769 24 26018 https://digitalcollections.library.gvsu.edu/files/original/3f48bd95568e8bb1dd0e320a7bf74d70.jpg 3fcf6f929f0dee42bdd7ff5d902f12a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_C130-0015 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-19 Title A name given to the resource Ox-Bow Art Community, Saugatuck, MI Description An account of the resource Black and white photograph of two plein air painters at Ox-Bow Art Community in Saugatuck, Michigan. Scanned from the negative. Subject The topic of the resource Saugatuck (Mich.) Art School Plein air painting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/5ac54f5052be2990f100e92e518ed35d.jpg de26bf4b226f121fe232af1b0fd9d149 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_C131-0003 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-19 Title A name given to the resource Ox-Bow Art Community, Saugatuck, MI Description An account of the resource Black and white photograph of a group of plein air painters at Ox-Bow Art Community in Saugatuck, Michigan. In the photograph, the painters are seen working on their compositions outdoors, while looking on to the female subject who is dressed up in summer formal attire and posed standing under a tree in the background. Scanned from the negative. Subject The topic of the resource Saugatuck (Mich.) Art School Plein air painting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/cf1e555ae85fdf244f1796e81aacaa0d.jpg c8cfa4acd8bf24c0845599648ebc07ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_C131-0009 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-19 Title A name given to the resource Ox-Bow Art Community, Saugatuck, MI Description An account of the resource Black and white photograph of a young artist cleaning something next to a sink at Ox-Bow Art Community in Saugatuck, Michigan. In the photograph, a sign is posted next to the sink reading, "Do not wash brushes in the sink." Scanned from the negative. Subject The topic of the resource Saugatuck (Mich.) Art School Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8f33fa335ef336389cc4ca40edbcaac3.jpg eab498821083111d0e421876310b2234 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_C131-0015 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-19 Title A name given to the resource Ox-Bow Art Community, Saugatuck, MI Description An account of the resource Black and white photograph of two artists standing and seated next to a wooden building at Ox-Bow Art Community in Saugatuck, Michigan. In the photograph, the two artists are talking outside on the sandy lawn next to an exterior staircase and an awning above the building's outdoor sink. Scanned from the negative. Subject The topic of the resource Saugatuck (Mich.) Art School Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/26436156f232dc4867041d3059c8e837.jpg 4890cdf14b575fb0d9a3cff29cdd03ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_C131-0024 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-19 Title A name given to the resource Ox-Bow Art Community, Saugatuck, MI Description An account of the resource Black and white photograph of a group of plein air painters at Ox-Bow Art Community, as taken on July, 19, 1962 in Saugatuck, Michigan. In the photograph, the painters are seen working on their compositions outdoors, while looking on to the female subject who is dressed up in summer formal attire and posed standing under a tree in the background. A tire swing can also be seen hanging next to the painters in the foreground. Scanned from the negative. Subject The topic of the resource Saugatuck (Mich.) Art School Plein air painting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/250e66357647747abdeaa637b9c08594.jpg 1d855ace82e0b11018614e94df8b0ad3 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-05 Creator An entity primarily responsible for making the resource Battles, Bob Date A point or period of time associated with an event in the lifecycle of the resource 2010 Title A name given to the resource Ox-Bow in '60s Meeting Topic Description An account of the resource A scan of a newspaper article written about the Saugatuck-Douglas Historical Societey Tuesday Talk that was put on to provide "[a]n intimate look Ox-Bow during the mid-1960s and '70s." Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Ox-Bow School of Art and Artists' Residency Source A related resource from which the described resource is derived Digital file collected by the Kutsche Office of Local History from the Saugatuck Douglas History Center for the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/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/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/c5b318db0ef6ec38f744f24eef020536.jpg 9adaba5495d64bab68d64246e286e5ea 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-18-02 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 Waterfront Store Description An account of the resource Black and white photograph of a wooden building along the Kalamazoo River at Ox-Bow "Summer School of Painting" in Saugatuck, Michigan. In the photograph, a young man stands atop a balcony stairwell and hand-painted drawings decorate the exterior of the building. A clothesline can be seen tied to the scaffolding of the balcony and a hand-painted sign appears to read "The Store." Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Art school Buildings 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/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/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/af89307a604771dd609f63d11cae2741.jpg 8014ea627f1c37ab61b041dcf7024d37 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-02 Creator An entity primarily responsible for making the resource Battles, Bob Date A point or period of time associated with an event in the lifecycle of the resource Title A name given to the resource Oxbow Summer 1966 Description An account of the resource A black and white photo of the theater group, the Oxbows, from Wayne State University. There are ten individuals depicted, all in various costumes. One holds a baby. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Ox-Bow School of Art and Artists' Residency Source A related resource from which the described resource is derived Digital file collected by the Kutsche Office of Local History from the Saugatuck Douglas History Center for the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/b8db6b0f3dfd26fd42de6c6038493c55.jpg 04d56219ad2b5024676d42fb0f71b9a0 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-03 Creator An entity primarily responsible for making the resource Battles, Bob Date A point or period of time associated with an event in the lifecycle of the resource 1966 Title A name given to the resource Oxbow Summer 1966, Back Description An account of the resource The back side of "Oxbow Summer 1966." It lists all of the names from right to left of the individuals depicted in the phot and descriptions of them, all written in blue pen. In the bottom right, Oxbow 1966 Summer is written in red pen. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Ox-Bow School of Art and Artists' Residency Source A related resource from which the described resource is derived Digital file collected by the Kutsche Office of Local History from the Saugatuck Douglas History Center for the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/af9f21a18ac33f4af4e37312842e4b76.jpg c1ee952793d922df231b06f468154415 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_MX1248 Title A name given to the resource Oyodo light cruiser Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource Oyodo class, Japanese CL (light cruiser), January 20, 1945. Subject The topic of the resource United States. Navy World War, 1939-1945 Japan Military education Warships--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1945-01-20 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/18b004b1752fc45bf4bfae719484f792.jpg 6f7561ae4e1a684f51023552b936cef7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_M778 Title A name given to the resource P-38 Lightning heavy fighter plane Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38 Lightning heavy fighter, US Army-F, June 25, 1943. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1943-06-25 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/355a5886750812e45db64276c65979ea.jpg 52a8a7bc3379fcca16387971d3c65007 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_M779 Title A name given to the resource P-38 Lightning heavy fighter plane Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38 Lightning heavy fighter, US Army Air Forces, 1943. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1943 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/f1dfb925c80ab11a7ac304ad9d6aae5e.jpg 01f3b063701ae215c88583d76a2b62f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_116 Title A name given to the resource P-38J fighter Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38J US F (fighter), October 1, 1947. Subject The topic of the resource United States. Navy Military education Airplanes, Military--Recognition World War, 1939-1945 Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/0a20e02b3e12a8a9f6fc28edac364044.jpg 32ada5e980d6a8454f41bbce587b8633 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_120 Title A name given to the resource P-38J fighter Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38J, US Air Force F, October 1, 1947. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/07f26593d65bb2ad664f34bc6d4bf88c.jpg 4c975c583cbc895c9ed0a98f1e60ca03 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_117 Title A name given to the resource P-38J US Air Force fighter Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38J US Air Force fighter, October 1, 1947. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/dd506277eb7ca1fa98af2591f3c6b95e.jpg 519f3c09d5aa2e91f4f5b03c89cfcd8d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_118 Title A name given to the resource P-38J US Air Force fighter Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38J US Air Force fighter, October 1, 1947. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/62785c66290c97a44e213b0fb44f9e02.jpg 4ea8f45511965e3e9cbffe77fe018e39 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_119 Title A name given to the resource P-38J US Air Force fighter Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-38J US Air Force fighter, October 1, 1947. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/fb6cd35188e07997b0717b1214f03b73.mp4 3fd94b825e9cd64209dc15791337e915 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 Meisenheimer-32 Creator An entity primarily responsible for making the resource Misenheimer, Charles V. Date A point or period of time associated with an event in the lifecycle of the resource 1941 Title A name given to the resource P-40 Flying Tigers, circa 1941 Description An account of the resource Film taken by American Volunteer Group (AVG) 1st Squadron Crew Chief Chuck Misenheimer, wtih color and black and white sections (no sound). The footage, dated circa 1941, documents the training and flight activities of the American Volunteer Group (AVG) "Flying Tigers," servicemen organized by the U.S. Government to aid in the defense of China during the Second Sino-Japanese war. Time-stamped scene list: 00:00 AVGs. P-40s and bomber airplanes. Kunming hostel #1. AVG picnic. City of Rangoon and temples. 03:00 Misenheimer and other AVGs sightseeing in Rangoon. More Rangoon temples. 05:40 Pre-teeth P-40s (#10 and others). AVGs with bicycle around P-40 in Toungoo. Flying P-40. 06:00 Uebele and Kenner talk on P-40. P-40 #5, #9, #4, and others taxing, taking off.and flying in the sky. Workers at airfield. 06:50 Two AVGs in front of P-40 #10. Misenheimer comes down from P-40. An AVG working on wheel of P-40. 07:05 Locke, Wylie, other AVG's and workers under a tent. AVGs sightseeing. 07:35 People carrying a load on a street. Boats on a river. 08:30 AVG trucks and jeeps. Two AVGs or British by AVG truck. Bomber airplanes. 10:02 A man and a woman (AVG?) with a dog. P-40 being repaired. Prop specialists working on propellers of P-40 at Kunming airbase. 11:00 Burma road. AVG trucks. 11:55 An AVG truck driver closes door and looks out window. View of road and mountains. 12:35 Trucks and cars on Burma Road. 13:13 Truck stops once, back up and turns hairpin curve on Burma Road. 13:55 Stacked truck on winding road. Mountain view. 14:35 Truck convoy at a sign of Rasio-Mandalay. 15:00 London 6372 miles sign. 15:05 Truck convoy goes through a Chinese city. Street scene. Children play on street. Rickshaws. 16:30 Market in a Chinese city. Parks. Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Air pilots P-40 (Fighter plane) Kunming Shi (China). Liang shi ju Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp8 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/10692bf9d1fad51a4bb8d9652dbf498a.jpg 23d59dfe77c58154f501898cc3bd5bf8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_M3559 Title A name given to the resource P-47 D Thunderbolt fighter-bomber Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource P-47 D Thunderbolt fighter-bomber, US Army SSF, August 15, 1944. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Airplanes, Military--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1944-08-15 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives