that's . So it gives you a different perspective I'm not
saying that it's necessary to I mean everybody is different what I mean everyone finds their purpose of
life . for me it might be that. I'm not stupid that I really had to used this drugs for that long for me to
realized that I need to respect my limitations with that and there is more to life just than self indulgence
in control substances you know what I mean? So I guess that what it meant for me the near death
experience.
GUMMERE: Okay. Being 22 years old and been in recovery drug addict/ alcoholic. you don't see that too
often unless you go to places AA what I guess specific challenges do you young addicts face; would you
say somebody who older doesn't necessarily have to deal with certain specific challenges that you say?
CONNORTON: Can you say the first part of the question again?
GUMMERE: Basically just what unique parts are there to be young and being addicted than to be old and
being addicted. Is there anything different that in it that makes it harder. I mean for me instance it's just
the fact that people our age you said they party it's what they do so it's hard to kind isolate yourself
from that.
CONNORTON: Okay I just have to use the bathroom really quick and then I can answer that.
GUMMERE: How do you pause this thing?
CONNORTON: You don't have to pause it don't risk deleting it.
(BATHROOM BREAK)
GUMMERE: Dude, I'm sorry but when you were on the roughest part of it and your cat turn the sink on
and off; I was amazed by that so I was smiling (Laughs). It wasn't the fact that you almost died (Laughs).
CONNORTON: He wasn't turn in it on he drinks little bit out when he licks the area it pisses me off so
bad; I hate him for it and every time he does it I make this psst don't do whatever you doing or else you
gonna get hit and the he keeps doing it that's the one thing that he just keep doing its just worth it for
him.
Page
11

�GUMMERE: Alright, actually we will. We are gonna change the question.
CONNORTON: Still recording it?
GUMMERE: Yeah
CONNORTON: Okay
GUMMERE: Just regardless. Next question would be. Did you drug use cause your friends and family or
people in general for that matter to treat you differently?
CONNORTON: Yeah somewhat, I guess at first not; not at all because they didn't know because I was
really really good at hiding it, there is precautions that you take. Specially if you smoke a lot pot. you
heard at lot of teenagers talking about this, you need to get your visine, you got your gum, mouth mints,
you got body spray, nobody would not known you are stone man; you are good, or you can still act high;
you can. I can be looking someone and be yeah you are stone unless you are me when I was starting
smoking I actually got developed to the point where ; my little brother he knew he knew I smoke. He
was the only kid in my family that caught me couple times he knew I smoked pot he would. Honestly, he
could not tell whether I was stone or high because I was stoned so much more often than I was sober.
ridiculous somehow. So that was normal when I was stone that became my personality that was me. So
at first it was a long time it was 2 years probably that this. Well maybe not that long maybe a year and
half because I started smoking ahhh . This was late I started smoking my junior year, which is actually
pretty late for Americans but my parents didn't really catch on to it until after I starting abusing alcohol
and pills and stuff too. So once they figured it out they immediate attitude towards it was extremely
ahhhhh; they were aggressively towards solving it they wanted it to not be happening to me anymore
and any degree what so ever. Ohh and they were really strict about it because my cousin had ahhh
fallen into drugs abuse patterns and die he was he would be I think he would be my older brother's age
right now but he died when he was 20 years old so they it's in the family to be really protective about
that kind of stuff, and their reaction to that to that forced me into more drug use because I was get off
me I just want to be in my own world . My friends didn't act different towards me because they were
the ones I was doing drugs with and they think they acted better around me if I was the one who came
through you I was the best the coolest guy . Yeah actually I remember the time this is how pathetic
drugs serious being drug addicted to drugs is, my friend and I had this falling out and ahh and I think it
was over a it was either a quarter pound or just quarter ounce of pot that we end up adding up
together and it was just gone we lost it we thought somebody stole it and we thought it was one of us.
So we had this falling out and we didn't each other at all and then the other two of them two two of my
friends they started hanging out again and it was ohh we just hate those guys we don't each other
anymore we suppose to hate them or whatever but then one time I got hooked up really good with
some ecstasy and I have ten of them and I got really good prices of them and I was yes! and . At first it
was I'm going to be the one who consumes this, this are mine but my friends found out from somebody
else that I have them and it was Mark is awesome now he is so cool we love him and it got reunited our
friendship (Laughs). after that we started doing drugs together all the time and just hanging out that's
what we did we didn't hangout we got together and got fucked up that was our life but my family got
really concerned after awhile yeah they didn't act different towards me they didn't they didn't it

Page
12

�completely changed their interaction with me it was a totally different setting. It was what are we gonna
do to get you to come back to reality, and stop avoiding everybody and being so reclusive, and not
caring about anything, ya know, there was no, they didn’t act differently to me it was completely
changed. It just changed the whole game ya I guess so yes they did, but it was just, it wasn’t normal
interaction it was they weren’t my family anymore they were just these people who were trying to get
me to stop using drugs they weren’t my brothers they weren’t my brothers they were they were just
people who were really concerned about me, we never just hung out for fun. It was what are you doing
tonight, what are you gonna go do, are you gonna sneak out? Ya know so ya they were my family in that
they cared a lot about me, but it, our interactions were not normal interactions anymore. Once they
finally realized I had a serious problem which was a year and a half after I started using drugs. But if you
want I can quickly answer that question that you had before.
GUMMERE: Sure
CONNORTON: I can’t really say how versus being an older person addicted because I’m not I don’t, I
haven’t been there and I’m, I think younger people in a sense, if they are younger people who realize
they have a problem and admit to it which is AA would tell you that that’s the first step towards
defeating addiction is admitting you have a problem and really they view it as admitting defeat saying
that you are helpless to help yourself you can’t do it, you need assistance, you know what I mean if
you’re at that stage in your life and you’re a younger person that’s awesome, you are way advantaged
compared to older people and we’ve seen this at AA going it’s look at all these guys the AA meeting
does not become I’m sure they talk about a lot what’s going on in their lives and how they want to, what
they want to pursue to avoid circumstances where they’re not drinking what do they want to do, but
when younger guys are there, it’s about them. It’s what are you gonna do and it’s it’s a lot of the
conversation is directed around the younger people because even when the older guys are talking about
themselves it’s that’s knowledge that you can use to not make that mistake you know it’s not that I’m a
better person because I realized when I was so younger that I am addicted, No. It’s that you’re lucky
enough to have your life spared you should be dead and now you are also lucky enough to go and hear
what these people have to say about their own problems and what their own addictions have led to ya
know as a younger person yes you should be participating in that but also, and I would guess if your
addicted to drugs and you’re an older person you have many more responsibilities it’s probably very
agonizing to see your family, it’s not just your brothers and sisters, it could be your wife, and your kids
and not only are they agonized to see you in the condition that you’re in a lot of the times but your
agonized because they have to see that I can’t imagine, I can talk about it but I really probably should be
because I haven’t experienced it but also I can say as far as being a younger person that’s addicted is
that ya it’s so normalized in our culture and it’s almost shunned if you want to get help ya know because
in the college culture drinking, partying it’s a normal thing and I’m not saying that it shouldn’t be but for
some people me, and I think if this is hereditary thing, substance abuse, alcohol abuse is hereditary, but
it’s not okay because when I start drinking ya binge drinking is accepted on college campuses because
it’s the cool thing to do, but for me binge drinking is regular drinking every time, that’s just how I am, I
can’t it’s not because everyone else is doing it and I want to be cool, it’s not because it’s fun. It’s
because I started drinking. Binge drinking is because I had one shot, that’s just what happens next I am
going to keep drinking until I pass out or until I feel so good that I can whatever I don’t even a lot of kids
Page
13

�have their minds on getting laid I don’t even care I just want to keep getting intoxicated if it just so
happens some girl wants to get high or something and then we end up having sex whatever that’s cool
but I’m not going to go out of my way to go and find a girl, I just want to get intoxicated that’s what
happens in the life of an addict ya know what I mean so but, but that’s a normal thing, you wouldn’t be
able to tell somebody who’s addicted to drugs from someone who is just partying, you can’t there’s still
just selling drugs, using drugs, drinking, whatever its normalized so you really, it’s difficult to get
anywhere until your realized you have a problem, but also for younger people in my situation vie been
in a lot of places where its accepted, it’s almost culturally normal you should be drinking right now its
new year’s eve someone’s making a toast, but I don’t drink, I’m sober I haven’t had any alcohol for
coming on two years so but I’m cool around my family but with people I don’t know it’s ya cheers with
my water glass ya know and its weird. I’ve gotten over that and trust me it’s not, it’s not bad that is
anything compared to being addicted to drugs that’s nothing, those awkward situations and then people
might question you oh really, so you can’t control yourself? Ya know you can’t you don’t trust yourself,
what kind of person are you well I’m an addict, that’s how it is, that’s in my genetics ya know you get to
the point where if you have a problem with that I really don’t care because I know that I should be dead
and I’m not gonna it’s not the person is trying to get you to use drugs, there just trying to, I don’t know
some people just don’t understand ya know they just say lighten up, just have a drink, but you don’t
understand if I have a drink either you or me is gonna be in the hospital tomorrow and were gonna wake
up, ya know it’s not gonna be fun. It’ll be fun at first but at the end of the night it’s going to be ya so
that’s what’s difficult about being young and being an addict.
GUMMERE: We’ll prolly wrap up after this, but basically what would you tell a person that has this
problem, and hasn’t sought help yet?
CONNORTON: I guess I would say keep doing what you feel is right but I guess you’re not concerned
with that but don’t wait, don’t wait for something terrible to happen because it’s bound to happen it will
happen, it’s going to happen. Continue using drugs and watch all the bad shit happen to you your life
will, it’s gonna suck, you’ll feel great, you’ll feel awesome all the time but in reality everything is terrible
around you, everything is terrible because you’re not paying attention to anything you don’t care about
anything but the way that your body feels, and the way that you perceive your body to be feeling the
chemicals in your head, that’s all it is, when your high, when your stoned and everything is alright, it’s
just a chemical in your head ya know your family could be dying and you wouldn’t care as long as you
have your drugs eventually you will get there, eventually you will get there and I’ll say that addiction
doesn’t always happen right away, it doesn’t always happen right away, sometimes addiction starts with
self-control when I started smoking, when I started smoking pot no it was immediate it was right away,
it was now this is what I’m gonna do for the whole summer this is my life now, this is awesome but with
cigarettes I knew it was bad for you, cigarettes are bad I shouldn’t be smoking cigarettes but I would
only smoke once every weekend or whatever, and I could control myself, for a year I only smoked on the
weekends ya know it was a long time, but eventually you will get to the point where your tolerance will
go up your desire to use it is gonna go up, it will you will want to use it and you will give in, youre a
human being your just chemicals in skin. the laws of physics say that you are gonna want more of what
you have that your body s, you’ll get addicted to it, (laughs) it eventually happens, and my little brother
started smoking a little while ago, and he was the same thing, I basically just beat the crap out of him,
Page
14

�(laughs) you can’t just don’t, I only smoke this, I only smoke this time. No. You’re gonna get addicted to
it, and that’s the case with other drugs. if you start using any other type of harder drugs, and its fun, and
you it. What do you think is going to happen? are you going to be using those drugs for the rest of your
life is that what you want eventually you will have to stop using it. do you wanna, do you wanna be the
person who has to quit pills when you’re thirty years old? And you have a family, or you’re thinking
about starting a family. Can you imagine how addicted you will be at that point? And also this is
especially important but what, name one benefit. What are the benefits to using drugs? Other than it
feels really good. it feels really good. I’m not gonna lie, it feels really fucken good, drugs they feel really
good, they will make you feel great, but that’s the one thing. Name one other benefit, anybody. Okay so
it costs money, you will deplete your funds. If you’re really addicted, that’s all you will spend your
money on, and eventually you’re gonna go broke. Okay, and number three, or wait this is only two
things (laughs) See what it does to your brain, man? (laughs) Okay, so number two, ya it has physical
effects on your body, you’re gonna, you’re gonna deplete, your body’s ability to sustain itself. It depends
on what drug, but that’s widely accepted you’re gonna hurt your body. the people you surround
yourself with, not just the dangers that substances does to your body, but the people who are
surrounded with drugs, they’re bad people, people who make a living, not all people, but in general
people who make a living surrounded on other peoples addictions are ad people, and you’re gonna put
yourself in dangerous situations. And then number four is is this number three or number four? Okay, it
doesn’t matter what number it is, but this is another thing. You’re addicted to drugs so you are
subjecting yourself to your own desires. you don’t realize what you will do to get that substance. once
you start using it recreationally. It’s fun, and you got money, you can go get it, it’s fun, I can go do it with
my friends, but what are you gonna do five years from now when you’re broke because you spent all
your money on drugs, and you need it, you will need it, your body will want it so bad. that’s your life;
you’ll want it so bad. It’s the only things that is important. so what are you gonna do? What crime are
you gonna commit? Who are you gonna hurt? Ya know? not just the effects on yourself. when you say
who am I hurting by doing drugs? Okay well you’re hurting yourself, but that person might say “Okay
fine let me do that to myself” who might you hurt though, who might you surround yourself with that
has what you want? Ya know what I mean? Or is there other people around you who care about you?
that would be invading someone else’s personal life. you’re hurting someone else by not giving a crap
about them. if you have people in your life that are dependent on you, or people in your life that care
about you, and you’re using drugs your putting your drugs, you love you love. if you’re addicted to
drugs, you love drugs, you love them; you love them because you spend time with them. You would do
anything for them, anything to get them, ya know? You love them more than you love people so if there
are people that you love, you love drugs more I guarantee that you do, and then also if you’re addicted
you’re putting other people at risk people you don’t even know because you don’t know what you’re
gonna do when you’re on a bender. You don’t know what you’re gonna do when you’re coming down,
and you really want something ya know? So you’re a danger to society ya know, I don’t know. Also I
would say that other disadvantages there is a plan for your life there is things for you to accomplish.
There are people who need your help. There are people dying right now, because they don’t have food,
and you’re sitting there smoking a joint by yourself, or you’re hanging out with your friends and you’re
rolling on ecstasy, or your sitting in an alley, and you’re shooting up heroin. there is people dying, and
you’re killing yourself? how I don’t know man. how arrogant is that, ya know its selfish, it’s so selfish.

Page
15

�don’t be, if you’re gonna kill yourself at least I don’t know join the army or something and go and run
out and try to kill the enemy, and go on a suicide mission. if you’re gonna kill yourself, help people first,
ya know? There are people that’s I don’t know there are people dying, there is good to be done ya
know. when everything is great, when world hunger is over and, and there is world peace, there’s no
poverty, I really can’t say anything to you, go ahead do drugs whatever (laughs) but still there are all the
other disadvantages, you would be hurting the other people around you, you would be endangering
society, you’d be killing yourself, ya know, but those are some serious reasons why you should just first
of all you should not start doing drugs, I mean because it just leads to bad things, you will become
addicted to it. If you think you’re not addicted to drugs, and you are using drugs, you will become
addicted to drugs because you don’t respect drugs. You love them, but you don’t respect them so you
need to do that. you need to stop using drugs, or at least realize it’s a dependency issue, and you can’t
but, I don’t know as far as drinking and stuff, I guess some people can do it, some people can’t, some
people can’t control themselves, if your one of those people who can’t control yourself, there is help out
there, there is people out there that you can be accountable with, so that you don’t end up hurting
yourself, or hurting other people around you, but ya that’s all the advice I got.
GUMMERE: Do you guys have any other questions? It was good.
CONNORTON: That’s a lot, sorry.
END OF INTERVIEW

Page
16

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
      <file fileId="25895">
        <src>https://digitalcollections.library.gvsu.edu/files/original/9abdc62b7f13b673e54440b03a8e6937.mp3</src>
        <authentication>e70b17660969a2de92b385e8a546d9ac</authentication>
      </file>
    </fileContainer>
    <collection collectionId="20">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432109">
                  <text>Speaking Out: Western Michigan Civil Rights Oral Histories</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432110">
                  <text>Civil rights--Michigan--History</text>
                </elementText>
                <elementText elementTextId="765907">
                  <text>Personal narratives</text>
                </elementText>
                <elementText elementTextId="765908">
                  <text>Oral histories</text>
                </elementText>
                <elementText elementTextId="765909">
                  <text>African Americans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765910">
                  <text>Gays--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765911">
                  <text>Lesbians--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765912">
                  <text>Bisexual people--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765913">
                  <text>Transgender people--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765914">
                  <text>Veterans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765915">
                  <text>Women--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765916">
                  <text>People with disabilities--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765917">
                  <text>Muslims--United States--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765918">
                  <text>Hispanic Americans--Personal narratives</text>
                </elementText>
                <elementText elementTextId="765919">
                  <text>Homophobia</text>
                </elementText>
                <elementText elementTextId="765920">
                  <text>Discrimination</text>
                </elementText>
                <elementText elementTextId="765921">
                  <text>Islamophobia</text>
                </elementText>
                <elementText elementTextId="765922">
                  <text>Stereotypes (Social psychology)--Upper Penninsula (Mich.)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432111">
                  <text>Collection of oral history recordings documenting the history of civil rights and social justice advocacy in Western Michigan. The collection was created by faculty and students as a project of the LIB 201 (formerly US 201): "Diversity in the U.S." course from 2011-2012. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432112">
                  <text>Grand Valley State University. Brooks College of Interdisciplinary Studies</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="432113">
                  <text>Speaking Out: Western Michigan Civil Rights Oral History Project (GV248-01)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="432114">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432115">
                  <text>2017-05-02</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432116">
                  <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432117">
                  <text>audio/mp3&#13;
application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432118">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="432119">
                  <text>Sound&#13;
Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="432120">
                  <text>GV248-01</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="432121">
                  <text>1930-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="4">
      <name>Oral History</name>
      <description>A resource containing historical information obtained in interviews with persons having firsthand knowledge.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="432538">
                <text>GV248-01_Connorton_Mark</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432539">
                <text>Mark Connorton audio interview and transcription</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432540">
                <text>Connorton, Mark</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432541">
                <text>Gummere, Brandon</text>
              </elementText>
              <elementText elementTextId="432542">
                <text> Helinski, Tyler</text>
              </elementText>
              <elementText elementTextId="432543">
                <text>  Rocco, Joseph</text>
              </elementText>
              <elementText elementTextId="432544">
                <text> Ortega Vasquez, Julio</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432545">
                <text>Mark Connorton is a mathematics major at Aquinas College in Grand Rapids, Michigan. He discusses his alcohol and drug addiction issue and how it affected his relationship with his parents.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432547">
                <text>Civil rights--Michigan--History</text>
              </elementText>
              <elementText elementTextId="432548">
                <text>Discrimination</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432549">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432550">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432551">
                <text>Sound</text>
              </elementText>
              <elementText elementTextId="432552">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="432553">
                <text>audio/mp3</text>
              </elementText>
              <elementText elementTextId="432554">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="432556">
                <text>Speaking Out: Western Michigan Civil Rights Oral History Project</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="440287">
                <text>2012-02-24</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1029797">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="9386" public="1" featured="0">
    <fileContainer>
      <file fileId="10204">
        <src>https://digitalcollections.library.gvsu.edu/files/original/db198d3a6c49afb408100f9249746811.pdf</src>
        <authentication>259726aba4427e8a2200892ec98bcb27</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="169858">
                    <text>�����</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="8">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86587">
                  <text>Civil War and Slavery Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86588">
                  <text>United States--History--Civil War, 1861-1865</text>
                </elementText>
                <elementText elementTextId="765590">
                  <text>Slavery--United States</text>
                </elementText>
                <elementText elementTextId="765591">
                  <text>African Americans</text>
                </elementText>
                <elementText elementTextId="765592">
                  <text>United States--Politics and government--19th century</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86589">
                  <text>A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86590">
                  <text>Lemmen, Harvey E.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="86591">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472"&gt;Civil War and Slavery Collection (RHC-45)&lt;br /&gt;&lt;/a&gt;&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470"&gt;John Bennitt Diaries and Correspondence (RHC-43)&lt;br /&gt;&lt;/a&gt;&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471"&gt;Nathan Sargent Papers (RHC-44)&lt;br /&gt;&lt;/a&gt;&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478"&gt;Theodore Peticolas Diary (RHC-51)&lt;br /&gt;&lt;/a&gt;&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476"&gt;Civil War Patriotic Envelopes Collection (RHC-51)&lt;br /&gt;&lt;/a&gt;&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479"&gt;Whitely Read Diary (RHC-52)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="86592">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86593">
                  <text>1804-1897</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86594">
                  <text>&lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86595">
                  <text>image/jpg; application/pdf&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86596">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="86597">
                  <text>Image; Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="248789">
                  <text>1804-1897</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="1">
      <name>Text</name>
      <description>A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="169813">
                <text>RHC-45_CW16500</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169814">
                <text>Mark Howard to his wife</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169815">
                <text>1860-11-23</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169816">
                <text>Howard, Mark, 1817-1887</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169817">
                <text>Howard, Mark, 1817-1887</text>
              </elementText>
              <elementText elementTextId="169818">
                <text>Hamlin, Hannibal, 1809-1891</text>
              </elementText>
              <elementText elementTextId="169819">
                <text>Welles, Gideon, 1802-1878</text>
              </elementText>
              <elementText elementTextId="169820">
                <text>Lincoln, Abraham, 1809-1865</text>
              </elementText>
              <elementText elementTextId="169821">
                <text>Lincoln, Mary Todd, 1818-1882</text>
              </elementText>
              <elementText elementTextId="169822">
                <text>Trumbull, Lyman, 1813-1896</text>
              </elementText>
              <elementText elementTextId="169823">
                <text>Judd, Norman B. (Norman Buel), 1815-1878</text>
              </elementText>
              <elementText elementTextId="169824">
                <text>Howard, Angelina Lee</text>
              </elementText>
              <elementText elementTextId="169825">
                <text>United States--History--Civil War, 1861-1865</text>
              </elementText>
              <elementText elementTextId="169826">
                <text>Chicago (Ill.)</text>
              </elementText>
              <elementText elementTextId="169827">
                <text>Hartford (Conn.)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169828">
                <text>Letter by Mark Howard, insurance company president and Lincoln political appointee, describing his meeting in Chicago with Abraham Lincoln and other prominent Republicans shortly after Lincoln's election in 1860.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169830">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="169831">
                <text>&lt;a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en"&gt;No Copyright - United States&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="169832">
                <text>Civil War and slavery collection (RHC-45): http://gvsu.lyrasistechnology.org/repositories/2/resources/472</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1025862">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="3864" public="1" featured="0">
    <fileContainer>
      <file fileId="4466">
        <src>https://digitalcollections.library.gvsu.edu/files/original/f4288c8fdd19a6a26815be657224e1ee.jpg</src>
        <authentication>4f29657f70ff54bde2819e757280293c</authentication>
      </file>
    </fileContainer>
    <collection collectionId="4">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48651">
                  <text>Grand Valley State University Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48652">
                  <text>Aerial photographs</text>
                </elementText>
                <elementText elementTextId="765576">
                  <text>Universities and colleges</text>
                </elementText>
                <elementText elementTextId="765577">
                  <text>Michigan</text>
                </elementText>
                <elementText elementTextId="765578">
                  <text>Grand Rapids (Mich.)</text>
                </elementText>
                <elementText elementTextId="765579">
                  <text>Allendale (Mich.)</text>
                </elementText>
                <elementText elementTextId="765580">
                  <text>Building</text>
                </elementText>
                <elementText elementTextId="765581">
                  <text>Facilities</text>
                </elementText>
                <elementText elementTextId="765582">
                  <text>Dormitories</text>
                </elementText>
                <elementText elementTextId="765583">
                  <text>Students</text>
                </elementText>
                <elementText elementTextId="765584">
                  <text>Events</text>
                </elementText>
                <elementText elementTextId="765585">
                  <text>1960s</text>
                </elementText>
                <elementText elementTextId="765586">
                  <text>1970s</text>
                </elementText>
                <elementText elementTextId="765587">
                  <text>1980s</text>
                </elementText>
                <elementText elementTextId="765588">
                  <text>1990s</text>
                </elementText>
                <elementText elementTextId="765589">
                  <text>2000s</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48653">
                  <text>People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48654">
                  <text>News &amp; Information Services. University Communications&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="48655">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41"&gt;News &amp;amp; Information Services. University Photographs. (GV012-01)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="48656">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48657">
                  <text>2017-03-03</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48658">
                  <text>&lt;a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en"&gt;In Copyright - Non-Commercial Use Permitted&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48659">
                  <text>image/jpg&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48660">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="48661">
                  <text>image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="48662">
                  <text>GV012-01&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="48663">
                  <text>1960s-2000s&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="58">
          <name>Local Subject</name>
          <description>Subject headings specific to a particular image collection</description>
          <elementTextContainer>
            <elementText elementTextId="63069">
              <text>1970s</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="62">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="571176">
              <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41"&gt;University photographs, GV012-01&lt;/a&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="63060">
                <text>GV012-01_UAPhotos_001064</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63061">
                <text>Mark Mangianti</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63062">
                <text>Mark Mangianti, 1st National Champion in any sport at GVSU, National Champ NAIA 1974, 1st NCAA Divison II All-American, 3rd NCAA II 1976.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63064">
                <text>Grand Valley State University</text>
              </elementText>
              <elementText elementTextId="63065">
                <text>Michigan</text>
              </elementText>
              <elementText elementTextId="63066">
                <text>Allendale (Mich.)</text>
              </elementText>
              <elementText elementTextId="63067">
                <text>Universities and colleges</text>
              </elementText>
              <elementText elementTextId="63068">
                <text>Sports</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63070">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63071">
                <text>&lt;a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en"&gt;In Copyright - Non-Commercial Use Permitted&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63072">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="63073">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1025338">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="532">
        <name>black and white photo</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="41369" public="1" featured="0">
    <fileContainer>
      <file fileId="45587">
        <src>https://digitalcollections.library.gvsu.edu/files/original/d335cc04618c7ac77cf60f1cbdfa367c.mp3</src>
        <authentication>0c507999143a4dd27bfa326b6d543fcb</authentication>
      </file>
      <file fileId="45588">
        <src>https://digitalcollections.library.gvsu.edu/files/original/1d9d8cce150bd488b18e995aa1642185.mp3</src>
        <authentication>bcef0c15f211197f4396425aa09ef92a</authentication>
      </file>
      <file fileId="45589">
        <src>https://digitalcollections.library.gvsu.edu/files/original/e4cb62dcf1fa9e38f50a61c2a2dcc91d.pdf</src>
        <authentication>7de74b90b38973504b5b8fd7c6d38c8f</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="786884">
                    <text>Mark Randall - Interviewed by Ted Reyda
May 20, 2018

1

Part 1
Unknown voice: Now look at it, does it say R E C? That’s important you’ve got to look at that screen,
don’t, don’t rely on the buttons!
Ted Reyda: Okay, we have uh, Mark here and he’s going to tell his adventures and youth of being in the
area.
Mark Randall: [Inaudible] Um, I was born on uh, November 21st 1950 so, the uh, my memories might be
somewhat hazy until I get to be about 10 years old or so. But uh, but I came up here every year, for two
weeks. My grandparents, um, owned a placed on 64th street, they purchased it when my mom came up
here when she was 17, which would have been about 1942 to go to Oxbow and they came up here to
keep an eye on her and they bought that place on 64th street so obviously when she got married along
with her sisters who all got married and had lots of kids, we would all get um, um. My grandparents had
3, 3 daughters and each family got two weeks up here over the summer. Um [pause] my main, my first
recollections were going to Lake Goshorn which was near 64th street my uh, grandfather knew Gus
Raiser who the uh, the gas station and auto place there and he also owned the property behind it and so
he gave us permission to go there and swim, and that’s where I learned to swim. Um, uh suddenly my
dad tried throwing me out the boat uh, but that didn’t work because I went right to the bottom and
they had to rescue me and then gradually with my uh, grandfather and my mother taking more time.
Um, I also remember going with my grandpa to get his cigar uh, and newspaper at Funk’s which was uh,
in downtown. Uh, and I remember on rainy days we would go to the laundromat which is where um,
really Wick’s park is right now, I believe. Um, and uh there was a miniature golf course there, on nicer
days we would get to play. Maybe we put this on pause and look at the questions?
Unknown voice: Well I think that’s great.
[00:02:20]

Part 2
Mark Randall: So now we have the questions, um the only thing of the first four that I didn't say is
where I lived the rest of the time and uh, are we, we grew up in Chicago, in the southwest suburbs,
Orland Park. And [pause] it asks what our favorite place to eat was, well, one of the things we did as kids
is my mom would take us, my grandparents had this old car, it was in 1936 Buick, it was called
Unbelievable, and um, there were no seats in the back, it was a coop so we would all stand back there
and my parents, my mom would drive. And so we would make it uh, to Oval Beach and we would run
along the beach while my mom looked at the sunset. The idea is we would all, which is something we do
to this day, uh, and [pause] we would pass the Rootbeer Barrel and, but when we were out there on the
beach, my mom said we would not go there unless we stayed dry because she didn't want to wash all
our clothes. So we would go walking along, and then pretty soon we'd be running and pretty soon one
of us would get a little wet and pretty soon you push each other all in and we'd all be soaked. But my
mom wanted the ice cream or the root beer or something so we would all got to go anyway. So that was
a favorite place because uh, the root beer tasted good after being, uh after being there and plus we
could stay out a little later. So, uh, um, did we ever go over to Douglas? Uh, yes we did um, as I grew up
more, um, they tried to teach ten, when we would play tennis and the courts in Saugatuck were our
first choice because, uh, they were closer, um, but if it didn't work, there was uh, a tennis court right

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

2

where Berry fields is now and we would go there. It was a little bit more of a substandard court, but I
remember going there. Um, and uh, were there other places that were important to us or did you have
a summer job locally? Um, as I got older, of course I did the typical things. You, uh, you grew up and uh,
went through high school, got a job and went to college. So, when I got um, when I got to high school,
we would still be able to come up here for two weeks. But it was, it was more of a problem for me. So I
would generally come up for a period of time if I could with my folks and it didn't have to work and try
and arrange it because it was always something that was still special. Um, I had a very unusual
experience in, while we were down in Timmeny Park working in a restaurant and met, uh, uh, a lifelong
friend who was a seminarian at the time at Saint Augustine's seminary. Um, and so we've hatched a plan
that I would, when I came up here with my parents and he was at school or he was at the seminary that
I would sneak out. And so we did this and I got on a bicycle and rode from 64th street over to the
seminary and it was late, you know, midnight, one in the morning, something like that. And, uh, and uh,
I remember passing the seminary. Uh, it was a vivid marriage because I was scared and, uh, I was doing
something I wasn't supposed to be doing, and uh, but we, I got there and somehow found our way to
the seminarians who are out at the lake, uh, skinny dipping in the boathouse, which was still there at the
time, it had a second floor and, uh, people were hanging out there, listening to music and drinking beer.
And, uh, and, and I think that was one of my first entries into the LGBT community because uh, I started
to realize that I, I got awfully excited about that. I wouldn't take my clothes off for fear of, well, you
know [Laughs]. And so, uh, and so um, so Saugatuck was a special place. Um, I, I said this once in a
speech that I gave here. I had a, I loved old buildings and there were three really prominent ones in my
memory. Um, one was Tera, which we rarely went to, but I think my grandfather took me there once
after I had actually done some hard work for him. Um, uh, another was the Mount Baldhead Hotel.
Which you could see if you went on the ferry or if you, uh, if you played miniature golf there and things.
And the third was a beautiful set of pillars, uh, in front of a, I presume was a Greek Revival House that
was perched on the, uh, along the river. So if you took the, what was then the Island Queen, a precursor
to the Star of Saugatuck, uh, you would see it, as you, as you gently glided down the river, and those
made an impression on me and uh, and it also made an impression on me that there are no longer here,
um and I think that got us, got me started, I think in some ways on the appreciation of old buildings and
the desire to restore them, which we've carried out today.
[00:5:09]
Ted Reyda: And you, what what are those buildings you've restored in the area?
MR: Um, well there are two. Um, this obviously is not the 60s, 50s or 60s. Uh, but, uh, uh, much later in
the last, uh, 10 years or so, we, uh, um, Chris, my spouse is a teacher and so we get our summers off.
And so we hit on the idea of starting to come here and that grew into uh, hosting our whole family here
for the Oxbow um, the same weekend as the Oxbow benefit because my mom was on the board there
for a long time. And, uh, and so we held the, uh, we would come for that weekend, stay at the
Timberline hotel, know, but then we decided to buy a place. We bought our first place, uh, about 12, 13
years ago. Um, and uh, and that was a relatively newly restored condominium. But then we took on a
project, uh, Dan Shanahan's urging when we, we bought a lot on Washington Street and, and uh, moved
the old, what was the remnants of the old Douglas Hotel, uh, citizen in 1934 it burned and it was
cobbled down into a, uh, into a little bungalow with what was left. And uh, that was on the corner of
Center and Washington and they, uh, the owner of that was going to demolish it. And so we bought the
nearest property right next door, and, and, and he gave us that house for a dollar and we moved it
there. Um, and then uh, several years later there was another house, uh, the Gerber house, which was
at Union and South, I believe. And uh, that was also going to be demolished by owner who wanted to

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

3

build something else there. And we purchased that for a dollar, and, and, since that acquired a lot of the
corner where the old house used to be and moved it there.
TR: Do you uh, have any memories of your mother at Oxbow? As a child going there and observing it?
MR: I don't have any per se, but my mom tells me stories. She said one time she was there doing a
figure study uh, a class, and there was a uh, uh, a woman who was naked, you know, being, uh, being
painted and that, uh, and that I, when I noticed that I was, my mom would take me and put me out by
the water and tell me to behave, you know, play there and behave myself and, uh, but I somehow saw
that, and uh, she I think took a break and went running down and jumped into the water. And, uh, and
so I was horrified by that and went running up and told my mom that there was a bare naked lady down
there.
[TR laughs]
MR: I can't say I remember that, but, uh, um, I, uh, we other memories were of course going to Oval
and uh, walking down towards the channel as I, uh, as I grew older and realized I was gay of course, that
he had a different connotation because we knew there were uh, gay people down there cause they
would be like sentinels up on the, up on the slope for, you know, and uh, but uh, but even then we
remember going down there, you know, during the sunset and [inaudible]
TR: But you never wandered up into the dunes?
MR: Uh, no, I mean, not that, not that I can remember.
TR: Okay.
MR: It took me till I was 34 results to really, uh, except all those, even though, uh, back then the, the,
the, the seminary experience was about 17. So a, so I was a pretty slow mover. I wasn't heading up to
any dunes.
TR: So the area had enough interest where you had to come back?
MR: Yes. In fact, one summer I was, uh, in my senior year, so this be outside, again, this is about 72.
Um, I or summer of yeah, 72 or 71 maybe. I was, uh, we, I had made enough money in summers before
where I didn't need to work much that week, that, that summer and um, we decided it would be really
fun, some friends of ours and I, to come up here to Saugatuck and stay for a summer. So I managed to
get a job at the Ilfarmo restaurant washing dishes and we stayed at a little place. It's a little place it’s
much nicer now it's going to redone. Um, but it, it was a little cottage uh, which was just basically two
rooms right next to the funeral home and, and perched up a little bit, so you actually walk out with a set
of stairs, which is still there. It's still there, but it was much rougher then, didn't have the nice porch that
it has now and actually the dune kept encroaching, so, uh, the toilet, by the time we left, there was a, a
little toilet was the closest thing to the dune and there was this sort of slope of sand behind it that was
kind of close to your uh, feet, um. But uh, so we stayed in that and we had rented that for the summer
and, uh, we would go out on the dunes and, uh, and for sunset, we've never had any money. Uh, and so
we would go out there and watch the sunsets just as much as I did when I was a kid, except that we
would have a bottle of Boone's farm and maybe some other entertainments that, uh, and we would
walk there frequently and uh, stay till it got dark.

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

4

[00:10:34]
TR: No, no knowledge of uh, Toads, the gay, the only supposedly gay bar.
MR: Um, we, the only knowledge I have of a gay bar was during that same time when I was renting and I
worked at the Ilforma, you could work in late. And I walked by the Blue Tempo, and I would
occasionally…
TR: That is the same place.
MR: Ah, okay. And, uh, I would occasionally get whistled at or you know, uh, get a comment.
TR: But you never went in?
MR: No, I, uh, I, I wasn't accepting of, uh, of, uh, of that. Yeah. So, uh, so it looked at it mostly flustered
me because I didn't really know how to react.
TR: But, yeah, it's wonderful that you've had these positive feelings to come back and then you bring
your family and back and you certainly have a long tradition. I don't know if you want to describe any of
the house that your grandfather had, the family inn?
MR: Well, they were from Germany. Um, so, um, they, they spoke English but with a, with a heavily
German accent, and so there were memories or Germany in every place they had. So the, uh, the
original house there was uh, a cottage. It was a, it had knotty pine, which I remember vividly, a beautiful
warm view. And they had a, uh, you know, a German cuckoo clock that would come out, and, but the,
uh, and, and there, that was the part of the house we could go to, but my grandparents kept part of the
house on the other side of the kitchen that was off limits to us because I think they wanted to keep it
quiet, and, uh, and you have some separation because my mom had five kids, my Aunt Deb had eight,
my Aunt Mony had five, so they had six weeks of this, uh, you know, lots of kids and I think they had to
have some area of, uh, it was 15 acres, so, uh, or it was until they started building on 196 and then they
lost their…
TR: Okay, were there summer gardens or anything?
MR: Yes, they had a beautiful garden, they had a uh, uh, uh a rectangle, a long rectangle of flowers that
were between the two houses. We got kind of the refurbished garage to stay in, all the, all the uh, the
daughters families and uh, and, and that was between them and there was a lot of lawn and there were
a lot of apple trees. Um, there were, there were all around, the circular drive is still there.
TR: Did they spray it to get the fruit or just?
MR: [Inaudible] I don't remember.
TR: You don't remember?
MR: [Speaking over TR] You know, we would come, we would come generally in, uh, late June or early
July, so picking through, um, uh, wasn't ever a part of what we did, uh…

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

5

TR: And they probably didn't have any pits around here, in Fennville?
MR: They may have, they may have, uh, um, for whatever reason, it wasn't something that would…
TR: How long was the journey from Chicago?
MR: Well, back then it was, uh, probably a good four hours or so. The uh, um, I remember that we
would all pile, you know five kids and you know, into my, either my dad’s car or [inaudible] car
[inaudible] grandfather too. And uh, and I remember one of us would lay on the uh, the back deck of the
window, you know, obviously there were no seatbelts then, but you know, we'd always have to go to
the bathroom and so there'll be lots of stops and we would stop at um, was a Bill Naps, I think it was a or
the Big Boy, and uh eat something on the way. If we're in, and if we were good, we would get ice cream,
uh, and we would get another real good or not. But it was a, it was a incentive.
TR: I don't know if you want to get into, did any of your family take memories and objects from this
place?
MR: [Laughs] Uh, we all have memories, you know, whenever we have a sort of family of union
Saugatuck comes up and now that we, Chris and I have a place here, uh, we've gotten visits from a lot of
the family that we're still in touch with.
TR: And so their, their experiences are very positive then?
MR: Oh, yes, yes. It was a, an extraordinarily warm experience, uh, in the place. You know, you forget
what we had a, we had a family with a bunch of little kids come visit, uh, a few years ago, and we were
thinking, well, what are they going to do? Well between the dunes schooner rides and like the fishing or
whatever, there’s just so much for kids to do here. And, uh, and uh, you know, I, I can't, I can't think of a
child that has had a negative view of, of, uh, of being here.
[00:15:18]
TR: In what ways to have the area changed?
MR: Well, after, uh, you know, moving to California and lots of stuff, it's amazing to me how little it has
changed. But I think I, uh, I would, I would say, you know, certainly it's sad to see uh, there, as I said the,
some of the architectural things, you know, leave, the pavilion of course. Oh, I remember seeing movies
there my grandparents took me to movies there.
TR: That down below?
MR: Yeah, uh, and it was, um, and it was getting kind of tacky, you know, and I don't know that, I don't
have a memory of the ballroom, um, so we probably never were up there for anything. Um, but still, you
know, it was a remarkable building and to see it go, uh, with, uh, uh, which it did when I must've been, I
think about 13 or so when uh, when it burned down.
TR: Did you ever uh do, take sailing lessons?

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

6

MR: I did, I did. Um, my parents, you know, were, uh, had no end of things to try and uh, try and keep us
occupied. And one of them was taking swimming lessons, uh which we took, I think, uh, I forget where.
Um, what pool or something?
TR: There was a, north of town, a huge pool.
MR: Yeah.
TR: But they closed that because the polio.
MR: Right, so I think that may have already closed, uh...
TR: It was at North Street and, and Holland. Yeah.
MR: Yeah. I know, I've heard of it, but I, I don't, I don't have a memory.
TR: Okay.
MR: But I do remember swimming lessons, but the, the one thing that I did remarkably poorly at, and
our son did too, was uh, sailing at the yacht club. Uh, I you would start on these prants, which were a
flat fronted sailboat, and uh, and it, once you've mastered that, which never did, then you move up to
the lightning’s, uh, which were a bigger, a bigger, smoother boat, uh, but it was fine then it was
memorable, and uh, and uh, even if I do remember getting whacked on the head with it, boom, more,
uh, more than once.
TR: Which for example, are there any negatives of your experiences here, that you can think of?
MR: Um, not any that were, uh, you know, uh, to the place. Um, there was some family dynamics that
sometimes didn't [inaudible] well. Um, but, uh, I, and I remember I have had a lifelong, dread of
mosquito I suppose, but you know, I don’t know where in the park where they have get any less, so I
imagine that was just part of growing up. Uh…
TR: [Inaudible]
MR: Um, not so much, I don’t remember uh, getting that. Um, so it was a pretty much all positive
memory. It was just wonderful to get away, uh, and come here and it was a beautiful place. And my
parents above all knew how to appreciate beauty and they knew how to instill that, both the beauty
itself and the appreciation of it in me. And uh, this is a beautiful place.
TR: And at some point hopefully we’ll have your mother doing an oral uh, session.
MR: And you need to get her fast. She's 93 and she's taking care of my dad a lot, but the uh…
TR: But the, the art work she's done and going to Oxbow, very, very rich experiences.
MR: Yep. It's your, uh, and I think that if there is a negative, that will be when my mom passes away
with, because so much of, uh, so much of the memory here involves her, uh, so. [Pause]

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

7

TR: Okay.
MR: Two experiences that seem like they might have answer, uh, some of the questions here. Uh, it
asks, did you spend time on the water? And yes, we certainly did. Um, we used to come up here a lot,
even not just that summer bit, uh, that, um, I came after college during college we, we, would come up,
but we had no place to stay and we didn't have the money so we would, uh, we would, uh, you know, go
watch the sunset or otherwise entertain ourselves until uh, a, a, and we'd hang out in front of the, uh,
the old, uh, coral gables, because you hear the music there were along the, uh, along the water and uh,
and then when it got late enough, we would um, park our cars along uh, uh, Lakeshore there where all
fancy houses are, and find one of the pathways and we would sneak by, sometimes the windows were
open until we got out to the beach and we would sleep on the beach until, uh, until the morning. Um,
and the only other water experience is a one time. We decided we were going to, uh, make it to the
other side of the channel, and so we kind of, uh, um…
[00:20:12]
TR: We being your family.
MR: No, no, nobody, nobody else in my family is that stupid, uh, but it was just one of my friends and I
had a, or two of us, two, so three of us total. And we, uh, we decided we were going to swim across the
channel and uh, and, and we did, it was kind of icky, the water and it was hard getting up the other side
once we got there, which probably should have occurred to us before we left. But, uh, and uh, and we
didn't bring enough food and stuff. We would kind of have, have to hold it above our heads, you know,
to get, to get across. So I think that was it.
TR: Okay. [Pause]
MR: [Inaudible] Although my mom um, had five kids to raise. She still would bring us over to Oxbow and
she would still sometimes take classes or paint over there. And so we, Oxbow is it been a part of my life
as long as Saugatuck has. Um, you know, my mom ended up on the board there and so I would uh, go up
with her or sometimes for meetings or things like that. And we, we stayed in the Inn, in one of the other
cottages, uh, which was, uh, rustic even by a college students standards, uh back, back then. Um, when
we were very young, um, we, as I said, we used to go play tennis and one of the rewards for tennis was,
uh, we would, we would go to Recsals and, uh, I, uh, I was partial to root beer floats, then chocolate
shakes, uh, and then chocolate sodas. But uh, but that it's amazing how little that, you had asked what
changes, how little that has changed. That it’s still there, seems like the same experience, it always will.
TRL But you also did the root beer floats at the Root Beer Stand.
MR: I'm trying to remember when the Root Beer Barrel had floats, they had mugs, you know, big mugs
and you can get foot long hot dogs.
TR: Frozen, frozen mugs. Like this.
MR: But we, we did have a hot dogs cause we had just eaten dinner, this was a sunset thing. But the, uh,
but we did have the, the big mugs, and um, I don't remember where there floats or not.

�Mark Randall - Interviewed by Ted Reyda
May 20, 2018

8

TR: Where would you, you cooked at, your family cooked at home a lot. Uh, where did you buy your
groceries?
MR: Um, well that’s another story, they, uh, where or 64th street is like nothing. Like it is now, iIt was a,
it was barely paved. It was a, had a big crown at, so you'd be constantly afraid that old car was going to
go off the road. Um, so, um, but, but you could ride your bike out to a place, I think it's called Hanes or
something like that, which is a, the building is still there right now, it’s say pet health center or
something. Uh, it's right next to where the Burger King is now.
TR: The cat, cat house.
MR: And uh, well that was a, that was like, uh, a, a, a, early precursor of like a 7-11 where you could buy
uh, basic things. And the trick for me was invariably that my mom would want eggs and I would, I would
try and get them home without breaking too many…
TR: On your bicycle.
MR: And I had uh, limited, uh, marginal success, at that, uh but I remember so, so we would get sent up
there. Uh, as far as shopping it itself, was is there a grocery store like Demond’s? I know on rainy days in
addition to doing laundry and we'd go into Holland to buy things. Um, but, uh, but I don't remember.
TR: Was, was your family religious? Did you attend any churches?
MR: Um, we, I don't remember what was there before the St Peter's, now we're Catholic family and uh,
but I do remember a big church being brand new, um, and…
TR: Where your condo was, was where the church was.
MR: Uh, well it could have been, well it was obviously, but I don't remember it. I do remember Saint
Peter's and how impressive it was because it was new and that there was a, uh, there was a building uh,
having, there's a room that was for um, all the noisy kids and, uh, but my, my mom had considered me
graduated enough where I had to go in the main part and behave and I couldn't be back there uh, with
the other kids.

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="38">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775838">
                  <text>Summers in Saugatuck-Douglas Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775839">
                  <text>Grand Valley State University. Kutsche Office of Local History</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775840">
                  <text>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. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="775841">
                  <text>1910s-2010s</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="775842">
                  <text>Various</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775843">
                  <text>&lt;a href="http://rightsstatements.org/vocab/UND/1.0/"&gt;Copyright Undetermined&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775844">
                  <text>Michigan</text>
                </elementText>
                <elementText elementTextId="778569">
                  <text>Saugatuck (Mich.)</text>
                </elementText>
                <elementText elementTextId="778570">
                  <text>Douglas (Mich.)</text>
                </elementText>
                <elementText elementTextId="778571">
                  <text>Michigan, Lake</text>
                </elementText>
                <elementText elementTextId="778572">
                  <text>Allegan County (Mich.)</text>
                </elementText>
                <elementText elementTextId="778573">
                  <text>Beaches</text>
                </elementText>
                <elementText elementTextId="778574">
                  <text>Sand dunes</text>
                </elementText>
                <elementText elementTextId="778575">
                  <text>Outdoor recreation</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="775845">
                  <text>Grand Valley State University Libraries. Allendale, Michigan</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775846">
                  <text>Saugatuck-Douglas History Center</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="775847">
                  <text>Stories of Summer (Common Heritage project)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775848">
                  <text>image/jpeg</text>
                </elementText>
                <elementText elementTextId="778576">
                  <text>application/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775849">
                  <text>Image</text>
                </elementText>
                <elementText elementTextId="778577">
                  <text>Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775850">
                  <text>English</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="775851">
                  <text>2018</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="4">
      <name>Oral History</name>
      <description>A resource containing historical information obtained in interviews with persons having firsthand knowledge.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="786861">
                <text>DC-07_SD-RandallM-20180530</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786862">
                <text>Randall, Mark</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786863">
                <text>2018-05-30</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786864">
                <text>Mark Randal (Audio interview and transcript), 2018</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786865">
                <text>Mark Randall grew up in Orland Park, near Chicago, in the 1950s. In this interview, Randall recalls visiting Saugatuck in his youth and living there as an adult.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786866">
                <text>Reyda, Ted (Interviewer)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786867">
                <text>Michigan</text>
              </elementText>
              <elementText elementTextId="786868">
                <text>Saugatuck (Mich.)</text>
              </elementText>
              <elementText elementTextId="786869">
                <text>Allegan County (Mich.)</text>
              </elementText>
              <elementText elementTextId="786870">
                <text>Outdoor recreation</text>
              </elementText>
              <elementText elementTextId="786871">
                <text>Sand dunes</text>
              </elementText>
              <elementText elementTextId="786872">
                <text>Historic preservation</text>
              </elementText>
              <elementText elementTextId="786873">
                <text>Oral history</text>
              </elementText>
              <elementText elementTextId="786874">
                <text>Audio recordings</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="786875">
                <text>Stories of Summer project, Kutsche Office of Local History. Grand Valley State University</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="786877">
                <text>Stories of Summer (Common Heritage project)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786878">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786879">
                <text>Sound</text>
              </elementText>
              <elementText elementTextId="786880">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786881">
                <text>audio/mp3</text>
              </elementText>
              <elementText elementTextId="786882">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="786883">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1032587">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53609" public="1" featured="0">
    <fileContainer>
      <file fileId="58074">
        <src>https://digitalcollections.library.gvsu.edu/files/original/130a4f42320474236f076ad5166750ab.jpg</src>
        <authentication>529742e87754a086db05dec649cba5cb</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991783">
                <text>RHC-183_D166-0001</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991784">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991785">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991786">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991787">
                <text>Black and white photograph of Mark Twain's boyhood home located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991788">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991789">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991790">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991791">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="991792">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991794">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991795">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991796">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="991797">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037750">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53616" public="1" featured="0">
    <fileContainer>
      <file fileId="58081">
        <src>https://digitalcollections.library.gvsu.edu/files/original/26785c5fb9358c884dec8e5d6cd2a00e.jpg</src>
        <authentication>dcec4ace1279725b3ff30b178fb2220f</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991895">
                <text>RHC-183_D166-0033</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991896">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991897">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991898">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991899">
                <text>Black and white photograph of the interior of the Mark Twain House located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991900">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991901">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991902">
                <text>Interior architecture</text>
              </elementText>
              <elementText elementTextId="991903">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991904">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="991905">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991907">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991908">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991909">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="991910">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037757">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53617" public="1" featured="0">
    <fileContainer>
      <file fileId="58082">
        <src>https://digitalcollections.library.gvsu.edu/files/original/4f13c733f6e4f1512d9269d2a414f8e4.jpg</src>
        <authentication>63aebff4efceb348c59ae0e9a6edc6ad</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991911">
                <text>RHC-183_D166-0034</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991912">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991913">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991914">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991915">
                <text>Black and white photograph of an interior room of the Mark Twain House located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991916">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991917">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991918">
                <text>Interior architecture</text>
              </elementText>
              <elementText elementTextId="991919">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991920">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="991921">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991923">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991924">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991925">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="991926">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037758">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53619" public="1" featured="0">
    <fileContainer>
      <file fileId="58084">
        <src>https://digitalcollections.library.gvsu.edu/files/original/bb1d592b314fccb30e7ede47439051f4.jpg</src>
        <authentication>2568545641ffee7bd38940905e5bfb5e</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991943">
                <text>RHC-183_D167-0004</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991944">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991945">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991946">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991947">
                <text>Black and white photograph of an interior bedroom of the Mark Twain House located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991948">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991949">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991950">
                <text>Interior architecture</text>
              </elementText>
              <elementText elementTextId="991951">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991952">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="991953">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991955">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991956">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991957">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="991958">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037760">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53620" public="1" featured="0">
    <fileContainer>
      <file fileId="58085">
        <src>https://digitalcollections.library.gvsu.edu/files/original/104b7cbd5e5e3fd4a14d9783e605fe01.jpg</src>
        <authentication>8febc537a0c8d14f927dc52734bab8c4</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991959">
                <text>RHC-183_D167-0011</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991960">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991961">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991962">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991963">
                <text>Black and white photograph of Mark Twain's boyhood home located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum, and features an informational sign for "Tom Sawyer's Fence" in reference to the fictional character from Mark Twain's novel, "The Adventures of Tom Sawyer." In the photograph, a sign is featured highlighting "Tom Sawyer's Fence" located next to the house. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991964">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991965">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991966">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991967">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991968">
                <text>Sawyer, Tom (Fictitious character)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="991969">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991971">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991972">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991973">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="991974">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037761">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53622" public="1" featured="0">
    <fileContainer>
      <file fileId="58087">
        <src>https://digitalcollections.library.gvsu.edu/files/original/fa73270c0d3a4a39e5449ba7179f459d.jpg</src>
        <authentication>ea96b4634f2d8d9078490fc385ebb0bc</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="991991">
                <text>RHC-183_D167-0017</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991992">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991993">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991994">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991995">
                <text>Black and white photograph of the kitchen fireplace hearth of the Mark Twain House located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991996">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="991997">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="991998">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="991999">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
              <elementText elementTextId="992000">
                <text>Hearths</text>
              </elementText>
              <elementText elementTextId="992001">
                <text>Kitchens</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="992002">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992004">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992005">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992006">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="992007">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037763">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="53623" public="1" featured="0">
    <fileContainer>
      <file fileId="58088">
        <src>https://digitalcollections.library.gvsu.edu/files/original/c6c81b63ca2b551cb7f70d35be806541.jpg</src>
        <authentication>af5211d4b6e23d364ee4af660bfb359f</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="992008">
                <text>RHC-183_D167-0040</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992009">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992010">
                <text>1963-05-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992011">
                <text>Mark Twain House, Hannibal, Missouri</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992012">
                <text>Black and white photograph of a wood burning stove and table in the Mark Twain House located on Main Street in the heart of Hannibal, Missouri. It is currently known as the Mark Twain Boyhood Home and Museum. Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992013">
                <text>Hannibal (Mo.)</text>
              </elementText>
              <elementText elementTextId="992014">
                <text>Mark Twain Boyhood Home &amp; Museum</text>
              </elementText>
              <elementText elementTextId="992015">
                <text>Interior architecture</text>
              </elementText>
              <elementText elementTextId="992016">
                <text>Twain, Mark, 1835-1910</text>
              </elementText>
              <elementText elementTextId="992017">
                <text>Clemens, Samuel Langhorne, 1835-1910</text>
              </elementText>
              <elementText elementTextId="992018">
                <text>Stoves, Wood</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="992019">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992021">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992022">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="992023">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="992024">
                <text>1960s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1037764">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="50309" public="1" featured="0">
    <fileContainer>
      <file fileId="55115">
        <src>https://digitalcollections.library.gvsu.edu/files/original/9c3f8a2c7098207b76d37ecb0f14d61b.jpg</src>
        <authentication>e5abf10a2e4de669fe4210f20dde6a83</authentication>
      </file>
    </fileContainer>
    <collection collectionId="59">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="920805">
                  <text>Robert H. Merrill photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="920806">
                  <text>Merrill, Robert H., 1881-1955</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="920807">
                  <text>1909/1950</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="920808">
                  <text>Robert H. Merrill papers (RHC-222)</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="920809">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="920810">
                  <text>RHC-222</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="939439">
                  <text>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 &amp; 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. </text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="939554">
                <text>Merrill_NE_62_1926_032</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939555">
                <text>1926</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939556">
                <text>Market of Port au Prince</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939557">
                <text>Black and white photograph of a crowded market in a large dirt courtyard with buildings in the distance. Small stalls are set up around the market area and others simply have groups of baskets they are selling from. "The Market, Port au Prince, Hayti." is written on the bottom of the image.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939558">
                <text>Port-au-Prince (Haiti)</text>
              </elementText>
              <elementText elementTextId="939559">
                <text>Markets</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="939561">
                <text>Robert H. Merrill papers (RHC-222)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939563">
                <text>In Copyright</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939564">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939565">
                <text>image/jpg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="939566">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="987459">
                <text>Merrill, Robert H., 1881-1955</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1035703">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="55547" public="1" featured="0">
    <fileContainer>
      <file fileId="59731">
        <src>https://digitalcollections.library.gvsu.edu/files/original/cabfdd59689a7b3b73f54bcf40ec2995.jpg</src>
        <authentication>a8d50689419a781e4d24abb28a5ba9c7</authentication>
      </file>
    </fileContainer>
    <collection collectionId="43">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832653">
                  <text>Douglas R. Gilbert Photographs</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832654">
                  <text>Gilbert, Douglas R., 1942-2023</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832655">
                  <text>Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183).&#13;
&#13;
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. &#13;
&#13;
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.&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832656">
                  <text>1960-2011</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="832657">
                  <text>&lt;a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D"&gt;Douglas R. Gilbert Papers (RHC-183)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832658">
                  <text>In Copyright</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832659">
                  <text>Photographs</text>
                </elementText>
                <elementText elementTextId="832660">
                  <text>Photography -- United States</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="832661">
                  <text>Grand Valley State University. University Libraries. Special Collections and University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="832662">
                  <text>RHC-183</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832663">
                  <text>Image</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832664">
                  <text>image/jpeg</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="832665">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1021480">
                <text>RHC-183_M176-0036</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021481">
                <text>Gilbert, Douglas R.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021482">
                <text>1972-06/1972-08</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021483">
                <text>Market Street, Cambridge, England</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021484">
                <text>Black and white photograph of a street scene in Cambridge, England. In the photograph, a young man and woman are having a conversation while leaning on a bicycle in the foreground and various small business signs along Market Street can be seen in the background including, "Cambridge Sports Hall Appeal," "S. Rampling Surgical," and "Whitbread." Scanned from the negative.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021485">
                <text>Cambridge (England)</text>
              </elementText>
              <elementText elementTextId="1021486">
                <text>Black-and-white photography</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="1021487">
                <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783"&gt;Douglas R. Gilbert papers (RHC-183)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021489">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC/1.0/"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021490">
                <text>Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1021491">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="1021492">
                <text>1970s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1038905">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="20508" public="1" featured="0">
    <fileContainer>
      <file fileId="22896">
        <src>https://digitalcollections.library.gvsu.edu/files/original/fd4ea468a3c982088b6737a8adc36965.mp3</src>
        <authentication>74ea8539af528b0831507fe49a248058</authentication>
      </file>
      <file fileId="22897">
        <src>https://digitalcollections.library.gvsu.edu/files/original/3284061f7b835bf50960a1aeb1abf3b1.pdf</src>
        <authentication>2734ca89220379f74e4098385a713f22</authentication>
        <elementSetContainer>
          <elementSet elementSetId="4">
            <name>PDF Text</name>
            <description/>
            <elementContainer>
              <element elementId="52">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="367696">
                    <text>Marks of Leadership
From the series: On the Threshold of the Third Millennium
Richard A. Rhem
Christ Community Church
Spring Lake, Michigan
Epiphany III, January 24, 1993
Transcription of the spoken sermon
Of Issachar, those who had understanding of the times, to know what Israel
ought to do” I Chronicles 12:32
The gifts we possess differ as they are allotted to us by God’s grace, and must be
exercised accordingly. Romans 12:6
...among you, whoever wants to be first must be your servant ... Mark 10:43

Well, it’s been quite a week hasn’t it? No matter what your political party, I think
you couldn’t help but get caught up in some of the excitement. After all, everyone
loves newness and as our new president said, “the mystery of renewal” is
something in which I think we all want to participate. The movement of change
was so obvious from one generation to another, detectible in the musical sounds.
Mr. Bryson, wanting to reflect that which happened in the nation’s capitol invited
the president to be with us this morning to play his saxophone. But the president
was busy, but we have Christopher! It’s been a fun week, a great week, and it is so
nice that it coincides with the newness in our lives at the top of the year and the
newness that is a part of our life together as Christ Community. I have been
looking forward to this time to celebrate it together with you and with these who
have now been commissioned to their respective ministries.
It is always wonderful to have a new beginning, and I believe that we are at an
important watershed in our life together. Coinciding as it does with the events of
this past week, we can say, “These are our times. Let us embrace them.” And we
can say with the poet, Maya Angelou on inauguration day, that this is a time to
sense the pulse of this new day, to look out into our sisters’ eyes and a brother’s
face and to the country and “to say, simply, very simply, with hope ‘Good
Morning.’” That’s where we are together. And as we implement our new
leadership arrangement in this congregation, I want to begin by thinking with
you and with those who have been commissioned to their respective ministries
about the marks of leadership.

© Grand Valley State University

	&#13;  

�The Marks of Leadership

Richard A. Rhem

Page 2	&#13;  

Those marks of leadership become clear, I think, in the three lessons that were
read this morning. In the Old Testament lesson the delegations came to David in
order to give their loyalty to him. Their request was that he be king over all of
Israel. You will remember from your Old Testament history that Israel’s first king
was Saul. Saul came to a tragic end but, as it was assumed, as it is always
assumed, the royal houses perpetuate themselves. And so there were those
leaders around King Saul who sought to establish his son as king. Yet, down
south, was the Robin Hood of Israel, young David, with a band of bandits around
him, who had such charisma and who had gained such fame in the land.
For seven years the two tribes of the south said to David, “You are our king.” But
the old monarchy was perpetuated in the north, and the nation was being torn
apart with civil strife and civil war. Finally, the leaders of the north could see that
the future lay with David and that obviously the blessing of God was not on the
House of Saul. If Israel was to find its place in the sun, then certainly it had to
make David king over all the tribes. And so the leaders came first, then
delegations from each of the tribes.
I singled out the delegation from the Tribe of Issachar because they are
characterized according to what I would like to suggest as the first mark of
leadership for the Church of Christ. They are characterized as those who had an
“understanding of the times” to know what Israel had to do. They were visionary.
They were far-sighted. They were practical. They were pragmatic. They were wise.
From this, I would like to suggest the first mark of leadership is a holy
worldliness.
When I was growing up, worldliness was a great thing to avoid. It was the great
sin. But I am using that word in the sense of the people from Issachar who had an
understanding of the time. The Church too often has been characterized by
people who have been devoted, dedicated, serious, sincere, but lacking sometimes
that sense of where the movement of history was going. Where was the cutting
edge? And what had to be done today in order to capture tomorrow? The men of
Issachar were the kind of leaders who were able to see the handwriting on the
wall. They were able to look into the horizon and see what was breaking, and they
were able to position Israel in order that it might, under David, realize its golden
age. It never had another age like the age of David. Their choice, their decision
was confirmed in the prosperity of the nation under this great king. We need in
the Church a kind of holy worldliness – that is, set apart for God, but worldly,
wise in the ways of the world. Far too often in the Church we have had sincerity
and piety, but not always visionary leadership and the strength and giftedness of
that leading.
When I think back, over thirty years now, to when I first came to this
congregation in 1960, I can tell you what at that time was a surefire formula for
being elected to congregational office. You had to be male, on the young side, and
promising. You had to come to church in the morning. You had to come to church

© Grand Valley State University

�The Marks of Leadership

Richard A. Rhem

Page 3	&#13;  

in the evening. You had to teach a Sunday School class of irrepressible,
impossible young sixth graders. (Laughter) Maybe you’d have to take a stint at
being Sunday School superintendent. Then we always elected officers in
November and, along about September when family night began and midweek
prayer meeting began, if you would show up on Wednesday night, and if you
could catch your voice and croak out a prayer, I can assure you you would be
deacon the next election. (Laughter) Then, if you served a term or two or three as
deacon responsibly, if you grayed a bit or balded a bit, you could become an elder.
Understand, I salute all of those who have served 120 some years in this place
because it was always recognized that leadership was nothing if it was not rooted
in devotion to Christ and loyalty to the church, but in all honesty I want to say
that there was also, too often, a resistance to the strong leader who was making a
mark in business, industry, the professions. There was almost a resistance to
bringing such a person on board the governing body of the church. Rather, the
church became the place of authority for those of adequate piety. But, all over this
country still to this day, there are good and sincere people leading the church who
lack leadership quality, who lack a sense of where things are going and where the
church has to position itself if it would capture the future. Not so the men of
Issachar. They said, “This civil war is destroying the nation. The House of Saul
has got to go. David is our leader.” They had an understanding of the times, to
know what Israel had to do.
We need people who are visionary, creative, daring, able to negotiate the passages
of the structures of our society in order to make the Church of Jesus Christ a
viable institution that has power and thrust, that has integrity, spirituality, but a
kind of far seeing vision that will enable us to execute the mission of Jesus Christ
in a fast changing world, in an amazing world on the edge of the third
millennium. That giftedness is the gift of the Holy Spirit.
I think that’s where there was a lack in the past. We identified the gifts of the
Holy Spirit with the “more spiritual aspects of ministry” - someone who could
lead in prayer, teach a class, make a pastoral call. These are important, necessary
spiritual gifts for the nurture of the body. Paul uses the image of the body of
Christ as an image for the Church, and in two or three or four different places in
his letters he lists various gifts of the spirit, always making the point however that
all gifts come from one spirit. They are not to be exercised for selfaggrandizement, but for the common good and that all of the gifts, no matter how
they manifest themselves, have not only a common origin in Spirit, but also a
common dignity in value. All of the lists are not the same.
I chose Romans 12 today because there is one important distinction in the list in
Romans 12. In the 7th verse it speaks about a gift of service. Maybe a more careful
translation would be practical service, or in the New English Bible you will find
that gift translated as the gift of administration. Now I take it for granted that the
leadership of the church will include people gifted in prayer and spiritual

© Grand Valley State University

�The Marks of Leadership

Richard A. Rhem

Page 4	&#13;  

devotion, and loyalty and dedication, and Christian life, but what has not always
been understood is that the “worldly” gift of administration is also a gift of the
Holy Spirit.
So I want to say that the second mark of leadership is that it is in its diversity
gifted by the Spirit for the common good. That’s why this morning, in order to act
out what we believe regarding marks of leadership, we have had elders and
deacons, and boards of trustees and operations council all mixed up. They said to
me, “In what order should we march in?” I said, “It doesn’t matter, you’re all
mixed up.” They said, “You can say that again!” (Laughter) We used the same oil
and the same words, the same commissioning because, in the diversity of these
gifts and the diversity of these people, we have a common source of spiritual
power in the Spirit of God, and a common place in which to exercise the gift. In
all of its diversity it is still one ministry. It used to be that we ordained elders and
deacons and we constituted various committees to do stuff - no more! We are
seeking now people with specific gifts for specific ministries, recognizing that, in
all of that diversity, there is a commonality of spiritual empowerment for the
common good of this institution that needs to be prayed over, that needs to be
healed, that needs to have financial finessing, that needs to have visionary
strategic planning – all of this, the wholeness of the body, demanding a diversity
of gifted persons.
We are recognizing that baptism is our ordination, that ministry is shared, and
that what we need to do is appoint people whose gifts we recognize to execute
these ministries. The Church isn’t a democracy. The Church isn’t a republican
form of government. The Church has nothing to do with winners and losers.
Jesus, on the way to Jerusalem with the shadow of death looming over him,
shares with his disciples what is in store for him. And James and John come and
they say, “Jesus, when you come in your glory, could we sit on your right and left
hands?” Talk about insensitivity! Jesus knows the only glory he is going to get is
the glory of martyrdom. Talk about misunderstanding! The other disciples got
involved too; they were indignant with James and John, but what made them
angry was not that James and John wanted to be number one and number two,
but the fact that James and John thought of it first! And so you have the feuding
and dissension. You have the desire for power and position, for pomp and
circumstance, and Jesus had to gather them all and say, “Look, it’s not that way.
It is that way out in the world. It is that way in Washington. It is that way in
probably every other institution and organization of which you are a part, but it’s
not that way in the Church.”
He said, “The Gentiles have great men lording it over them, but it shall not be
thus with you. The one who would be great must be the servant of all.” And that, I
believe, brings us to the third mark of leadership: humble servanthood. Jesus is
our model. He says, “I have come not to be served, but to serve.” Dear friends,
what we have done in this congregation is a radical restructuring. I don’t even
dare tell the Reformed Church in America what we’ve done, because we’ve turned

© Grand Valley State University

�The Marks of Leadership

Richard A. Rhem

Page 5	&#13;  

their constitution upside down. But then, that’s not the first time. Constitutions
of organizations are frantic attempts to get down on paper what has already
happened in the life of a living organization. I say that with some fear and
trembling in the presence of the Judge (Judge Post), but there is a real sense in
which our situation is like that of the nation.
As President Clinton said in his inaugural address, “Thomas Jefferson long since
recognized that, in order for America to meet its future, it would have to change
much,” and he said, “We change not for the sake of change, but in order to
preserve the ideals of the nation.” And so, while we must always be in dialogue
with the past, it’s like the Constitution of the United States. It stands so that we
must always come up against it, but we must also continue to interpret it in the
ongoing life of the nation. And so, here too, we saying what we are doing is more
biblical, more reflective of this institution which has a ministry function that is
classically thought of as spiritual, and a management function that needs to be
thought of as ministry.
In order that the institution may be well positioned, strong and vital, moving into
the future, able to execute the mission of Christ, we are so structured now that we
can move with facility and agility. We can look into the future on the edge of the
third millennium and say, “These are our times. Let us embrace them.” We are
able to look into the eyes of our sister and into the face of our brother, and to our
country, and our faith community, and simply, very simply with hope say, “Good
morning…Good morning.”

© Grand Valley State University

�</text>
                  </elementText>
                </elementTextContainer>
              </element>
            </elementContainer>
          </elementSet>
        </elementSetContainer>
      </file>
    </fileContainer>
    <collection collectionId="3">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="28623">
                  <text>Richard A. Rhem Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="28624">
                  <text>Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years.  Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar.&#13;
&#13;
</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425067">
                  <text>Clergy--Michigan</text>
                </elementText>
                <elementText elementTextId="765570">
                  <text>Reformed Church in America</text>
                </elementText>
                <elementText elementTextId="765571">
                  <text>Christ Community Church (Spring Lake, Mich.)</text>
                </elementText>
                <elementText elementTextId="765572">
                  <text>Religion</text>
                </elementText>
                <elementText elementTextId="765573">
                  <text>Interfaith worship</text>
                </elementText>
                <elementText elementTextId="765574">
                  <text>Sermons</text>
                </elementText>
                <elementText elementTextId="765575">
                  <text>Sound Recordings</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425068">
                  <text>Rhem, Richard A. </text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="425069">
                  <text>&lt;a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514"&gt;Richard A. Rhem papers (KII-01)&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="425070">
                  <text>Grand Valley State University. University Libraries. Special Collections &amp; University Archives.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425071">
                  <text>Kaufman Interfaith Institute</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425072">
                  <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425073">
                  <text>English</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description>The nature or genre of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425074">
                  <text>Sound&#13;
Text</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="425075">
                  <text>KII-01</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
              <elementTextContainer>
                <elementText elementTextId="425076">
                  <text>1981-2014</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="425077">
                  <text>audio/mp3&#13;
text/pdf</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="5">
      <name>Sound</name>
      <description>A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds.</description>
      <elementContainer>
        <element elementId="55">
          <name>Event</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="367678">
              <text>Epiphany III</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="54">
          <name>Series</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="367679">
              <text>On the Threshold of the Third Millennium</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Scripture Text</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="367680">
              <text>I Chronicles 12:32, Romans 12:6, Mark 10:43</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="4">
          <name>Location</name>
          <description>The location of the interview</description>
          <elementTextContainer>
            <elementText elementTextId="367681">
              <text>Christ Community Church, Spring Lake, MI</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="367675">
                <text>KII-01_RA-0-19930124</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367676">
                <text>1993-01-24</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367677">
                <text>Marks of Leadership</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367682">
                <text>Richard A. Rhem</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367684">
                <text>&lt;a href="http://rightsstatements.org/page/InC/1.0/?language=en"&gt;In Copyright&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367685">
                <text>Clergy--Michigan</text>
              </elementText>
              <elementText elementTextId="367686">
                <text>Reformed Church in America</text>
              </elementText>
              <elementText elementTextId="367687">
                <text>Christ Community Church (Spring Lake, Mich.)</text>
              </elementText>
              <elementText elementTextId="367688">
                <text>Sermons</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="367689">
                <text>Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367690">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367691">
                <text>Sound</text>
              </elementText>
              <elementText elementTextId="367692">
                <text>Text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367693">
                <text>audio/mp3</text>
              </elementText>
              <elementText elementTextId="794040">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="367695">
                <text>A sermon given by Richard A. Rhem (Dick) on January 24, 1993 entitled "Marks of Leadership", as part of the series "On the Threshold of the Third Millennium", on the occasion of Epiphany III, at Christ Community Church, Spring Lake, MI. Scripture references: I Chronicles 12:32, Romans 12:6, Mark 10:43.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1029150">
                <text>Grand Valley State University. University Libraries. Lemmen Library and Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="126">
        <name>Church</name>
      </tag>
      <tag tagId="55">
        <name>Community of Faith</name>
      </tag>
      <tag tagId="244">
        <name>Holy Spirit</name>
      </tag>
      <tag tagId="63">
        <name>Servanthood</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
