751 24 26018 https://digitalcollections.library.gvsu.edu/files/original/9a12614a64a4ccd5fb2cab9619253bfd.jpg 970e845fd0661f1a31f54f00d6474581 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-38 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Western View of Ox-Bow Grounds Description An account of the resource Black and white aerial photograph of the wooded grounds of Ox-Bow "Summer School of Painting" in Saugatuck, Michigan as taken from above the western shore. In the photograph, the historic buildings of Ox-Bow can be seen including what appears to be the Ox-Bow Inn and the studio shacks located along the Kalamazoo River at the edge of the Tallmadge Woods. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Kalamazoo River (Mich.) Art school Buildings Coastal forests Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/2f985a7f484517243e4454be7aae4cf0.jpg a4b5d99ef5a1171acdef8383da7a6974 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-39 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Southwestern View of Ox-Bow Grounds Description An account of the resource Black and white aerial photograph of the wooded grounds and surrounding landscape of Ox-Bow "Summer School of Painting" in Saugatuck, Michigan as taken from high above the southwestern shore. In the photograph, the historic buildings of Ox-Bow can be seen including what appears to be the Ox-Bow Inn and the studio shacks located along the Kalamazoo River at the edge of the Tallmadge Woods. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Kalamazoo River (Mich.) Art school Buildings Coastal forests Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/d077f95b729fa06fcd9dbf07991746b5.jpg e33e368e484390861b57384eacc4212c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-40 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Aerial View of Ox-Bow Environment Description An account of the resource Black and white aerial photograph of the wooded grounds of Ox-Bow "Summer School of Painting" in Saugatuck, Michigan as taken from above the southwestern shore. In the photograph, the historic buildings of Ox-Bow can be seen including what appears to be the Ox-Bow Inn and the studio shacks located along the Kalamazoo River at the edge of the Tallmadge Woods. that is taken from very high above the ground. Other parts of Saugatuck can be seen in the background. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Kalamazoo River (Mich.) Aerial views Art school Buildings Coastal forests Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/96c84681d50e6a46b9c1b6a45b0d0246.jpg 257d071b2e216bf785bfc0e914e3665c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-41 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Plein Air Painting a Windswept White Pine Description An account of the resource Black and white photograph of a group of students plein air painting at Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. In the photograph, a class of student artists are painting beneath what appears to be a windswept White Pine tree that has greatly shifted in the wind and is being supported by several large wooden props. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art school Plein air painting Trees Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/e49c1eb14850b6a9fbff25dc5715cea2.jpg 82d077af854065dda510ba009a65f0a4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-42 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Ox-Bow Photo Album Collage Description An account of the resource Collection of two black and white photographs and a sepia-toned photograph from the page of a photo album associated with Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. The top left photograph is of a painting that is hung above a horizontal bookshelf. The top right photograph appears to be of an outdoor exhibition featuring pieces of art hanging on a clothesline with a wooded background. The sepia-toned photograph located at the bottom features a man and woman standing in front of a clothesline with hanging artwork that appears to be an outdoor exhibition. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art school Art--Exhibitions Plein air painting Trees Photograph albums Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/294f3e63ae8a89211e6c2ceeaa395225.jpg 26f58237bf639246805cfde0fdf61689 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-43 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Ox-Bow: A Midwest Summer Art School Description An account of the resource Newspaper clipping titled "Ox-Bow: A Midwest Summer Art School Begins a New Era." The article shares a narrative of the traditions and history of the Summer School of Painting in Saugatuck, Michigan. Two photographs accompany the article and feature artists working on various projects such as plein air painting on a dock along the Kalamazoo River and experiencing art critique at Ox-Bow meadows. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Middle West Art school Plein air painting Docks Summer Clippings (Books, newspapers, etc.) Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/1f54803cd45ef209c2c775ded0bd2b38.jpg bf022ddc2145135d65b2a3944721be9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-44 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Ox-Bow Photo Album Collage Description An account of the resource Collection of four black and white photographs from the page of a photo album associated with Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. The top left photograph has a clothesline tied to a building with paintings hung across. The top right photograph depicts what appears to be a living room and is possibly featuring one of the Ox-Bow building interiors. The bottom left photograph depicts a fireplace with two chairs in front of it and plants placed upon the mantel. The bottom right photograph features a group of artists plein air painting and enjoying the outdoors at Ox-Bow. Buildings can be seen in the background along with the surrounding wooded forest. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art school Buildings Fireplaces Interior architecture Plein air painting Trees Photograph albums Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8d6ffe4f5c34f1b1a9b2788be48cd3d7.jpg ebb1275b6427929b3015dcffd2a39f00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-45 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Ox-Bow: A Midwest Summer Continued Description An account of the resource Newspaper clipping including a continuation of the article "Ox-Bow: A Midwest Summer Art School Begins a New Era." The article highlights the classes and outstanding students and staff of the Summer School of Painting in Saugatuck, Michigan. Several photographs related to the school accompany the article and feature various scenes of students working and relaxing on campus. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Middle West Art school Plein air painting Summer Clippings (Books, newspapers, etc.) Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/93bbc19a275298761ea4853a1e06165e.jpg 68bba77a4a0a04f14e0566c4c9ae9c1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-48 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Ox-Bow and Art Institute Photo Album Collage Description An account of the resource Collection of two black and white photographs and one color photograph or postcard from a photo album associated with Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. The top left photograph features a painting hanging above a piano with a vase of flowers placed upon it. The bottom left photograph features several individuals plein air painting along the shore of Lake Macatawa. The right photograph or postcard features a cityscape view of the Art Institute of Chicago in Chicago's Grant Park. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art Institute of Chicago Art school Buildings Docks Interior architecture Plein air painting Photograph albums Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/a9c50926a019e25e0c56a33c1267fb03.jpg ae8872ad103033033892f8fd64a3afd6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-49 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Date A point or period of time associated with an event in the lifecycle of the resource 1958-10 Title A name given to the resource Dockside Plein Air Painting Description An account of the resource Black and white photograph of a group of people painting dockside along what appears to be the water of Lake Macatawa near Holland, Michigan. Plein air painting in Macatawa, Michigan was a tradition for students attending Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. In the photograph, one woman can be seen painting while seated on the dock while another stands and paints on an easel. The other three individuals can be seen painting while seated along the shore on various rocks and driftwood, while parked cars and boats can be seen in the background. Dated October 1958. Subject The topic of the resource Michigan Art school Docks Plein air painting Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/74a2f6cf4da36235f4c2bd48820e9560.jpg 813f2579e573d59c6ff250183383eea2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Oxbow-18-50 Creator An entity primarily responsible for making the resource Ox-Bow School of Art and Artists' Residency Title A name given to the resource Plein Air Painting on Lake Macatawa Description An account of the resource Black and white photograph of several individuals plein air painting dockside along Lake Macatawa near Holland, Michigan. Plein air painting in Macatawa, Michigan was a tradition for students attending Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. In the photograph, a large boat can be seen docked next to the painters in the foreground and many boats can be seen on the water and docked in the background. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art school Boats Docks Plein air painting Source A related resource from which the described resource is derived Digital file contributed by Mike Van Ark for the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8921f48040d18127e74132c5ad31d28f.m4v 548ff88ad838ecd57ef4d0631e928b7c https://digitalcollections.library.gvsu.edu/files/original/09c1c776e2a47e32dc3194ecc9a53bf7.pdf 80d6675ca4cb261b509390a95a53ff64 PDF Text Text Ozburn, Dolly Grand Valley State University All American Girls Professional Baseball League Veterans History Project Interviewee’s Name: Dolly Ozburn Length of Interview: (01:28:07) Interviewed by: James Smither Transcribed by: Chelsea Chandler Interviewer: “Okay, Dolly. Start us off with some background on yourself, and to begin with, where and when were you born?” I was born in Charlotte, North Carolina. Actually, Mecklenburg County. I was… Interviewer: “What year?” 1937. And I was a premature baby. I weighed a pound and three ounces. Interviewer: “Wow.” And the doctor said that…He came three days after and said, “She won’t make it. So we won’t even fill out a birth certificate. We will wait until she passes away, and we’ll fill out the birth and death certificate at the same time.” Well, he’s gone, and I’m still here, so…And I tell the kids when I talk to them, “Don’t ever give up.” And I tell them that story. And I had a little second grade boy who wrote me a letter after I spoke with them and said, “I learned a lot about you, and I learned a lot about baseball. And I learned that you were born before baseball was invented.” So…So I guess maybe I’m pretty well-preserved. (1:23) Interviewer: “Okay, so did your family ever tell you how they managed to keep you alive while you were that little?” It was difficult. My mother was sick also. So my aunts and great-aunts and my grandmother came in, and they all had to help because it was a twenty-four hour a day job. I had one drop of milk every half-hour, and all I could take was a drop because at twenty-four weeks, which is what I was, you have no ability to suck, you have no ability to swallow, you have no eyebrows, no eyelashes, no fingernails, no toenails, and only my face was ossified. (2:04) The back of my head was not, so they had to keep me on a pillow to keep me from hitting my head. And there are people who claimed I must have hit my head. A lot of them. And I had one drop of water every half-hour. Every half-hour. So I had a drop of milk, let’s say, at seven o’clock, 7:15 a drop of water, 7:30 a drop of milk, and 7:45 a drop of water. So you could see it took twenty-four hours a day. And to keep my skin from breaking and bleeding because it was so thin, they bathed me in olive oil four or five, six times a day or whenever my skin got dry, they had to bathe me in olive oil. Interviewer: “Wow.” 1 �Ozburn, Dolly And I talked to a doctor who does this now full-time and—in my area—and he said, “That’s really strange that they knew to do that.” He said, “Because we do that.” He said, “We have—” He said, “We can do that when the baby can’t go in isolation.” And I was never in an incubator. Never in a hospital because the hospitals couldn’t do anything for you then. And my dad’s handkerchiefs became diapers. Of course, there probably wasn’t very much there, but my dad’s handkerchiefs became diapers, and they kept me in a shoebox on the stove. On the woodstove. On the thing of the woodstove to keep me warm. Of course, being born in June was a plus. You know, I didn’t have winter to deal with, so…And I don’t know how long…I was very small up until I was probably thirteen years old, and then I started growing then. Interviewer: “Wow. Okay, so…But were you able to go to school on the regular schedule? I mean, when you’re six years old, you could go, or…?” Oh, yes. Yeah. I did everything on schedule. (4:03) As far as…Well, they took me to the doctor for probably regular check-ups, but I was never hospitalized or anything like that, and …Oh, yeah, I went to school on a regular schedule. I was a tomboy from day one, and in school, as a matter of fact, I probably would’ve been on drugs now if I…I was very, very, very active. In school they let me stand up in the back of the room to read or to lean over my desk because I couldn’t sit in the desk very well. And I always wanted to be outside playing with the boys. I was outside in the morning early, and I never came in. They had to drag me in for lunch. I had a dog named Pee Wee, and Pee Wee…My dad taught him to bark. That’s the only way he could find me because when I was going in the morning, I was going. I was either on the ball field or up a tree or something. And my dad taught the dog to bark. The dog was always with me. And he taught the dog to bark when he whistled. And when he whistled, the dog barked, and they knew where to find me. Either up a tree or at the ball field or wherever. At the ball field that we built. We built our own ball field. Our…our group. And I just played with the kids in the neighborhood, and… Interviewer: “Okay, and what was your family doing for a living at that point?” My dad actually worked in an asbestos mill. He cut meat on Friday night and ran his own business on Saturday, so…And my mom was a stay-at-home mom. She had worked up until I was born, and then it took too much time to take care of me as an infant. And she worked…She was also working the mill, and…She didn’t work in the asbestos mill though. She worked in the hosiery mill. And my brothers and sisters did try to keep me in line. My brother…He helped me learn to play ball, but he didn’t always help the right way. He broke a rib of mine once throwing—hitting a ball at me. It hit me in the rib. So I picked the ball up and threw it back at him. And so he was never…He was always—He was helpful but not always. Interviewer: “All right. Now were there other girls who would play, too, or was that just you?” There were, I think, three or four girls in the neighborhood that played. Then when we moved when I was in the fifth grade…Well, I got my first glove when I was five years old. (6:38) My dad took me down, and that was pretty expensive then to buy a glove because my dad only made 2 �Ozburn, Dolly probably forty dollars a week in the mill, and …So he took me down and bought me a first base mitt, and my brother played first base in high school, so…And he played first base even younger. And I thought that’s what I wanted to be, but my dad was a pitcher. He pitched for the Presbyterian—He pitched for the ARP church. All the churches had teams then, and my dad was a pitcher for the Statesville Avenue ARP Church, and…My brother was a first baseman in high school, and…So after my dad bought the glove, then we just played around the neighborhood. We built our own field because we didn’t have any place to play. And I pretty much took all my dad’s lumber and nails and stuff, and we built a backstop. We built benches for us to sit on. We built a place for the fans to sit. We didn’t have any fans, but we built it anyway. So we had a hump in the middle of the field; we couldn’t get that out. So if you were playing shortstop, look out for the hump because the ball would be coming and you would reach down, and pretty soon here it comes at your head, so you either had to duck or get your glove up there fast. (7:57) And there were only about six or eight of us, so you not only played…When you went in to bat, you were the catcher. The people who were the batters were also the catcher. Interviewer: “So you’re throwing the ball back if you…” Yeah, you were throwing the ball back, and if there was a player at home, you’re expected to put the person out even though it’s your person, your teammate, so…And we had probably a pitcher, a first baseman, and a shortstop, left fielder, and a second baseman, right fielder, and the left and right fielder covered the center of the field, too. That’s sort of the way we played. You covered everything. Interviewer: “Sure. Now when you were playing, you’re playing with regular baseballs or softballs or…?” Well, we were playing with baseballs that other teams had thrown away, and the cover was partially off. And we would take it and wrap it with electrical tape and play with that. And our bats were usually bats that were discarded, and we would take some little finishing nails and tack it back together and wrap it with electrical tape, and those were our bats. So we pretty much played…We played with baseballs, but we pretty much didn’t have any baseballs, so we took what we could get and wrapped it in electrical tape. Interviewer: “Okay, and would you rotate playing different positions then because there were that few of you?” You had to play everything because you didn’t know what position you were going to be playing. “I want to play first base today.” “Okay, you play first base. I’ll play shortstop and outfield.” Interviewer: “Okay, and when you started pitching, did you pitch overhand like baseball pitchers?” We did. We always threw overhand. It was not softball at all. Then I moved…In the fifth grade, we moved out sort of in the country, but there was a place in front of us where they had built some houses like a suburb kind of thing. And we got a team together, and we built our own field 3 �Ozburn, Dolly there, too. We found an open field. We took all the junk out, but this one was flat. It just had rocks in it that hit the ball that jumped up and hit you if you didn’t catch it. And we built our own backstop there, too, thanks to my dad and his lumber and nails. (10:02) And then we…We had a team, and I told my brother. I said, “We have a team, but we don’t have anybody to play.” He said, “Oh, okay. I’ll talk to…” By that time, he was in high school. He was probably a senior. And he went and talked to a guy who owned a sporting goods store, and he said, “My sister…They have a ball team, and they don’t have anybody to play.” So the guy who owned the sporting goods store knew a lot of people in the county, and he got together the Mecklenburg County Junior League, and there were six teams, I think. Six or seven teams. And the Mecklenburg County Junior League was all boys except for me. And I was the only girl in the whole league. And somebody asked me how the boys feel about that, and I said, “I don’t know.” I didn’t care, you know. But the boys who were on my team were like brothers. I mean, and I still see them. Some of them. The ones who are living and their families. And I know their wife, and we got together. They always played tricks on me like when we were in high school. They put me up for homecoming queen, which was the last thing I wanted. And they said, “You have to because you have two escorts. Pinky and Paul are going to escort you.” And I said, “What? I don’t want them to escort me.” And so I was put up, and I had to get a dress and all of that stuff, and they did—two of the boys from my team escorted me for the…for the homecoming queen, which I did not want to be part of. I wasn’t the queen, but I was one of her… Interviewer: “Her court.” Yeah, so…Oh boy, that was interesting. Interviewer: “All right. So how did you do in school? I mean, you were…You mentioned that you were kind of active and all over the place, but were you able to focus on studies and do okay?” Oh, yeah, I did okay in school. Well, probably if it had been my first priority, I probably would have done better, but playing ball was probably my first priority. (12:10) And we played basketball in the wintertime, and my dad…In the chicken yard. And all the boys came over to my house, and we all played basketball. It was all boys. No girls played basketball with us. We became very good dribblers because it was a chicken yard, and we also…Well, we didn’t become good rebounders because when you shot the ball and it went through the net, everybody would duck because it would fly all over, so…But those…And we played football until my dad made me quit. He said…I got my ear caught in somebody’s pant pocket, and I ripped it down here a little bit. And he said, “Okay, that’s it. No more football.” You know, so… Interviewer: “So were all of your sports activities things that were just these informal things…Well, I guess, in Mecklenburg you had sort of that improvised baseball league. But the schools didn’t do sports for girls, or…?” Junior high did, and I played basketball in junior high. That’s all we had. I played basketball, and…Well, I went to a K through twelve school when I first moved there, and then…Then they started…They consolidated some of the schools and built a high school, and all we had in North Carolina at that time was basketball. And that was that split court thing like they have—like they 4 �Ozburn, Dolly had in Iowa for years. And I played all the way through junior high. Well, I signed my contract to go into the league at the end of the ninth grade. I was fourteen years old, and I signed with Jimmie Foxx and the Fort Wayne Daisies. I tried out at a field where…I went to all the ball games there. It was a Class B team that belonged to old Washington senators, and I would go to all their games. And I saw a sign there that said, “Women’s baseball.” And I said, “Whoa.” And I think Katie alluded to that because she started in 1951, and they had their spring training in North Carolina at another town, which I didn’t even know they had it there. (14:20) So I…They played two teams, and one of them was the Daisies. They played in this ball field in Charlotte, and I tried out. And I was thirteen, and I was pretty small and pretty young. If I had my boy’s suit here, I could show you. It’s tiny, you know. And my…They said, “Well, no. You’re too young. You’re thirteen, and you’re too small.” Well, like I said, I had a growing spurt at thirteen, so I flew up to…I was then 5’8”. I’m a little shorter than that now, but I was 5’8”. Got to be 5’8”. And then I…So the next year I tried out and signed with Jimmie Foxx and the Fort Wayne Daisies. Well, that was the end of the ninth grade. When I went into the tenth grade, I could not play basketball because I was professional. Interviewer: “Okay, now you…So the summer after ninth grade you went and played for the team, and you came back to go to high school again?” That’s right. Came back to high school, and I couldn’t play high school basketball. So I decided that…”Okay, I can’t play high school basketball.” But our…The parks and recreation in the city of Charlotte had teams. And I got together all the girls that had been cut off the East Mecklenburg High School team and some friends of mine, and we played in the county in the city of Charlotte recreational league. So I could play in the recreational league. We won the championship, you know. Interviewer: “Now all of these leagues and teams…This is all segregated at this point? So it’s all white, or…?” (16:19) Yes, they were totally segregated. Except the neighborhood that I lived in up until the fifth grade…I lived primarily in a black neighborhood. My next-door neighbor was black, and the whole group up there was black. So we did…When I was young, we did have black kids playing with us all the time. They came down and played with us. They came to my house on Sunday, and we made—My dad made banana ice cream and pecan ice cream, and they all came down to the house. And we had a big front porch, and they all came to our house at night and sat on the porch. And I had a black woman who lived at our house actually. Her husband had died, and her son was gone. And she was a friend of my grandmother’s, and she lived with us. And her name was Bert. And Bert used to whack me with the broom when I got out of…Which I was a big teaser when I was little. Well, I was a big teaser, period. And she would whack me, you know, with a broom. We’d steal her peach pies off the back porch, and she would come out with the broom and let us have it. Interviewer: “All right. Now let’s talk a little bit…Back when you first joined, what’s the…How does the tryout process actually work?” 5 �Ozburn, Dolly Well, they came to play a game, and I just went. They had me hit, and they had me pitch, and they had me run. And that was about it. And I was a pitcher, so I was primarily pitching. And I had developed a curveball, a little slider, and a few other pitches, and I was working on a knuckleball when the league folded because we had that ten-inch ball. You know, a nice one to hold. But when we went to the nine-inch, I was working on a knuckleball because then I could hold onto the ball. (18:08) And so one of the guys we played against, his brother was Hoyt Wilhelm, and we played against his brother. His brother was my age, so I played against his brother up at Croft, which is North Carolina, which he’s from. And so I was learning from my dad and my brother and these guys. I was learning to throw a knuckleball. So I was disappointed when the league folded and I didn’t get to practice that, but…Yeah, and they had me run, they had me pitch, and it was primarily my pitching. Interviewer: “Okay, and so now, once they signed you on, you’re big enough, you can go, now what happens?” Well, I think my mom…I had never been away from home in my life. Ever. Not anywhere. People didn’t have money to travel then, you know. We did…We went to the beach maybe one week out of the year. Just my mom and I; my dad never went. He liked to work. He didn’t like going on vacation. So we would go to the beach, but that was it. And my whole family other than my dad was with us. So, you know, I’d never been away from home. As a matter of fact, I was so green, I didn’t even know they had maids in hotels to make up beds. I had never stayed in a motel in my life. So my mother thought that I would get homesick and come back because I’d never been away from home. And I got homesick just staying with family members. They’d have to bring me home in the middle of the night. I would think something like somebody was going to bother my mother and dad. I don’t know what I thought I could do, but, you know. So they’d have to bring me home. So she thought, “Well, she’d go 800 miles away. I’ll probably…She’ll probably come home.” I didn’t. And I...My dad, he was all for it, you know. (20:03) “Go. Have fun.” But he told me something before I left. He said, “Now you’re going to be a rookie.” He said, “So you’re going to be at the bottom of the barrel again. So you’re going to have to work.” And he said, “You also…You’re at the bottom of the barrel, and don’t be a smart aleck because if you are, they’ll eat you alive.” So I sort of remembered that, and he also said, “Now you’re going away from home, and you don’t have your family there, and we’re far away. We have no car.” He said, “If you get in trouble, it’s going to be on you because you’ll have to figure out what to do. It’s on you.” And he said, “Your mom and I tried to teach you right from wrong, and now we’re going to see if you were listening.” Interviewer: “Okay. Now when they’re…Now did they have to sign something to allow you to go?” Yes, they did. Interviewer: “All right, and did the league people tell them about the chaperone system and how they’d take care of you?” Yes, they did, and that was all in the contract and everything. Yeah, the rules and what you were supposed to follow and what you were supposed to do and how they took care of you. And they 6 �Ozburn, Dolly did, you know. They were very, very nice to you and that kind of thing. Of course, being young kids, you know, we were always, especially Katie Horstman and I, were always, you know, sort of looking for things to get into. Not bad things. Just things to get into. We didn’t get to anything bad. We just got in, you know. Interviewer: “Okay, so you’re joining the Daisies in 1952?” Yes. Interviewer: “All right, now what range of people was on the team at that point? Have you got some older veteran players…?” Yes. Well, Pepper Paire was on our team, and she was one of the older people. And Tibby Eisen was on our team. And we had a range from me, which I was the youngest, and I…They wouldn’t let me come to spring training. Early. I wanted to come early, but they wouldn’t let me because school wasn’t out. So they said, “No. You have to stay in school.” (22:16) School’s out the day of my fifteenth birthday, so I left the day after my fifteenth birthday to go to Fort Wayne. And they were out of town when I got there, so someone met me at the airport and took me to the Van Orman Hotel, and I stayed there. They took me to their house, and I had dinner with them. And then they took me—one of the board members—and then we went to the Van Orman Hotel, and I stayed there. And the next day I joined the girls that I was living with. And I lived with Katie Horstman, Dolly Brumfield White, Jo Weaver, Jean Weaver, and myself. And all five of us lived together. And I was the youngest, and I think Jo and Jean and Katie must have been seventeen. Sixteen, seventeen. Seventeen, maybe? And then I’m sure Dolly must have been eighteen or nineteen. Interviewer: “A little older, anyway.” Yeah, they were all a little older than me. Yeah. Interviewer: “All right. Now do you remember…So you were playing a regular season game when you…the first time you play? I mean, has the season started by the time you join them?” Yeah, the team had already started, and they were out of town… Interviewer: “Yeah, right. These are regular games. So how long did it take for you to get you into a game?” I don’t remember that. I just don’t. I was sort of a bullpen pitcher the first year and the second year, and then I pitched in rotation the third year. Interviewer: “Do you remember the first time you pitched in a game?” Sort of, sort of. I did…I think Pepper Paire was my catcher. Lois Youngen was my catcher sometimes, but Pepper Paire was my catcher the first time. And I remember Pepper used to get 7 �Ozburn, Dolly after me about a lot of things, you know. (24:14) So I think Pepper was my catcher the first time because we had quite a squad because Geissinger, I think, played second base, and Horstman played, I think, third. And we had Dottie Schroeder as shortstop and Betty Foss on first base, so…And Jo Weaver, I think, played either right field or left field, and Tibby Eisen, I think, was in center field. And I can’t remember who was in right field, but one of the players in right field…Now I can’t remember now. I was fifteen, so I was kind of like trying to find my way. Yeah. Interviewer: “All right. Now at that point did the catchers normally call the pitches for you?” Yes, they did. Interviewer: “Okay, you got experienced catchers, so that’s got to help a little.” Yeah, yeah. Experienced catchers. Yeah. Lois wasn’t…I think…I don’t remember what year she started. Maybe ’51. But Pepper had been there quite a while, so yeah. Interviewer: “Okay, and then did you have problems when you started? Were they hitting you, or were you wild? Or did you pitch pretty well?” Well, I was sometimes wild. Yeah, I was sometimes wild, and sometimes I, you know, would have good days and bad days like all pitchers, but I was sometimes wild. I know I ran a lot of wind sprints. That I remember. I remember playing pepper and running wind sprints. Wind sprints. Holy cow, I remember those a lot. And I remember trying to learn a lot about the game, and when I had Bill Allington, I learned a lot about the game. I learned more about baseball from Bill Allington than I did anybody. And that was the next year and then when we were on tour. (26:08) The next year and on tour I learned a lot about baseball from him, but he knew more about baseball than any coach I’ve ever seen or ever had, you know. When I had Bill. Interviewer: “Yeah, because Katie Horstman talks about Jimmie Foxx. Of course, he was a hitter rather than a pitcher.” Yeah, he was a hitter. Interviewer: “But there was that part where he was looking at her hand motion and asking if she had milked cows before. Is that right?” That’s right. Well, Jimmie used to have…Being a bullpen pitcher and not a starter, I pitched a lot of batting practice. A lot of batting practice. And when I would pitch batting practice, there was every once in a while Jimmie would hit. And sometimes he’d hit with just one hand, and he could knock that ten-inch ball out of the park with one hand. And I would say, “Jimmie, if I pitch this in there, don’t you hit that back through here.” And he’d say, “I won’t.” I said, “Don’t you dare.” “Because,” I said, “it would make a hole this big in me, and it would come out the other side. Don’t you hit it back through here.” And he never did, but I was a little leery of pitching to him because he could hit that ball so hard, you know. And Jimmie was a good guy. Boy, he 8 �Ozburn, Dolly loved his players, though. I mean, there isn’t anything he wouldn’t do for his players. I mean, he was just like a dad, you know. Just like a father to us. Interviewer: “Yeah, and he’d been there in the league from the beginning, hadn’t he? I mean, he was one of their first players, or…? No, I think he came with the 1952 season. I think he was hired in the 1952 season. Interviewer: “All right. I guess the impression one gets from other places was that he was there earlier, but some of that may be the indirect influence of a somewhat inaccurate Hollywood film. Because I think they talk about the Tom Hanks character…” Jimmy Dugan, yeah. Interviewer: “Being based on him to one degree or another.” Well, Jimmie wasn’t a screamer or yeller. Karl Winsch… (28:11) He yelled at me a few times. A lot. Especially one time when I walked Katie. After I was traded, I pitched a game, I guess, in Fort Wayne. And, of course, I knew all those ladies because I had played with them, and I walked Katie because she was a good hitter and I was trying to, you know, keep the ball away from her getting hit. And I walked off the field, and Karl Winsch just screamed at me, “Meet me at the baseline!” And he let me have it about walking her. “And don’t you walk anybody else!” I said, “Okay.” But they had a lot of good hitters like Geissinger, Weaver, and Foss and you know. So I was trying hard not to walk them, you know. I mean, I was trying hard not to let them get hit, so I was trying to place the ball, and it was…So he screamed. He yelled at me a lot, you know, but that’s the way it goes. And when they said, “There’s no crying in baseball…” No, nobody cried. Nobody cried. And I thought to myself, “Okay, you can yell all you want. You’re not going to make me feel bad or cry, you know. Interviewer: “All right, so how successful were you as a pitcher?” Well, I think I was learning a lot. I think, you know…I think I had not pitched—I didn’t pitch in the boys’ league. I didn’t pitch in the boys’ league, and I think the…When I pitched for Fort Wayne, I was more or less a pitcher that came in, you know. Interviewer: “A relief pitcher, sure.” Yeah, I was a relief. Yeah. And when I pitched regular, I got to be a lot better than I was. Of course, you do when you pitch regular. And I think my record that last year was eleven and six, I think. (30:08) And so I was learning batters more. About what they do. And I was learning more about the game of baseball as I went because when you play, you know, sandlot ball, you just play, you know. And I was learning a lot more about it, and I was trying to increase the number of pitches that I had. And so I was learning a lot more about it, but I think, if I remember correctly, Jan, my teammate, was…The end of the year…I don’t know. I got this thing. I wasn’t caring whether I was first, second, or third or fourth in the league as far as pitchers were, and I got this thing. I think she was the first pitcher, and I was second. I’m sure who was third in the 9 �Ozburn, Dolly league, and I think it was Kline. I think Kline was third in the league that last year. So I was improving, and I wasn’t as good as I wanted to be. Let’s put it that way. I was working on it, and I, you know, was working on it over the winter. Working on some new pitches and was anxious to go back. Interviewer: “Okay. At the time that you came in, had they stopped having the traveling teams for the younger players, or were there still touring teams?” No, there were no touring teams for younger players. That had quit. Yeah. Interviewer: “Right. So the young players, if they’re taking them, they’re going in. They’re putting them right on the regular teams with everybody else.” Yeah, yeah. Yeah, there was no traveling team. I think there were some teams—local teams—for younger girls, and I think that they were the Junior Daisies. And I think they still had some of those teams when I came into the Junior Daisies. But I don’t think there were any junior Blue Sox when I got to 1954 and got to the Blue Sox. I don’t think there were any junior Blue Sox. Interviewer: “Okay. Now what is daily life like for you when you’re actually in the league?” Well, it depends on whether you’re on the road or at home. (32:12) Something funny happened to me. When Bill came, he was…I was kind of a rookie. It was the second year, but I was still considered a rookie. And when we came home from playing, he would say, “Practice tomorrow morning at nine, and I want the infield here. Infield and Vanderlip.” Me. “Okay.” So I’d go to practice. Next morning it was the outfield and Vanderlip, and the next day it was pitchers and catchers, which included me. And the next day it was infield, outfield, and Vanderlip. So when we got home from road trips, pretty soon he would say, “I want the infield.” And I’d say, “And Vanderlip. Don’t forget Vanderlip.” And everybody would go, “Aw, man.” And then they’d start laughing, so I said, “Don’t forget to call me.” So he was…And he’d just shake his head, you know. Bill—he had a good sense of humor, but he was all baseball, all business, you know. And he’d say, “Outfielders.” “And Vanderlip,” I’d say. Interviewer: “So you got two years with Fort Wayne: ’52, ’53.” Yep. Interviewer: “’52 Jimmie Foxx is your manager. ’53 Bill Allington’s your manager.” Right. Interviewer: “Okay, and then you go to South Bend for ’54.” Karl Winsch. Interviewer: “And that’s where Karl Winsch is the manager.” 10 �Ozburn, Dolly Yeah. Interviewer: “Okay. Got them kind of sorted out. Now I guess you talked a little bit about the setup they had. You were living in a house, and there were several others rooming there with you. Now did this belong to one family, or did you rent out the whole house? Or what was the deal? (34:08) Well, that was funny. We lived upstairs. There was a family that lived downstairs. And so the five of us lived together. We did like…We could do our own cooking and stuff because it was like an apartment, but there was a family that lived downstairs. And I even remember the name of the street. We lived on Fulton Street. We had somebody…I don’t remember whose car it was, but we had a ’48 Ford. And we had to go all the way across town to get to the ball field. And so we used to drive that old Ford. We named it Big Ben, and Big Ben was a black ’48 Ford, one of those old square jobs, you know. The reason we called it Big Ben was we had a thing in there that…A Big Ben clock. Because then we could tell how much time we had to go to get to the ball field. So we could pull Big Ben out and look. “Oh, yeah, we better hurry, you know. We got to get to the ball field.” So we put Big Ben back in the thing, and so we had Big Ben that we used to travel back and forth. And at night, we at least did have transportation back home after we got…We’d get home two, three o’clock in the morning from a road trip, you know. And our bus driver was Wally, and he was a sweet, sweet guy. Wally was the sweetest guy you ever want to meet. And if we got too rowdy, he’d say, “Now, girls. Now, girls. You need to settle down.” And he was just a sweetheart. He was like a grandpa to us, and he was just the sweetest guy you ever want to meet. Interviewer: “Okay, now when the league started, there were all kinds of rules and regulations, and they had the charm school, and you had to wear makeup and all this kind of stuff. How much of that was still in place when you got there?” Not as much. We still had to wear dresses everywhere. We couldn’t go in public without having a dress on. (36:09) If we were invited…I remember there was this one guy that owned a diner that was one of our supporters, and he always invited us to his diner for dinner. And I have a picture of that, of all our team at the diner. And we had to wear dresses or skirts to that. Well, most of the time we wore blouses like this, and we had a tailor in Fort Wayne that—He would make wrap-around skirts for us, so we could wrap it around. It had a little hole in the thing, and we’d stick that through and wrap it around us and tie it. And we were ready, you know. So we had wrap-around skirts. Not all wrap-around skirts. We had some dresses and stuff. But wraparound skirts to wear. And they weren’t as strict with that as they had been in earlier years. And I remember one of the older ladies saying to me one time, “You know, we had to go to charm school.” And I said, “That’s okay.” I said, “You know what? We didn’t have to go because we’re already charming.” She went, “Ugh.” You know, so I would tease them about the fact that they had to go to charm school, and I’d said, “Well, it didn’t rub off, you know.” So we would tease them about that fact that they had to go to charm school. But no, they didn’t have charm schools. Stuff like that. Interviewer: “Okay. Did they still have chaperones?” 11 �Ozburn, Dolly Yes, we did have chaperones, and they would come in when we dressed. And, you know, in the movie they showed Tom Hanks coming in, going to the bathroom. That never would have happened. That wouldn’t have happened. Our chaperone—If the managers wanted to talk to us, they would say…It would either be after we were all dressed to go on the field. Right before we went on the field. And the chaperone would say, “Okay, everybody’s dressed. You can come in and talk to them now.” Or after the game, if we didn’t play well, sometimes Bill would come in with us, and the chaperone would say, “It’s okay to come in.” And he would come in and talk to us. (38:11) Well, talk to us. Yeah, I’d have to say talk to us sort of. Talked to us about how we played and stuff like that. So, Bill, you know, and the other guys, they wouldn’t come in. They’d never walk into the dressing room like that. Interviewer: “Okay, now, I guess, when you’re on the road, the chaperones were kind of looking after you and making sure you’re where you’re supposed to be.” Yes, yes, and it was kind of funny because we had a time that we were supposed to be in. We’d go out to eat, and we would come back. Well, in the ‘50s, you know, they had all these great, big, huge plants and stuff in the…So if we were a few minutes late—because if you were late, you got a fine—they’d be sitting in the lobby, watching for you to come in, because you had bed check. And we would sort of wait and hide behind the plant. And when they were looking the other way, we’d run behind another plant and run behind another plant, so we wouldn’t get caught coming in. And I think one place…I don’t know if that was Kalamazoo…Where that was…We talked to the guys who ran the freight elevator, and sometimes we’d run around back, and they’d take us up in the freight elevator, so we wouldn’t get caught for being late. Because sometimes you’re five, ten minutes late, you know. It wasn’t like we were staying out all night or anything. So Lou said she didn’t do that kind of stuff, but, you know, Katie and I and some of the others…We were a little younger and loose, so we were, you know, a little bit mischievous. But Bill was pretty strict on that stuff. As a matter of fact, when we were on tour, I got a couple lectures from Bill. Yep. One the night I met my husband. Well, he was my future husband nine years later. A whole bunch of us went out. (40:11) We came in, and there was a…And the next morning…There’s a lot more to the story, but the next morning he sort of gave me a lecture about being on the road and, you know. And I said, “You know what, Bill? My dad gave me that same lecture.” And he did. I said, “So you don’t have to worry.” Because we never went out alone with anybody. We went out as a group, and usually it was a group from the team that we played and their wives and that kind of thing. Interviewer: “Of course, if they’re from the team that you played, did they have wives or husbands?” No. Now this was when we were on tour. We played men’s teams on tour. Interviewer: “Okay, now when were you doing—Oh, that’s right because we haven’t gotten to that part of the story yet.” No. When we were on tour…Yeah, we were all talking about Bill. Yeah. 12 �Ozburn, Dolly Interviewer: “Okay, now how well did the teams that you played for do? Was it ’52, 3, 4? Did they have winning seasons, or…?” Yes. Fort Wayne won the league championship the first year I was there, but we lost in the playoffs. Fort Wayne won the league championship. Second year we—I think we lost in the playoffs. Now I was traded to South Bend, and we were second in the league. Fort Wayne and our team were battling it out, and then we finally lost the league championship. And then we lost in the playoffs. So we were battling it out with Fort Wayne, first and second, and I think Kalamazoo won the playoffs that year. Fort Wayne got kicked out in that. And I think they won the league. Maybe Kalamazoo did. Somebody else won the league. Interviewer: “But Grand Rapids won the league in ’53.” (42:01) Okay. No, not…The league or the playoffs? Interviewer: “Well, the playoffs.” The playoffs, yeah. Fort Wayne won the league. Interviewer: “In terms of best record.” Yeah, yeah. They won the playoffs. And I think Fort Wayne won the league, though, that year. ’53. ’53, I think Fort Wayne won the league, and Grand Rapids won the playoffs. Okay. The next year, I think, Fort Wayne won the league and Kalamazoo won the playoffs. And we were battling it out with, I think, with Fort Wayne. The season. We were battling it out with Fort Wayne for the league championship, and we ended up losing it. Interviewer: “Okay. You’re playing in sort of the last three years of the league.” Yeah. Interviewer: “Now did you notice changes in attendance, or were there other kinds of problems coming up?” Yes, I noticed changes in attendance. I don’t know. I was young, and I wasn’t aware of the…I’m a person who don’t get involved in the politics and stuff even now. Not international politics either. But I think South Bend had some big problems, and a lot of players just left. I don’t know what all the problems were, and I didn’t get into that. I think my son did some research on that because, as I said, he’s a historian. And I think they were short players, so I think that’s one of the reasons that I was sent to—traded to South Bend because they needed pitchers. Okay, and one of my friends said, “Yeah, that’s like being a slave. They can just trade you anytime you want.” And I said, “Yeah. Yeah, sort of.” Interviewer: “Well, Major League baseball worked the same way.” They do that. That’s what I said. 13 �Ozburn, Dolly Interviewer: “Not anymore, but they did then.” Baseball does that, and football does that too now, you know. You could say, “Okay, I want more money.” If they won’t pay it, they send you someplace else, or somebody has to pick you up. (44:07) Interviewer: “But in those days—I mean, now there’s free agency, and players have room to negotiate. And in those days, I mean, Major League baseball didn’t have free agents until Curt Flood. So you were just being treated like them. Now how were you—How well were you paid?” I don’t remember exactly what my salary was. It seems like it was like…I’m trying to remember my contract now. It seems like it was two hundred and something a month. Like that. And one of the players that I played with—1953—she said, “Yeah, you know what I remember about you?” And I said, “No, I don’t.” She said…I said, “You’re going to tell me, of course.” And she said, “Yeah.” She said, “I remember that one time I was running short on money, and I asked you if I could borrow some money. And you said, ‘Well, I’ll have to cash my last check, and then I’ll loan you some.’” She said, “You hadn’t even cashed your checks.” I said, “Well…” I was saving my money for a car. I was sixteen. My parents had no car, so I was saving to buy a car when I got home. So I think it was two hundred and something. There wasn’t quite three hundred dollars I made. 275, 280, something like that. But that was a lot of money then because in North Carolina when you worked in the mill, you were only bringing 40, 45 dollars a week home. And it seems like four times forty is not what I was making a month. So I thought…And for a sixteen, fifteen, sixteen-year-old kid that’s a lot of money. Because I worked in the mill when I was in— the mill across the street from my house—when I was in elementary school. I worked after school in the mill. (46:10) And on Saturday mornings. And I made fifty cents a week working in the mill. I worked from the time I was six years old in the mill. Just, you know…They had me do jobs. Interviewer: “Okay, and then did the attendance drop?” The attendance did drop. In South Bend we dropped, and there were a couple of those things going on. I think the summer I was there Bendix went on strike. Studebaker. That was right before they moved. They went on strike, and several companies went on strike. And it seems like in the early fifties…I think we had a downturn in the economy, and baseball on television— men’s baseball—was beginning to come on television. So, I mean, even though it was maybe fifty cents, a quarter, fifty cents, a dollar to get into a game, then that was a lot of money. You’re bringing home forty, forty-five dollars. That’s a lot of money, you know, to pay twenty-five cents for a program to go to the ball games every night. You know, that seemed like a lot of money at that point, and people were on strike, so…And they didn’t have all the benefits that people have—You know, had later. Interviewer: “Sure. All right, let’s see. Now at what point did you find out that the league was shutting down?” 14 �Ozburn, Dolly Well, I have a letter. We heard inklings of it when we left. And I had a letter—I think it was January or February—that said that we’re waiting for Rockford to go. And if Rockford could go…And I’m sure this is what the letter said. I still have it at home, but it’s been a long time since I read it. (48:00) If Rockford could make it, and if they decided to go, the league would still go. And then I got a postal card later, and this must have been right before they would have gone to spring training. Because I would have been in school and wouldn’t have been able to go. That the league would not be going again. And I just got a postal card that said that, and I have that at home yet, too. So we got a letter about January or February that said, yeah, the league would be going, and I was very happy that it was. And then—it must have been March or April—that said no. That we wouldn’t be having a league anymore. Interviewer: “But this didn’t stop your professional baseball career, so what happens next?” Well, in 19…I graduated from high school in 1955. So Bill Allington got a team together to take on the road, and we had a touring team. And they played men’s teams. Well, he sent me a letter and had me join them in Iowa, and that was 1955, right after I got out of school. And then I got this letter, and I said, “Sure.” So I packed up and met them in Iowa, and that’s when the touring team started. And I remember Katie was on the touring team, and at that time Dotty Schroeder and Betty Foss, but I think she went home before we finished. And I remember one time we were somewhere, and I think we’d been rained out for like…We got a portion of the receipts, and sometimes we got as much as three dollars, you know. And then we had to pay for gas, and we paid for our own meals. And we paid for our hotel—motel room, and we stayed in some real interesting places. (50:08) You know, really interesting. And I don’t know if the girls remember. We stayed in one place. I don’t even know if they asked. Someplace in Iowa. And it was one of these real old hotels that they since probably tore down. And there was a rope. There was a rope by the radiator. Oh, and we had bathrooms just on the hall. So you had to go—When you went to the bathroom or you had to go take a shower—a bath. We didn’t have showers. Take a bath. You had to…I mean, there was one bathroom on the hall probably or two maybe, and so you had to take turns taking baths. And it was hoping nobody else was in there. And this radiator had a rope tied to it, and I asked the guy at the desk. I said, “Why is that rope tied to the radiator?” He said, “Oh, that’s the fire escape.” And I said, “What?” He said, “That’s the fire escape.” So you’d throw the rope out and go down the fire escape and throw it back up. Interviewer: “All right, so when you’re touring, as you were saying, you were often playing men’s teams. Would these be just sort of independent teams or local ones?” Local. Town teams mostly. A lot of them were made up of college students, and they had the same deal because I married one of them. They had the same deal where you came to play for a town team, and they found you a job. Well, that’s what I did in the wintertime. I played basketball for some team like NAPA. I played for National Auto Parts. Well, they would hire me on Saturdays because I was working Monday through Friday. They would hire me to play basketball, and they would give me a job, and then I would play basketball for them. (52:12) And that was interesting. That’s what these town teams did. They would find them a job, and they would play for their town team. Like my future husband and I met on tour, played for Van Horn the year I met him, and he worked at a cement factory. And he played ball for Van Horn, 15 �Ozburn, Dolly and it was very competitive. Oh, extremely competitive. So we would play those teams, and we would switch batteries, pitcher and catcher. And their pitchers and catchers would come sit on our bench. The guys. And our pitcher and catcher—because we only had one of each—go sit on their bench because everybody else had to play. Because we only had eleven players and Bill. There were twelve of us altogether. And so we would sit on the men’s bench, and then we would play the game. And we had a…kind of a thing that…where we would act like we would throw the ball. Sort of a thing around the infield and stuff like that. And then Dotty Schroeder was there first year, and then Joanie Berger was playing shortstop for them. And they would back his catcher up against the thing and keep throwing to him and throwing to him. And when he was back up against the thing, and she would throw it right back and throw as hard—And they thought he was going to throw it at him, and she’d throw it right above his head up there. Just sort of a, you know, just a…And we had two baseball clowns that—well, at different times— went with us, and that was…Jackie Price was one of them. The other one’s name I don’t remember now. There were two of them that toured the country, and… Interviewer: “There’s one famous one who’d show up. Max Patkin.” Max. He was with us one year. Yes, he was with us one year, and he traveled with us. And he did…Yeah. He was teaching…I think it was Pickles. Yeah, Pickles. To throw two balls. And we would throw two balls, and we would throw three balls. And we would pitch to him, and he would hang upside down and bat the ball. And he’d catch a ball in his shirt and in his pants and, you know, that kind of thing. (54:20) So they did travel—I don’t know if they were with us the whole season, but they were with us part of it. Jackie Price was one and Max Patkin was the other one. You know, it was mostly for fun. We weren’t trying to prove anything. We were just having fun. We loved to play ball. And when I…I think it was 1958. We played in Iowa, and my future husband played at Van Horn. But his boss at the cement factory told him, “We’re playing a bunch of girls tonight. Come down.” So he came down, and, I don’t know, somebody was hurt. I think it was Pickles. Dove into a place and jammed her head. And her neck was hurt, so I had to play infield that night. So if you had somebody hurt…You either played infield, or you played pitcher. So you played every night, you know. And I think she…I think it was Pickles that was injured. So they all sat on our bench. The catcher and—His boss was the catcher, and he sat on our bench and everything. And I was sitting on the bench, and we got to talking on the bench. After the game, a whole bunch of us went out. We got to talking, and it was kind of funny. I didn’t know this until years later, but he said to my future husband, “Invite me to the wedding. That’s the girl you’re going to marry.” And he said, “No, no.” And he said, “Yes, it is. You’ll marry her.” And so nine years later we did decide to get married. We didn’t even live in the same state any of those years. We just sort of kept in touch. (56:15) Interviewer: “All right, so…But ’58 was your last year touring, right?” Touring, touring. Interviewer: “Okay, and so at that point you’re about twenty-one years old now, or…?” In ’58, I think that was…Yeah, probably about that because I had one more year left of college. Yeah. 16 �Ozburn, Dolly Interviewer: “Okay, so where were you going to college?” I went to college at Appalachian State. I think the Yankees call that Appalachian State. Interviewer: “Actually, these days if we know our schools, we go Appalachian.” Appalachian. Yes, right. Interviewer: “That’s how we know it because that’s how they say it.” That’s right. Go, Appalachian. Yep, and I think since Katie thought we talked funny, I would still say Appalachian. Interviewer: “So did you see him multiple times while you were still playing or just that once?” Yeah, we just wrote each other occasionally, and then, I think, one time he came to North Carolina. And one time he was playing for a team in Iowa, and I—a friend and I went up there and visited one year for about two, three days, until they went on a road trip. And then we came back home. And then I think I saw him another time later in the 1960s in Iowa. And then a friend of mine…I went to the University of Iowa for a master’s degree. And then a friend of mine talked me into going to La Crosse to teach. And I saw him a couple of times then. (58:01) And then we sort of lost contact, and I guess he called—He found out where I was teaching and called the head of my department, and the head of my department came in and said, “Some guy called, and he was looking for you.” And I said, “No.” And he said, “Yeah.” And it was my future husband, but we didn’t get married right then. We waited a couple years yet, so it was nine years. And, as my friend put it, the length of a baseball game: nine innings. Interviewer: “So how old were you when you got married?” Thirty. Yeah, I was too busy. Interviewer: “That’s very common these days. It was probably more unusual then.” It was very unusual then because my family always thought, “She’s never getting married. She’s never getting married.” So they told me that. Interviewer: “All right, now did you basically go to college and then teach for a while and then get a master’s?” Yes, I taught for a while, and then I… Interviewer: “So after you got your degree at Appalachian State, where did you teach?” My dad developed heart trouble. Well, he had heart trouble, and he had a few problems with his heart. So I went back home to teach, to help my mom because he had a small business by that 17 �Ozburn, Dolly time. And she had to go run that, and I went home to help them, you know, with things. (1:00:07) So I taught at an elementary school, and actually it was the school where I went to junior high school. And it had the same principal, so I knew him pretty well. So I went there to teach a couple years, and I taught elementary physical education. And then I told my dad that I thought I would go back to get a master’s degree, and I went back. And then my dad had two heart attacks in the fall, so I dropped out and went back home to help them. And I just had some part-time jobs that year while I was helping them. And then I…My dad passed away in 1964. So then I went back to school full-time and finished my master’s degree. I went summers, and then I finished my master’s degree in 1965. And while I was home I had part-time jobs the first year I dropped out. Then I got a full-time job at a high school, and I taught high school and coached basketball. Now at night when it wasn’t basketball season, during the summers, I played softball for NAPA. They got me a job in the summer because we didn’t make much money. I think my first teaching job was $1,100 a year, and so I had to work in the summer. They got me a job, and I played softball for them. Interviewer: “Okay, so where did you get your high school teaching job after the master’s degree?” I taught in Gastonia, North Carolina. (1:02:00) As a matter of fact, one player came from there. They called her Rebel. She came from Gastonia, and I didn’t know her, though. I met her once, I think. And I taught at a place called Holbrook High School. And I taught physical education and biology, which was my other major, and health education, which was my other major. So I taught those three things at the high school. I had the Girls Athletic Association, and that was a group that—where all the girls participated. And I coached basketball because basketball was the only sport that we had. But the Girls Athletic Association…I must’ve had—We had probably five hundred girls in that school, and I think I had 410 in the Girls Athletic Association because we did a variety of activities. And they had to earn points to do special trips. Our special trip as a freshman was a bicycle ride, the sophomores, I think, we went on a special hike, the juniors went on an overnight—a weekend camping trip in the mountains, and the seniors went on an overnight weekend camping trip at the ocean, at the beach. So they wanted to go on those trips, and so we had tons of girls. And we had everything. We had co-ed bowling, co-ed volleyball. Volleyball, bowling for girls. And we had a lot of co-ed programs. And the boys wanted to start a BAA, a Boys Athletic Association. I said, “No, no, no, no, no. I got a lot to handle now, guys.” But we did incorporate more, and the kids ran the programs. (1:04:02) I made sure the kids were doing their jobs, and they ran the programs. And we all learned a lot by that. And then I coached girls’ basketball too as well. And then in the winters when I didn’t teach high school…Before I taught high school, I would play basketball myself, and I earned money that way because when I played basketball, I played for a team. But on the weekends they had tournaments, and the team could pick up two people. And I got picked up to play every weekend, and I made ten bucks a game. So if we played four games and won a championship, I made forty bucks a weekend, which is a lot of money. You know, back then that was a lot of money. And in the summers, after school was out, I played softball. The same deal. I would get a job somewhere, play for their softball team, get picked up on the weekends to play for other teams when we didn’t have tournaments, and I made ten bucks a game. So I was making probably forty dollars a week working in a factory pulling automobile parts and forty dollars on the weekends playing in tournaments. So that’s sort of how I made my money. 18 �Ozburn, Dolly Interviewer: “All right, now how do things change once you get married?” Well, they change quite a bit because I was thirty years old. And when I was in college, I was coaching field hockey, fencing. Field hockey and fencing. And the seasons kind of overlapped, and we didn’t have…When I was teaching there, we did not have coaches. We had team sports because we did not have intercollegiate sports. Title IX had not gone through yet, and I was very disappointed about that. And I’m glad that the girls have Title IX now because we didn’t have an opportunity to do that, and the girls that I coached didn’t. So I coached field hockey in the fall, and I had never played field hockey until I was in graduate school because we didn’t have it in the South. But I played for the University of Iowa. (1:06:26) And I had to be a quick study because—Boy, I learned a lot that first year, especially after those wings passed me and spun me around a few times, you know. They were fast, so I had to figure out how to beat them to the ball. And that was interesting too because one of my teams got to go to the nationals. And while I was there, one of the officials was Gertie Dunn who played in our league and with whom I was friends in South Bend. She played shortstop for South Bend. So I got to see Gertie, and I said, “Hey, Gertie.” “Lippy, what are you doing here?” I said, “Oh, what are you doing here?” You know, and it was like we’d never been apart, you know. So I got to see Gertie, and that was great. I got to run into people I knew. So when I got married, I was still teaching there and still coaching and everything. And so I think I was so bogged down that I said, you know…I talked to the head department, and I said, “We want to start a family, and I think I am going to have to give up my teaching job to do that. I have no time. No time.” Interviewer: “Now did your husband come to North Carolina then?” No, my husband came to Wisconsin. I was teaching in Wisconsin. Yeah, I was teaching college then. So I taught high school while I was getting my master’s degree, then I took a year off and got my master’s degree, and then I went straight to Wisconsin to teach. (1:08:03) A lady who was getting her PhD there talked me into coming to Wisconsin. Otherwise, I’d interviewed at Syracuse and a few other places, and she talked me into coming to Wisconsin. And then my husband called the head of the department—well, my future husband—and found me. Then in a couple years we got married. Actually, after he found me, I went back home for the summer after my first year of teaching there, and he came down and visited. And we took my nephews on a backpacking trip on the Appalachian Trail, and that’s when we decided, “Well, maybe we better get married before we make a mistake and marry somebody else.” So then we said, “In another year we will plan the wedding. We’ll plan the wedding this next year, and we’ll tell everybody we’re getting married.” So then I was at UWL another year, and then we decided that we wanted to start a family. And I was so bogged down at UWL, by April I was a zombie because our field hockey went clear through into December, and my fencing team started before that and went clear through until April. So I was overlapped and that kind of thing. Interviewer: “Right, and so you went to your department chair. And you were starting on that and got sidetracked because you were talking about being so bogged down. And were you going to have to stop teaching? Was that the idea?” Yes. Yes, I was bogged down, and I was going to have to quit teaching there. And he didn’t want me to. He said, “Sure there isn’t anything I can do?” And I said, “No.” And it was kind of a sad 19 �Ozburn, Dolly situation because he and his wife wanted…He said, “You realize you may want to start a family, but that may not happen.” Because that’s what happened to them. (1:10:07) They lost several children, and they couldn’t have anymore. And at that time you didn’t have the medical facilities you have now and the medical…And he said, “I hope that doesn’t happen to you.” So he was worried that, you know…And so I have a son and a daughter, and they were born, you know, in 1971 and 1974. And from that point I went to the YWCA to work as a program director, and I was there for thirteen years. And recently I’ve been working at a school district riding the bus with four-year-olds, which is a riot, you know. And I do a lot of—I try to do a lot of speaking about the league. I love elementary school. I love to speak to elementary schools, and I speak to junior high schools, softball teams. I spoke to a couple—Well, I’ve been to a lot of senior citizens’ homes because they show them the movie because that’s their era, you know, and when I come in, they’re all prepared for it. And they say, “You don’t look old enough.” I said, “I was at the last of the league, not the first, you know.” Interviewer: “Okay, now did you stay in touch with many of the people that you’ve played with, or…?” Well, I went to the first reunion in Chicago, and I met Lou there. Lou Erickson Sauer. And didn’t know that I lived near her because we hadn’t gotten together. Now Mary Froning O’Meara. I knew that she lived in Madison because when I was coaching field hockey, we played Madison. And I had found her. (1:12:04) And I went over to visit her while we were there. So I had talked to Mary O’Meara, and I knew that Lou lived near me. So we started doing some things together like going to signings and stuff like that. And so I got to know her family real well. And so we did a lot of stuff together. And O’Meara—We did keep in touch some, and once in a while, I kept in touch with Lois Sheldon because she wrote some articles for softball tournaments and softball rulebooks and stuff like that. And I was using those when I was teaching, so we sort of kept in touch that way. But lost contact with most of them over the years. I guess you get busy with your life and, you know… Interviewer: “Okay, now when they made the film, A League of Their Own, they were trying to get a lot of the players back together. Were you involved in any of those things?” Yes, I did go to Illinois, and that was kind of fun. Horsey was there, so Horsey and I picked on each other while we were there. And O’Meara—Actually, we picked her up. I picked her up at her home in Madison, and she went with me down there. And then we contacted Katie because they’re from the same town. And so we got together there, and that was interesting meeting the people. And I thought that they were doing a really, really good job on the movie, and it was interesting meeting the people who were in the movie. And I had gotten a newspaper article from my sister-in-law—I hadn’t seen it—that said that there was a movie star who was picked to play the part of Dottie, which Geena Davis played. But she quit, and I asked one of the producers. I said, “Why did she quit?” She walked out. And she said, “Well, when they signed Madonna, she wouldn’t work with Madonna.” And I said, “Really?” And she said, “Yeah.” And I said, “Well, that’s too bad because I kind of liked her as a movie star, and I think she’s pretty athletic.”(1:14:32) And he said, “Yeah, but she’s hard to work with.” He said, “But you will like who we have. I’m sure you will. We can’t tell you who it is.” Because they hadn’t signed her when we were in Illinois. “But we will let you know as soon as we sign her.” And I saw 20 �Ozburn, Dolly something on the news. It was an interview with Tom Hanks, and they said that Tom Hanks contacted Penny Marshall and wanted that part. And I said, “Really? He wanted that part? You’re kidding.” And he wanted to play that part, so I guess he contacted them. They hadn’t signed him either when we were in Illinois. They were still working on it, and I saw they made changes in it as they met us there. And we had breakfast, lunch, and dinner with them, and they were rotating tables and talking to all of us. And I think they got, you know…I think they wanted to get a feel for what we were like. Interviewer: “Well, they were doing their jobs. Make a historical film? Do some research.” Yes, they were doing their search. And I don’t know how they found a Holiday Inn with three ball fields right outside the door, but that’s where we were. There were three baseball fields right there, and we hit fun goes. And they told us to play a game, but we mostly were horsing around, you know. We were playing, but, you know, teasing each other. You know, holding people on base and that kind of thing. Interviewer: “All right, now after the movie came out, did that turn you into a local celebrity or anything like that?” Yeah. In La Crosse, I had a friend who was on the La Crosse Tribune, and her job was to write stories about people in the area. (1:16:21) And she did. She wrote several articles, and I used to go out to dinner with her. And she had a real good sense of humor. She was funny. We used to tell stories, and people would pull their chairs over to our table to listen. And so, yes, then I started getting requests to come and speak from the rotary club and from the Lions and from this group and that group. And as a result of that, I was picked to be—which is a pretty big deal in La Crosse—is picked to be Maple Leaf parade marshal, and that’s for their Oktoberfest, which is a pretty big deal in La Crosse, you know. And actually is known fairly wide in the Midwest particularly. And a lot of things have happened as a result of that movie, you know. We were inducted into the Wall of Honor, you know, and I met a lot of the ballplayers that I wouldn’t have met. Andy Pafko was inducted with us, and it was fun talking to him. And he talked about the home run that was hit by Thompson—went over his head and won the World Series—and the story he told was unbelievable. He said, “I have played outfield all my life.” It went over his head by the way. And he said, “That ball was coming down. I know it was coming down.” He said, “I wasn’t drinking, I wasn’t on dope, and I wasn’t hallucinating. And I’ve played outfield all my life.” (1:18:05) And he was telling the story to us. He said, “I went under the ball, and it was coming down. I had my glove ready. And I thought, ‘Oh man, we got this series tied up. Oh boy.’” You know, and he said—I won’t tell you what he said, but he said, “When I saw that ball…” He said, “I don’t know what happened, but it hit an updraft or something.” He said, “The ball was coming down, I was under it…” And he said, “Oh my god, that thing’s…” He didn’t say that, but he said, “That’s going over my head.” So he said, “I turned around. I ran back against the wall. I put my back against the wall, and I’m looking, and it’s still going.” He said, “I didn’t believe it.” He said, “That ball was coming down, and I knew it was coming down.” He said, “I played outfield all my life, and that ball was coming down.” And I said, “Yeah, right.” He said, “No, it was.” And I tell that story to people, and they said, “I’ve never heard that.” I said, “No, that’s what Andy told us. When we were inducted into the Wall of Honor, he was 21 �Ozburn, Dolly telling us that story.” And then he said some colorful words when he was against the wall and said, “That just cost me seven thousand dollars.” Which was a lot of money then. Interviewer: “That would have been his World Series bonus?” Yes, yes, and he said…That’s the first time I’d ever heard that story, and nobody ever said that. I never heard it anywhere. And he told us that story when we were inducted. So those are the kinds of things that this movie has brought to us, that we have met a lot of people who are fantastic people. And we have done a lot of things that we never would have had the opportunity to do, you know. Interviewer: “Okay, and so there’s…My kind of closing question here is one that in different ways you’ve been answering kind of all along, but how do you think your time in the league affected you, or what did you take out of that?” Oh my gosh, you have a couple more hours? Okay, all of the women that I played with were older than me. (1:20:08) I went back to high school, and high school just didn’t seem right. I’d been on my own at play. Well, I did a dumb thing like sixteen-year-olds do. I told my dad…I was sixteen, and, you know, sixteen-year-olds, they don’t always think very well. And high school was just a whole different ball game for me, and I thought, “Man, what am I doing in school?” You know, so I told my dad, “Okay. Dad, I’m going to quit school.” “Okay,” he said, “that’s fine.” And I thought, “Uh oh. When he agrees with something like that right away, something’s wrong.” So the next morning—We live way out in the country, and the only way he got to town to his job was he caught a county bus that came by that bus stop at six o’ clock in the morning. And you better be out there at a quarter to six because you might not catch it. So five o’ clock my dad came in and said, “Wake up.” And I said, “Why? It’s five o’ clock in the morning.” He said, “Well…” He said, “You said you’re not going to school today.” He said, “If you live in this house, you have to have a job, or you go to school, or you move.” He said, “Now your mom has breakfast ready, you have to get ready, and she has the only job in this house. And I’m not firing her, so you got to go get a job today.” And I said, “Oh, well, I’m used to working anyway. I’ve been working since I was six years old.” So it didn’t bother me. (1:22:00) I said, “Oh, okay.” He said, “Well…” He said, “So you got to get up, and you have to be ready.” And I said, “But the unemployment office doesn’t open until nine o’ clock.” He said, “Well, you’ll be first in line.” He said, “Unless you plan on walking sixteen miles to town.” And I said, “No.” He said, “Then we have to be at the bus stop.” And I thought that over, and I thought, “Well, now I’m dumb, but I’m not stupid.” And I said, “Well, no, I think I’ll go to school.” He said, “I’m going to call your mom when the bus leaves to go to school, and you better be on it.” And I said, “Okay.” And the funny part of that is when I told my dad I’d save some money going to graduate school, he said, “Man, I kept you in school. Now I can’t get you out.” So that was the way it was at our house. You either work, or you go to school, you know. That’s your only choice, or you go out on your own. Well, at sixteen, I think, “Well, I’ve been out on my own, but I don’t think I want to do that.” And so I went back to school, but that was kind of a—sort of geared my life. But school wasn’t the same. My class was two hundred and some people, and, you know, you have these…In high school, you have sort of cliques here and there, but I was never a clique-y person. And I had bought my own car because of the league, and I could take my mother and dad where they needed to go. And then I had worked, so I could keep my car up because my dad said 22 �Ozburn, Dolly he wasn’t keeping it up. “It’s not mine. It’s yours.” So all of those things, and then…So I was a kind of independent person. (1:24:02) I would do things and say, “If anybody wants to go with me, they’re welcome to go. And if you don’t, fine. Stay home. If I want to do something, I do it, and anybody’s welcome to go.” And I was sort of an independent person. I didn’t, you know…Didn’t have a little—Except for the guys I ran around with that was on my team when we were younger. I didn’t have any really little, little clique-y things that I did. I just sort of did what I did, and most of the time it was evolved around baseball, basketball, football, or something. And I used to take a lot of the football players who were my friends—their mothers to the game. So I would go pick their mothers up, and we would all go to the game—and my friends—and we’d all go together. So it was…High school was…I think it totally changed my life that way. I think I was a lot more relaxed and open to other people’s opinions and other people’s…the way they lived and stuff because in order to live with a group of people, you know, you can’t be so obnoxious. And I think those girls would have got me in—straightened me out right away if I had gotten too bad, you know. Interviewer: “So the whole thing kind of launched you in a direction where you’re confident, you’re independent, you think for yourself, and just go forward.” That’s right. My confidence was great, and I think totally it helped my relationships with people. Totally. I mean, I came back a whole different person than I was because, I mean, you have to be a little—you have to be flexible. And I think too that I developed a whole different personality. I think I laughed more, and I joked more because if you didn’t joke and protect yourself, you were in trouble, you know. You had to get smart with the smart remarks. You had to, you know…And people like that, you know. (1:26:19) It’s different. We were talking about that. When you’re with the ball team, you’re not always PC, you know. And you say things, and they look at you. And shoot one back at you, you know, and I think that’s what I loved about playing ball, was we…You know, we were constantly saying things and looking at each other. “Yeah, right.” You know, and giving one back. And I think that changed my whole outlook on things. I think my confidence and the fact that I loved to give people, you know, trouble. And I still love it, but sometimes I get myself in trouble because people are a little more PC than they were, you know. And sometimes I do get myself in trouble that way, but Katie and I—We’re used to trouble. Like my daughter sent me flowers on my birthday, and she was on a trip. And she sent me one with a balloon that said, “Happy birthday, you old buzzard.” And I thought, “Oh boy. That’s it.” So I made myself a buzzard suit, and I met her at the airport in a buzzard suit. And she went, “Ahh!” like that, and she was so embarrassed. And I was in a buzzard suit, and everybody laughed. There were four or five planes coming in. Airport was packed. They all turned around and looked, and then they started laughing. So, I mean, you know, things like that. I learned to do things like that. Interviewer: “I’m not sure there’s going to be a good way to top that one, so I think I will just close this out by saying thank you very much for coming in and sharing your story.” Oh, sure. Oh, sure. (1:28:12) 23 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource All-American Girls Professional Baseball League Interviews Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The All-American Girls Professional Baseball League was started by Philip Wrigley, owner of the Chicago Cubs, during World War II to fill the void left by the departure of most of the best male baseball players for military service. Players were recruited from across the country, and the league was successful enough to be able to continue on after the war. The league had teams based in Wisconsin, Illinois, Indiana and Michigan, and operated between 1943 and 1954. The 1954 season ended with only the Fort Wayne, South Bend, Grand Rapids, Kalamazoo, and Rockford teams remaining. The League gave over 600 women athletes the opportunity to play professional baseball. Many of the players went on to successful careers, and the league itself provided an important precedent for later efforts to promote women's sports. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/484">All-American Girls Professional Baseball League Collection, (RHC-58)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Sports for women World War, 1939-1945--Personal narratives, American All-American Girls Professional Baseball League--Personal narratives Oral history Baseball players--Minnesota Baseball players--Indiana Baseball players--Wisconsin Baseball players--Michigan Baseball players--Illinois Baseball for women--United States Publisher An entity responsible for making the resource available Grand Valley State University Libraries, Special Collections and University Archives, 1 Campus Drive, Allendale, MI, 49401 Identifier An unambiguous reference to the resource within a given context RHC-58 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng Date A point or period of time associated with an event in the lifecycle of the resource 2017-10-02 Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-58_OzburnD1970BB Title A name given to the resource Ozburn, Dolly (Interview transcript and video),2016 Creator An entity primarily responsible for making the resource Ozburn, Dolly Vanderlip Description An account of the resource Dolly Ozburn was born in Charlotte, North Carolina, in June 1937. At the end of the 9th grade, at the age of 14, she signed a contract with the All-American Girls Professional Baseball League team, the Fort Wayne Daisies in 1952. She played with the Daisies in 1952 and 1953, and played with the South Bend Blue Sox in 1954, the final year of the League. After the League’s end, she played with a travelling team created by Bill Allington (a former manager). Dolly played with the non-professional team from 1955 through 1958 before ultimately leaving organized baseball to attend college. She went on to be a physical education teacher and a coach, and collaborated with the filming of, A League of Their Own. Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Veterans Video recordings Baseball players--Michigan Baseball players--Indiana Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2016-10-21 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/484">All-American Girls Professional Baseball League Collection, (RHC-55)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/3bb6294735b86db75cfed4b2323e2153.mp4 90dd98a2f8f55443945955ea7cf4dfab https://digitalcollections.library.gvsu.edu/files/original/68f37e97066641f46dc23cf096d29fee.pdf a1e41d9e37e19adeacc20a33323a3065 PDF Text Text Grand Valley State University Special Collections & University Archives RHC-88 Fei Hu Films Flying Tigers Interview Interviewer: Frank Boring Interviewee: P.Y. Shu Date of interview: January 21, 1991 Transcriber: Frank Boring [Tape 1] FRANK BORING: Can you tell me your background before you met General Chennault? P.Y. SHU: Well, I was born in China, and I went to, after graduating collage, I went to University of Michigan for MA degree in municipal government, administration. Then, I came back after three years to be a professor in university in Shanghai. Then, Chow air force cadet, Chengchow, this cadet school teacher, he ask some good translators to translate some English spoken by AVG folks about air force to teach the student. So I was well then to translate books and later on, of course all takes about three years, then the most of them spoke, then I was the Chief Secretary of American Advisers Office, called Chief Interpreter. Then after couple years, in 1937, General Chennault came from United States. I didn't know General Chennault, then I saw him. He was in the office, he went to Chief Adviser's office. I said welcome in there. That was our first meeting. And then, about a week later, we look together, he said, "Mr. SHU, you are required to join the inspection trip of China, about Chinese air spaces." So I was glad to. I'm afraid of flying. I sat right by a pilot and I'm scare of that. He said, "You'd be all right. We well be right behind you and look after you. Don't be scared. Then, we took the trip 1937 in July, and first went to Hankow, then follow the rail road down to Canton, to south. Then, all flying in that trip, we had two airplanes. Two topless airplanes. �General Chennault, and I was behind him, and another one was called Billie McDonald, and behind him was Sebie Smith, and we went together. I was only interpreter for all of them. None of them speak Chinese, and people over there, they don't understand English. I was only one. And I traveled with them to Canton, stay there for two nights, then come back to Hankow, and flight to north, to Chengchow. From Chengchow to the west, to Loyang. Over there in Loyang, I think it was about July seventh of 1937. In the morning, we stay there the rest of one day, and the command of this school, he ask me to interpret for him, he can't speak English, he said, "You must tell General Chennault, something happened." He said that Japanese attacked Marco Polo Bridge. Thus, we call seven, July seventh day. And General Chennault, he talk to me, "PY, I want to send a wire to Generalissimo." I said, "Sure you can send a wire." He drafted out English, and I interpreted it and sent a wire to Generalissimo. That same on the day, July seventh, just time, Japanese attack Marco Polo Bridge, and Generalissimo wired back. He said, "PY, is that ok if we go to Sian," Sian is the farther west, "and I stay there and we will flew back." Then from Sian back to Hankow. Over the Hankow air, he signed to me like this ... There is an open cockpit of the topless plane. I can't hear of course. He did like this ... and he can't do nothing because he wants me to fall out, he then follow me. Because I did not fall out, he cannot jump and he barely make a sucker (?) to find landing strip. Over the very short landing strip, he landed. He said, "PY, why don't you jump out. That saved your life." I said, "I've never allow you to save my life." He said, "Ok, what a [?]." Then he said, "Engine had a serious trouble, the highest temperature. Air plane would make a fire. That was very dangerous." He said, "You were lucky. You saved yourself, saved me, save the airplane, and save the pilot." I said, "Ok, thank you. That's my pure luck." Then we stay in Hankow in two days, and until the plane repaired by Sebie Smith. Then he said .., General ..., at that time we call him Colonel, He said we will come back tomorrow. I asked where to. He said to Nanking to see Generalissimo. He ask me, "Can you fly back?" I said no. He said, "How do you go back?" I said, "It's simple, by �boat." I said, "You will go there by yourself to see Generalissimo. I won't go there. I will go by boat to Hangchow. Then, later on, I arrived Hangchow in two days, and he got a wire ... General Chong (John?) came together. From that day, I went Nanking to join him after he had a meeting with Generalissimo. Then we stay in Nanking for two weeks, until Japanese attack in Nanking. Then we went to Hankow, then from Hankow, he got a car as Madame's gift, a gift of a nice car. He said, "PY, you will take the car to Kunming." "My Goodness!" I said. "How can you fly? You have no airplane!" "I got Hawk 75." He flew Hawk 75 from Hankow to Kunming. Of course, I drove the car with the luggages, a lot of, much with full of hand, to Kunming. There we met together, stay there. We had a lot of trouble about fighter planes. No fighter planes. And in Kunming, we had air raid almost every day. We had tag out to hide. We couldn't do nothing. Then, General said, "Ok, I'll see Generalissimo," and he went to see Chungking to see Generalissimo. Then agreed that he wants to organized AVG. He said they'll have two hundreds P-40's. I said, "What shall we do with P-40's? British doesn't want it." "I can train them how to use it." Because P-40's were heavy plane. Fast. Not good in combat. No dog fight. He said, "I have technique how to dog fight with P40's and shot down Zeros." General Chennault said ... he always tells Chinese pilots how to fight. I interpreted. He taught how to dog fight. He got to Toungoo and then he came back. He got two hundreds P-40's and rode in Rangoon. That factory was called Central Airplane Factory by I forgot the name. That was American in charge of that factory. We have all of the P-40's, factory sent to Toungoo. FRANK BORING: What was the result of the trip you took with General Chennault and Smith to inspect air bases? P.Y. SHU: He said we have American frontiers, and he said, at that time United States did not declare war to Japan, and United States did not want to getting troubles. So the pilots must be retired to join AVG. �FRANK BORING: Is that right, before AVG, you see different plains and different pilots when you travel with Chennault? P.Y. SHU: He said those pilots went to Toungoo by a boat, to Burma, to Toungoo. All scheduled to get in Toungoo and there General Chennault trained them. In Toungoo, because I was told by General Chennault to look after interpreters, I stay in Kunming. But Tiger Wang, he said we must go to General Chennault. I said what for? I said he is too busy. He said, "That is the order of Generalissimo who wants Tiger Wang to see him and you must go with me." Then we take a flight to Toungoo and so did General Chennault. FRANK BORING: What was your official relationship with Tiger Wang? P.Y. SHU: Tiger Wang was in charge of Chinese affairs on counterpart, which was AVG. All Chinese under General Wang and all AVG under General Chennault work together. I belong to Tiger Wang. That was Chinese Air Force, and my job at that time was in charge of interpreters and liaison with Chinese Air Force with American Air Force, or AVG. There were so many appendix, ground personals, transportation, everything. And there is a radio stations called Ware Out [?] Radio Station. Radio station led and all were Chinese. We have Tiger Wang in charge of that. I was belong to Tiger Wang. Then we went together to see General Chennault in Toungoo. General said, "You must come back. Send your plane back. No more training." We said, "No! There is no one to. Without training we can't fight. No!" He said, "How long does it take?" We said, "Maybe another couple of months." "No. I want here right away!" That Generalissimo told us. "Right away! I want fight with Japanese bombers!" That time Kunming was bombed every day. Chungking was bombed every day. "I want stop it," General Chennault said. "How can you do that? You have no propellers. You have no airplane." He said, "All right, you go back. I'll send their airplanes. Three P-40's." That was really tough. But �of course, General Chennault sent the flight over the Kunming. And General came back to Kunming to direct the fight. I was lucky, you know. One morning he said, "PY, we will watch the fight." � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-88_Hsu_PY_1991-01-21_v01 Creator An entity primarily responsible for making the resource P. Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1991-01-21 Title A name given to the resource P. Y. Shu interview (video and transcript, 1 of 4), 1991 Description An account of the resource Interview of P. Y. Shu by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Col. P. Y. Shu was a Chinese interpreter for the American Volunteer Group (AVG). After attending college in China, he attained a Masters in municipal government administration from the University of Michigan. As none of the AVG members spoke Chinese, Hsu was recruited as Chief Interpreter, serving also as a liason with the Chinese Air Force. In this tape, Shu describes his upbringing in China and attending the University of Michigan before meeting General Chennault. He also describes the trip he took with Chennault to inspect air bases and act as an interpreter for the group prior to the AVG being organized. Contributor An entity responsible for making contributions to the resource Boring, Frank (interviewer) Christopher, Frank (director) Fei Hu Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, American Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/e5df2bc8a9fe55edfb81def167464704.mp4 358976d42e0e478c8b858d77b1e2e760 https://digitalcollections.library.gvsu.edu/files/original/405fbcc28c39f094b2040c2c14828ba8.pdf 0d5d3da3b6800036023574447ade9b98 PDF Text Text Grand Valley State University Special Collections & University Archives RHC-88 Fei Hu Films Flying Tigers Interview Interviewer: Frank Boring Interviewee: P.Y. Shu Date of interview: January 21, 1991 Transcriber: Frank Boring [TAPE 2] FRANK BORING: Tell me you impressions of the commissions. P.Y. SHU: Of course, General Chennault, he went to see those places before the war broke out. He watched, studied the training and watched the cadets and how they was trained. "That's all right," he said. The training in Magway in Hangchow. So many American instructors, pilots that all retied from air force, and came to train them. Then he later on told me they are not fighters. They cannot fight. They never experienced. They are students just from cadet school. No experiences of fighting. So the war broke out, and General Chennault said ... no, no pilots. At that time some of the Chinese instructors, he took out airplane and then fought and shot down. Chinese pilots, lots and lots [?]. They still cannot stop bombing. That's why General Chennault said, "No. You have no time to train the pilots. That takes years to do that." So he said we have to get AVG's to do this, Americans to do this. They are coming to as civilians because United States stop to fight with Japanese. General Chennault said there was no other way except ask American pilots to be pilots over there, called AVG. Chinese gives full power to support this AVG and give them courtesies to AVG people. Everything, food and payment, all of them by the Chinese Government. They called AVG of Chinese Air Force. They are not individuals. General Chennault was with China and AVG to fight with Japanese. �FRANK BORING: Was it true that Chennault had to write down everything he needs, including food, pens, air force equipment? Were you there? P.Y. SHU: He usually try to participate in pilots in Toungoo ... I didn't know. I wasn't there and there is no Chinese pilots in AVG. None. All Americans. They are privince [?] by themselves. I know some of the privince [?] because he talks to Chinese Air Force. On the first day of fighting in Kunming, shot down three bombers. There Japanese pure bombers coming from Formosa, we called Taiwan. And then next day, he didn't know that, he didn't know how it happens. They lost three bombers. They didn't know we have P40's, and next day they came again with more than three, six or four. And AVG stopped and shot down over there, away from Kunming. Then Japanese stopped, scared. Later on, Chungking, AVG went down there, also shot down before they came from Hangchow to Chungking, or stopped. AVG stopped this bombing. FRANK BORING: How did Chinese people react that? P.Y. SHU: They were like this. They all so happy. I was in Kunming with my wife, my first wife. I was about to go to rice field to hide. Bombing everywhere. No aim. Just everywhere is bombing. One time, I came out and bombs just hit the tug out. Very bad. FRANK BORING: Were you able to witness of many of Chinese being killed? P.Y. SHU: Yes, a lot of them were killed. And then General Nun Yeng [?], he said that General Chennault was hero. He save us. General Nun Yeng [?], the governor of Kunming, he said if you want something, just tell me. Everything, I will give you. He said I have nothing I want. I want beef, simple, we got more cows. Then General Chennault stay till the Pearl Harbor happen. FRANK BORING: Where were you on the day of Pearl Harbor? P.Y. SHU: Kunming. �FRANK BORING: What do you recall about that day? P.Y. SHU: We were happy because when Pearl Harbor happens, Generalissimo declare war to Japan. Ok, then 14th Air Force came over. When 14th Air Force is over, I asked General Chennault to command the Air Force. FRANK BORING: What can you tell us about on the day of Pearl Harbor? P.Y. SHU: On that day, we didn't know. The air news was not good. Next day, we heard about it. FRANK BORING: What happened next day? P.Y. SHU: Next day, people were all so happy. Now the United States gets in. Otherwise United States wouldn't get in. That day, we had good news. Generalissimo also so happy, and chief Stillwell, he came to, chief stuff of Generalissimo. That is the time to change and AVG stopped because the United States come in. And they met together and some of the pilots of AVG commissions 14th Air Force. Some, they want to quit and go home. FRANK BORING: After Pearl Harbor, AVG was ready to fight with Japanese, but they didn't come till a week later. Do you remember the first day AVG fought with Japanese? P.Y. SHU: I don't remember the exact date. FRANK BORING: Did you get the phone? P.Y. SHU: No. We didn't have much telephone. The communication was very bad. FRANK BORING: Could you tell us more about communication? �P.Y. SHU: At that time, Kunming was backward country. Nothing. Not like Shanghai. No, different. FRANK BORING: Please describe the bombing scene you witnessed in Kunming. P.Y. SHU: That was about 14th, just before Pearl Harbor, Japanese sent bombers to Chungking, Kunming, day and night. They killed around people in Chungking and even in a tag out, you called it air shelter, because they block out the entrance. People can be sophisticated. Terrible. Kunming, people scattered in rice field, get out from the city, and they bombed air field and city. Just reckless bombing. Not good because no target. Just over there, city. Bomb, bomb, bomb, bomb. And in Chungking, day and night. So is Kunming. All day and night. We all scared. That's why AVG have to come up early to stop it, and AVG came over and all stopped. FRANK BORING: So when AVG started to fight Japanese, the bombing was stopped. P.Y. SHU: Oh, because they want to fight. They are trained pilots. They came out from American military field. They are good pilots. I said to General Chennault, "How to fight with Zeros?" They can fight by themselves. FRANK BORING: Did you get to know any of Flying Tigers personally? P.Y. SHU: Oh, yes. We stay together and they love to fight. FRANK BORING: What was their reaction to seeing the bombing of Chinese people? P.Y. SHU: They said it's pitiful. He said the defense to trying to kill people without defense. As murder ... they don't care. Japanese, they kills lots of people in Japanese war. So we stayed with, from AVG to 14th Air Force, stay another seven years. No more combat with Japan. In China, no more air force. AVG just kept quiet and wait. And one time, Japanese ground troop come to the west, to south, to Kweiyang, to Kweilin, to Liuchow, to Kweiting [?]. And this �junction, one way directly to Chungking, another to Kunming. Places, very important. General Chennault, the bombing, stop it, stop all Japanese ground troops and advances. Kunming and Chungking were all right. FRANK BORING: Was it a Salween Bridge? P.Y. SHU: No. That's was Kweichow. FRANK BORING: The Chinese were not able to defend themselves in the air against the Japanese in the air at that time. Why was that? P.Y. SHU: Chinese ... no air force. There were trainers, there were cadet school, air cadet. They were trained by training planes. They never had to fight. None of pilots, teachers, how to do combat, they did not know. They are, in fact, all Chinese pilots, teachers, teaching cadets and they lost some of them in the fight. They jump up and fight with tackles. These are not fighter, not even equipped for that. So that why General Chennault, he just shake head and said Chinese Air Force is no use, not ready yet. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-88_Hsu_PY_1991-01-21_v02 Creator An entity primarily responsible for making the resource P. Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1991-01-21 Title A name given to the resource P. Y. Shu interview (video and transcript, 2 of 4), 1991 Description An account of the resource Interview of P. Y. Shu by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Col. P. Y. Shu was a Chinese interpreter for the American Volunteer Group (AVG). After attending college in China, he attained a Masters in municipal government administration from the University of Michigan. As none of the AVG members spoke Chinese, Hsu was recruited as Chief Interpreter, serving also as a liason with the Chinese Air Force. In this tape, Shu discusses how General Chennault came up with the idea of the AVG after viewing the the Chinese cadets in training and the successful first day of fighting in Kunming. He goes into detail of the bombing occuring in Kunming at the time and the reaction to the news of Pearl Harbor. Contributor An entity responsible for making contributions to the resource Boring, Frank (interviewer) Christopher, Frank (director) Fei Hu Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, American Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/d31a2610ecf766dc3519db56600c455b.mp4 759a2535d8778663f29797cf2a023c84 https://digitalcollections.library.gvsu.edu/files/original/53505bdd395a6302474e575dabbcf1ba.pdf 4ebaca0b24bceacb97de55bd4eddb393 PDF Text Text Grand Valley State University Special Collections & University Archives RHC-88 Fei Hu Films Flying Tigers Interview Interviewer: Frank Boring Interviewee: P.Y. Shu Date of interview: January 21, 1991 Transcriber: Frank Boring [TAPE 3] FRANK BORING: Tell me about the first time you heard about Japanese were coming. P.Y. SHU: We had this warning of Japanese were coming. That was Kunming and we speculated AVG go to fight. It never happen and they didn't come. I said, "Well, maybe they went back." Later on, the pilot came here. They had shot down somewhere way out before coming in. We had no time to see them before they shot down. The three planes, they shot down three or four on that first day. Next day, we were so frightened. We tried to let the cat catch the mouse. They might come again. Two or three days, they stopped. There is no more air raid. All people were so happy. They won't believe that AVG stop it. FRANK BORING: Because every day, they were being bombed. P.Y. SHU: Every day, they repeat bombing. Next morning, you said where are we going to hide? Where do I find the place to hide myself? So people were so excited, there is no more. Quiet. Everything is quiet like the war stopped. FRANK BORING: What was the reaction of Chinese people? �P.Y. SHU: Oh, very good. So Chinese people in the rare talk about AVG, always like this. Everyone knows General Chennault. General Chennault, he has a Chinese name. Cheng Na Ta, that Cheng Na Ta was Chinese. Everybody, Cheng Na Ta. Everybody knows him. He was in the office in headquarter, so big, bigger than this (room). Chinese flag, American flag. AVG to 14th Air Force, the same office. People, they scared of him. General Chennault always like this, the leather face, very scared. And he said, "PY, when American..., Chinese Generals have to talk to me, you just take them in." No appointment. Just go there. And every time Chinese Generals, like Tiger Wang, like some other generals, General Wei, General Soong, all of them want to make appointment with General. I said, "All right. You just said when." He said, "How about tomorrow?" I said, "Come tomorrow. The appointment is ready." He said, "Why?" "General Chennault, he wants to talk to your Chinese counterpart, partners. You are fighting the same war. You just walk in and talk to me. So you can come and see him." So Chinese generals admires General Chennault. He said you look us just like partners. He said never stop to Chinese to come. You know, big generals, you have eight outside and a lot of people and you can't get in, and you have to make appointment, and you can get in. Otherwise if he can call in to see you, you never going to see him. There was a wall. Now, he said, "PY, take the generals to see me as much as possible." When they come to the office, I said wait a minutes, go there to report who is morning to see you, he let him in. I just go and said him to come in. It was so simple. General Chennault with Chinese, not with Americans. FRANK BORING: What was your relationship with Chennault? P.Y. SHU: We were just like bodies. I'm young, at that time I was young. He must ... everything he must ask first. For example, a general wants to see him. He wants me to tell him what kind of general, what his background, what's purpose to see him. He knows a lot, then the general come in and talk to problem that he already has in mind. General Soong: and he ask me what his background. I just whisper �him to tell him. I said the General Nun Yeng [?], the governor of Yunnan, and he is so powerful, he is like the emperor in the area. He knows, he has impressions. I know very well and give him the background to General. How can he? There is so many people. How can he remember all the generals, what they wants us to talk him, what's the purpose of Generalissimo. Of course I know. So that was the only way. I was in Chinese Air Force at that time. I was promoting to [?]. I received Chinese pay. I was not on pay roll of 14th Air Force nor AVG. But AVG belongs to Chinese. But 14th Air Force was American's. He is always Chinese general and big shot, far friendly with generals, especially Generalissimo. He said, "I do not want Joe Stewart." He wants to General Chennault. So later on, always everybody ask questions to Generalissimo, Generalissimo asked General Chennault. So General Chennault had so many friend in Chinese government, both up and high. So people always heard about General Chennault. And AVG were best bodies. So in fact, Americans, like AVG, save China as we had no air defense, nothing. Japanese first did everything until stopped by AVG. FRANK BORING: How do you think Chennault was remembered by the Chinese people? P.Y. SHU: First we have his statue in Taiwan. We all came from mainland and built a statue. No American generals had statue in China. So you know the people's heart. And all the peoples ever since talked about General Chennault. Ok, so if we go to Tusumsin [?], I said I want to see General Chennault, ok. You know the people's heart, feeling about General Chennault. FRANK BORING: Why do you think Chinese people felt so strong about Chennault? P.Y. SHU: How about the bombing was stopped. General Chennault and AVG. AVG is very popular in China. We call it Flying Tigers, Fei Fu. �FRANK BORING: Where did Fei Fu come from? P.Y. SHU: They just organized AVG. People owned P-40's. Like Tiger Shark. That's called Tiger. The big mouth like this. FRANK BORING: Do you remember where the Flying Tiger came from? P.Y. SHU: Because we know ourselves. Because we were working together, we know it. We call it Flying Tigers. That's the common name for AVG. Everybody called AVG Flying Tigers. That's the legend, legend of China. You talk about Flying Tigers, everybody knows it. They said General Chennault look like a tiger, too. FRANK BORING: Were there many American officers visited General Chennault? Very often or very rarely? P.Y. SHU: We have a lot of ... I forgot name. Before the Marshall...I don't know. Of course, they are different with General Chennault. FRANK BORING: Tell us the importance of Flying Tigers for China, and the importance of film about Flying Tigers being made? Tell it to camera in Chinese. P.Y. SHU: [CHINESE.] I know Chinese people can never forget General Chennault. I said General Chennault came to save us from the aggression of Japanese, and save us bombing in Chungking and Kunming. I said a lot of people who experience the time, they must remember. I always thanks General Chennault from deep of my heart. FRANK BORING: Tell us about the importance a film being made in China. P.Y. SHU: [CHINESE] FRANK BORING: What is your most important part in this Chinese history? �P.Y. SHU: Of course, General Chennault was in the Second World War. I was having the opportunity to work with him as interpreter and liaison officer of the Chinese Air Force. I think that was my golden age of my life. From 55 years to 65, I enjoyed them all and I admired him. He is a great man and that is my golden age and golden life of the time. Even we had hard time together in the war, we enjoyed good life. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-88_Hsu_PY_1991-01-21_v03 Creator An entity primarily responsible for making the resource P. Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1991-01-21 Title A name given to the resource P. Y. Shu interview (video and transcript, 3 of 4), 1991 Description An account of the resource Interview of P. Y. Shu by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Col. P. Y. Shu was a Chinese interpreter for the American Volunteer Group (AVG). After attending college in China, he attained a Masters in municipal government administration from the University of Michigan. As none of the AVG members spoke Chinese, Hsu was recruited as Chief Interpreter, serving also as a liason with the Chinese Air Force. In this tape, Shu discusses the Chinese people's reaction to the American Volunteer Group and their success, in addition to his relationship with General Chennault and how Chennault and the Flying Tigers are remembered in China. Contributor An entity responsible for making contributions to the resource Boring, Frank (interviewer) Christopher, Frank (director) Fei Hu Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, American Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/782fb6c0bffe1d7380f8d8fe66595898.mp4 7d898eb254454bfae10d4e4e3f1113b5 https://digitalcollections.library.gvsu.edu/files/original/fa3fef2119f890d22dce8c05ee188a97.pdf 1de166fa47afb608ee221dc6eb8468ec PDF Text Text Grand Valley State University Special Collections & University Archives RHC-88 Fei Hu Films Flying Tigers Interview Interviewer: Frank Boring Interviewee: P.Y. Shu Date of interview: January 21, 1991 Transcriber: Frank Boring [TAPE 4] FRANK BORING: Could you tell us about your relationship with Tiger Wang? Officially. P.Y. SHU: He was commander, commander of Chinese Air Force, and Chief Officer of Air Cadets. All famous airmen passed away. He is the only one. I know him. FRANK BORING: Did you get along with his personality? P.Y. SHU: He is all right. He was very nice to General Chennault. Personally...no. No... FRANK BORING: Tell us about that. P.Y. SHU: Because General Chennault come too fast, come up too fast with Generalissimo. You know jealousy. If we are friend and you have special attention to me and neglect him, and he will be jealous. So that's was the same thing. FRANK BORING: But eventually the relationship between you, General Chennault and Tiger Wang become very close one. P.Y. SHU: We work together. He was my boss. I had to listen to him and follow. I had nothing to say. �FRANK BORING: Are there any humorous stories among you, Chennault and Tiger Wang? P.Y. SHU: Not special. Because Tiger Wang, he still looked up General Chennault. Because he did good job for China and happy Chinese people. He has nothing to say. So he still look up General Chennault. Because what General T at that time, nobody can say no. Everybody wants peace, wants Japanese to be defeated, wants freedom. So, that everything General Chennault does. They always follow. Nobody say no. You know, we were fighting now and where such a small place like Kunming, everybody not eating good food. Everything was bad. FRANK BORING: Were you present at the meeting of General Chennault and Madame Chiang Kai-Shek? P.Y. SHU: When General Chennault meeting Madame, all by himself. No need for interpreter. FRANK BORING: What was the Madame's feeling to General Chennault? P.Y. SHU: Madame, the first lady, very good speak. She is educated in United States, speaks good English, writes good English, and at that time first lady. FRANK BORING: Did Chennault have a lot of respect? P.Y. SHU: Yes, a lot of respect. You know, Chennault had two daughters...by Anna Chennault. I call Godmother and Madame was Godmother with two daughters. They were close together. FRANK BORING: During AVG period, what kind of problems were there? P.Y. SHU: Yes, he had a lot of problems, and [?], and gasolines. Because in Kunming, we had no gasoline unless all the gasoline flew over hump from India, from Burma. They will be limited by General �Stillwell. They don't give so much gasoline. He stopped supply of gasoline, stopped the business of air mission in China. That's a big problem. That was not good. There is local problems we solved. FRANK BORING: What was the some of the local problems? P.Y. SHU: No local problems. No. Everybody says yes. Like General Lo Yang's governor, local emperor, you ask him ..., General Chennault ask him. Always yes, never say no. That's no problem. FRANK BORING: One of the most important battle AVG fought was the Salween Bridge. P.Y. SHU: Oh yes. That's the first example. AVG had a first, few air battle with Japanese. That first three times. After that, no more. Then, General Chennault's Air Force stopped ground troops from Yuefi [?] to Chungking by another riot. They stopped the ground troops. Surprise. Air supremacy counseled with General Chennault. That's different. Later on, we had no fight, no dog fight with Japanese airplanes. No more planes to come. Only ground troops. They stop ground troops. FRANK BORING: What happened in Salween Bridge? P.Y. SHU: I don't know that. I don't remember that. So many years late. The one stops from ground troops to Kweiyang, stops, surprise troops. Bombing, bombing, bombing. Japanese later on scared. They weren't go deeper inside, deeper to Pacinan [?] to Kweiyang and Chungking. To Kweiyang and Chunking, stopped air war, called... They stop air war. They want ground troops to conquer Chungking. That was that, and Japanese failed. Later on, like Pearl Harbor, that's was big mistake, and we were happy because the Pearl Harbor waked United States to fight. Otherwise United States wouldn't fight. They were afraid of too big war. War in the Europe, war in the Asia. That's too much. So United States won't do that. So that was case. �FRANK BORING: Did Chennault express you his frustration in not having equipment or gasoline or about Stilwell? P.Y. SHU: Oh, no. My duty to do, I was working to Chinese Air Force. But he recommended to President Roosevelt. I got written [?]. I usually put there. That's the only one. Like a full Chinese officers, like Tiger Wang, General Joe [?] or some ground troops generals. Several of them got a written [?] written by President Roosevelt. I had one. That's the only one. FRANK BORING: Where did the Chinese flag on the back of AVG jacket come from? P.Y. SHU: Oh yes. That's Chinese. When AVG started, because maybe the pilot, or any trouble, to nearby here, the Chinese staying, not Japanese. And they put a sign, Chinese flag with. This is to certify AVG to have us and you must have him get out from here. A big one. Put on the back. For every pilot. Later on, 14th Air Force used that, too. Because in air places, nobody speaks Chinese. FRANK BORING: Do you know whose idea was it? P.Y. SHU: That's the AVG people. You see, AVG said how can you tell that AVG pilot, how can? You have no way to say and you must see something. And at that time, there is nothing, just the jacket and put on back. Everyone. Everywhere AVG go out, they must wear jacket. That was several officers' lives. FRANK BORING: Was there any relationship between AVG and Communist Forces? P.Y. SHU: You talk about that. General said, "That's you inside story, your own story. I do not want Communist. I never come to fight for Communist. That's an internal war. I don't want to do that. We will fight with Japanese, fight with outsider. You fight by yourself. I won't drop any bomb." See, he was innocent with Communist. We talked about that. In 1985, I went back to Shanghai - that is �Communist. And Communist government highly prized General Chennault. He said General Chennault was hero. I was there and one need to go to speak. I said no. I had to say. You said too good, no good. Too bad, no good. I said let's stop it. They said, "Nom we were sincerely for you to, how to, you are working with General Chennault. How to General Chennault fight Japanese?" I said no, over is over. How can you say. No, nothing. He said good because you were with General Chennault. They like it. Yes, you talk about that even Communist change ideas. They recognize General Chennault anti-Japanese. FRANK BORING: Please repeat the beginning of your last statement. P.Y. SHU: Oh yes. General Chennault was the hero in the Second World War. He has confessed that... he said, "I came to China to have China to fight Communist... Japanese. The question were nonsense. FRANK BORING: Try it again. P.Y. SHU: He said Communist - that is an internal affairs. He said, "I don't want to talk about Basing or take a part of it." General Chennault has never show to as a communist. So Communist now, even now in 1985, where was in Shanghai, they want me to speak of General Chennault. He said General Chennault was a hero in the last World War. FRANK BORING: Did you ever see General Chennault fly and fight? P.Y. SHU: General Chennault was only... that's in 1937 when he was in Nanking, I was with him. He was flying Hawk 75 fighter plane. That was brought by T. V. Soong. H. H. Kung. He took the plane for reconnaissance flight with Billie McDonald. The two of them took the flight with Shanghai Air, and he never say he had a fight with Japanese. He said he saw Japanese airplane over there, fly over, no fight. And because Japanese, no fight. Even General had fight, they were no opponent. He never [?] believes General �Chennault must had fight. No. That's from bottom of my heart. That's truth. Never. He got some bullets on the airplane but that may be from the ground force. Ground force shot it. That's possible. No dog fight. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-88_Hsu_PY_1991-01-21_v04 Creator An entity primarily responsible for making the resource P. Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1991-01-21 Title A name given to the resource P. Y. Shu interview (video and transcript, 4 of 4), 1991 Description An account of the resource Interview of P. Y. Shu by filmmaker Frank Boring for the documentary, Fei Hu: The Story of the Flying Tigers. Col. P. Y. Shu was a Chinese interpreter for the American Volunteer Group (AVG). After attending college in China, he attained a Masters in municipal government administration from the University of Michigan. As none of the AVG members spoke Chinese, Hsu was recruited as Chief Interpreter, serving also as a liason with the Chinese Air Force. In this tape, Shu describes his relationship with Tiger Wang, Commander of the Chinese Air Force, and working with General Chennault. He also details the meeting of Chennault and Madame Chiang Kai-shek and the battle that took place at Salween Bridge. Contributor An entity responsible for making contributions to the resource Boring, Frank (interviewer) Christopher, Frank (director) Fei Hu Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, American Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/3428bde091d0e23f7bb7469a52dbe2d5.mp4 b3138cdd5dae46a3bcd176feb8905fda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-123 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1937/1938 Title A name given to the resource Nanking, Hankow, Changsha, and Nanchang, 1937-1938 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:00 Chinese buildings and museum of history. 00:15 Chennault and a Chinese officer on steps in front of a building. P. Y. Shu walks to camera in front of a building. Chennault and Colonel Lee Hwei Don, who was evaluated from Nanking. 00:45 View of ocean. Chinese refugees. View of residential area. 01:07 Hankow harbor and city in snow in 1938. A clock tower (Hankow custom house). 02:40 People set off firecrackers. Crowd in front of the clock tower. View of Hankow Harbor by the Yangtse River. 06:05 British flag on ground (British international section). Black smoke rises from a city on the other side of the shore. Aerial shot of a city. 07:09 A group of military personnels on a field. Chennault with 2 pilots of the International SQ. 7:30 Smoke rises from a crashed plane in a airfield. Pilots watch the accident. Airfield construction in Hankow. Chinese workers. 08:00 Chennault and pilots on an airfield. Training planes in the air. Landing planes. A plane hid under straw. Chennault listens to Chinese pilots talking about flight experience. Crews work on a training plane. Johnny Allison and International pilots. 8:40 Chennault in a cockpit of training plane. Black smoke rises from a distant city. 09:17 Funeral of American soldiers. 10:10 A German pilot with Chinese sign (blood chit) on his jacket. Funeral of soldiers. Chennault among the pall bearers. 10:45 Building and campus of a junior high school. Grave stones. School buildings. P.Y. Shu's mother in front of a building in Chang Shia, Hunan province. 11:43 P. Y. Shu carried in a basket. An old Chinese man and a Chinese officer. 11:50 View of a valley in Hankow. P.Y. Shu in front of a building. 12:19 Wreckages of a training plane. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp11 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/3bacaba5633e36b81cfdb65097402864.mp4 75892fcaeb3884d0bee629864a048886 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-124 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Hankow, 1938 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:00 Chinese soldiers marching to the front. 01:20 Three Chinese Air Force officers and Chennault with suits and ties. 01:53 Training airplane on the ground. Landing the plane. Ground crews working on a plane. 02:37 Chennault with Rolf Watson and Sebie Smith. Ground crews. Crew working on a plane. 02:57 Shu family affairs and recreation time. 05:23 Chinese woman with a bicycle. Chennault talking with bicycle woman. P.Y. Shu riding a bicycle. Shu, Chennault, and bicycle woman. 06:54 Shu family affairs and horse race. 09:01 Chennault and W.H. Donald playing golf. 09:34 Water buffalo and drivers mowing the lawn. 10:15 Chennault and W.H. Donald playing golf. 11:05 Chinese children playing outside. Women and children playing. Monkey show. Acrobatics show. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp12 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/a84b52d2437c426eb8d5096c7ab29396.mp4 63f2918b5a3248b0fc638eeaec98445f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-125 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Canton and Hong Kong, 1938 Description An account of the resource Film in black and white and color taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:07 (black and white film) Travel by train, passing river boats. 01:00 Canton street scenes and architecture. 01:20 Shu family affairs. 01:34 Street scenes and double decker trolleys. 01:47 Aerial views of Hong Kong. 02:29 Railroad tracks and trains. 02:52 Hong Kong views from the water. 03:48 Arriving in port with views of steamers. 04:03 Hong Kong street scene. 04:16 Passenger ferry on the water. 04:27 Hong kong views from the water. 04:49 China National Aviation Corporation (CNAC) Headquarters exterior. Street scene with double decker trolleys. 6:30 Scenes along the coast and at the water. 08:14 (color film) Texaco emblem and neon signs at night. 09:00 (black and white film) Landscape views along coast. 09:42 Family at the beach. 11:22 (color film) Family at the beach. 11:37 (black and white film) Street scenes. The Kowloon Hotel marquee. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp13 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/77938ee9434865bfe9ba5fee586bca5f.mp4 930b4a04407f15529bb374b211c4f244 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-126 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Haiphong, Hanoi & Kunming, 1938 Description An account of the resource Film in black and white and color taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:07 (black and white film) Steamship G.G.P. Doumer. 00:16 Loading heavy trunk onto deck. 00:35 View of Hong Kong and port from deck. Traveling by boat, scenery, and passengers. 02:28 Haiphong, Vietnam. 05:15 Train travel. Hanoi, Vietnam. Sightseeing and animals. 08:30 (color film) Panda bear on a chain. 09:13 (black and white film) Sightseeing in Hanoi. Pagoda Ngoc Son. 10:08 Travel by train to Kunming mountain scenes from train. 14:37 Chennault, P. Y. Shu and Billie McDonald with General Chen, the commandant of cadet school, (later promoted to chief of Chinese Air Force) on a porch. Birds and a dog. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp14 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/a3d9795ccc079dceb1c1ce4243e46d3e.mp4 d4358b716e86897f17e6fbed1c9bd889 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-127 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Kunming, 1938 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:06 Kunming sightseeing and family affairs. 10:25 Chinese and Western personnel at an official party. (Reynolds, a pilot instructor, in crowd) Chinese Army Band. 10:56 Chennault talks to "Tiger" Wang Shuming, interpreted by P.Y.Shu at the party. Chennault and Chinese officers. 11:27 American pilot-instructors and young Stilwell at the party. Band plays music. 11:47 Sightseeing and family affairs. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Wang, Shuming Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp15 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/bb16313aac8d9fb198b214de27d61b36.mp4 a0196b88bd8b372310c5c89c479176df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-128 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Liechow, Hengyang, Chikiang, & Kunming, 1938 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:02 Sightseeing and family affairs. Countryside landscapes and rural village. 03:20 View of mountains and river in Kweilin (trip to Kunming). 04:16 Chennault and P. Y. Shu eat sandwiches in a rural area. Village children. 05:00 Car parked in a rural area. Chennault and Chinese children. 05:13 A sign of Chinese Air Force. A sign of a junior high school. Girls play Ping-pong. Chinese interpreters by a car. They ride bicycle. Sunset. 07:32 A plane in the sky. A group of Chinese in front of a barrack. Chinese pilots and officers walk to camera. 08:11 P. Y. Shu play cards with Chinese boys. They eat lunch, and swim in a river. 09:51 Chinese laborers pull raft from shore. Mountain view. A village by a river. 11:14 Chinese villagers. River and Gwei Yang Water Fall. Mountain view. Trucks on a mountain road. 15:48 P. Y. Shu with a rifle. Chennault with a hunting party. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp16 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/80d2ba9298caa746b8f1b3ef5b66ef6a.mp4 2d19aa675a6899a6ca801584371d529a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-129 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1938 Title A name given to the resource Chinese Air Force Graduation, December 1938 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:00 Aerial shot of a city. Chinese flag and flagpole with carved words of Chinese cadet school. Building of the school. Inside of the building. Picture of President Chiang Kai-shek and other ornaments on the wall. 02:35 An old building. A person paints the wall. Buildings of the Kunming Air Cadet School. 03:20 Graduation ceremony in a hall. "Tiger" Wang Shuming and others come out of the hall. Crowd of cadets in front of the building. A group of Chinese officers and their wives walk on the campus. 04:29 Chennault sits next to General Lung Yin and with Billie McDonald. Basketball game. Officers and wives leave. 05:32 Chennault talks to General Chen and General Jiou, the chief of aeronautical commission. He sits with them. Rugby game. 06:20 Chinese children. P. Y. Shu and his son. 07:12 Welcome party for the American ambassador. A Chinese personnel gives speech. American ambassador gives speech. 08:19 Chennault smokes at a table in the party. Ambassador shakes hands with Chinese people. 09:15 Chennault sits next to Ambassador. Ambassador and Chinese people. (American councilman in the crowd.) 09:57 Soccer game. People leave after the game. 12:02 Volleyball game. Chinese cadets (including P.Y. Shu) in front of school. 13:02 Ambassador with Chennault and "Tiger" Wang visits and leaves the cadet school. 14:28 Chennault, an officer and "Tiger" Wang in front of a building. Chennault with Billie McDonald and Western officers. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Wang, Shuming Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp17 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/592fc202a6101c61948df5f89f4fdf99.mp4 de1c35b6f7e067c6a0f8f8919035b469 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4; application/pdf Language A language of the resource English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Shu-131 Creator An entity primarily responsible for making the resource P.Y. Shu Date A point or period of time associated with an event in the lifecycle of the resource 1939 Title A name given to the resource The 14th Air Force, 1939 Description An account of the resource Black and white film taken by Chinese Air Force Interpreter P.Y. Shu (no sound). The footage was recorded by Shu as he traveled with Col. Claire Chennault to aid the Chinese Air Force in training and establishing the American Volunteer Group (AVG). The footage documents Shu's travel and family as well as Chennault's and the AVG's activities during the Second Sino-Japanese War. Time-stamped scene list: 00:00 Chinese officers and Chennault in front of a P-40. Chennault talks to American personnels. American air cargo plane. American officers on and around a twin-engine airplane. 02:12 Chennault, American ladies and others visit and leave a house. 03:07 Chinese children. A Chinese family. Basketball game. Contributor An entity responsible for making contributions to the resource Chennault, Claire Lee, 1893-1958 Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Chennault, Claire Lee, 1893-1958 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp18 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives