815 24 26018 https://digitalcollections.library.gvsu.edu/files/original/b1c7a1da85f30f7327cde8d474975921.pdf a47ea6ce4c617fad544286bc3a5a38bf PDF Text Text Young Lords In Lincoln Park Interviewee: Rafael Cancel-Miranda Interviewer: Jose Jimenez Location: Grand Valley State University Special Collections Date: 11/19/2012 Runtime: 01:21:00 Biography and Description Oral history of Rafael Cancel-Miranda, interviewed by Jose “Cha-Cha” Jimenez on November 19, 2012 about the Young Lords in Lincoln Park. "The Young Lords in Lincoln Park" collection grows out of decades of work to more fully document the history of Chicago's Puerto Rican community which gave birth to the Young Lords Organization and later, the Young Lords Party. Founded by Mr. José “Cha-Cha” Jiménez, the Young Lords became one of the premier struggles for international human rights. Where thriving church congregations, social and �political clubs, restaurants, groceries, and family residences once flourished, successive waves of urban renewal and gentrification forcibly displaced most of those Puerto Ricans, Mejicanos, other Latinos, working-class and impoverished families, and their children in the 1950s and 1960s. Today these same families and activists also risk losing their history. � https://digitalcollections.library.gvsu.edu/files/original/aa308b4d7daa1377b12a5f514985d656.mp4 a922972dba8f3aad0bd4213e876e67e4 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 Young Lords in Lincoln Park Collection Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Personal narratives Social justice Community activists--Illinois--Chicago Description An account of the resource Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives. The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. Creator An entity primarily responsible for making the resource Jiménez, José, 1948- Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park collection (RHC-65)</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 2017-04-25 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 eng spa Type The nature or genre of the resource Moving Image Text Identifier An unambiguous reference to the resource within a given context RHC-65 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2012-2017 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Título Spanish language Title entry Rafael Cancel-Miranda vídeo entrevista y biografía Descripción Spanish language Description entry La historia oral de Rafael Cancel-Miranda, entrevistado por Jose 'Cha-Cha' Jimenez el 11/19/2013 acerca de los Young Lords en Lincoln Park. Sujetos Spanish language Subject terms Young Lords (Organización) Puertorriqueños--Estados Unidos Derechos civiles--Estados Unidos--Historia Lincoln Park (Chicago, Ill.) Mexicano-Americanos--Relatos personales Justicia social Activistas comunitarios--Illinois--Chicago Mexico-Americanos--Illinois--Chicago--Condiciones sociales Relaciones raciales Conflicto social Identitad cultural Partido Pantera Negra. Illinois Capí­tulo Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park (RHC-65)</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-65_Cancel-Miranda_Rafael Title A name given to the resource Rafael Cancel-Miranda video interview and biography Creator An entity primarily responsible for making the resource Cancel-Miranda, Rafael Description An account of the resource Oral history of Rafael Cancel-Miranda, interviewed by Jose 'Cha-Cha' Jimenez, on 11/19/2013 about the Young Lords in Lincoln Park. Contributor An entity responsible for making contributions to the resource Jimenez, Jose, 1948- Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Mexican Americans--Personal narratives Social justice Community activists--Illinois--Chicago Mexican Americans--Illinois--Chicago--Social conditions Race relations Social conflict Cultural identity Black Panther Party. Illinois Chapter Language A language of the resource spa Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Date A point or period of time associated with an event in the lifecycle of the resource 2013-11-19 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/bc49f52063cc8b6f1eefd76afabb3913.mp4 08beaef91949b8ad3dba5d67d4cdd686 https://digitalcollections.library.gvsu.edu/files/original/8de53a83645cac60689d350fdb91704e.pdf 3c93bc0f75fcf9ee9b78a45cbc23c009 PDF Text Text Grand Valley State University Veterans' History Project Richard Rafferty World War II 38 minutes (00:00:37) Early Life -Born in Grand Rapids, Michigan on October 31, 1924 -Parents were Raymond and Violet Rafferty -Father worked as a mail carrier for the Post Office and mother stayed at home -Father kept his job during the Great Depression -Also had steady work -Had a younger brother -Also served in the Navy (00:01:41) Start of the War -Working at a theater in Grand Rapids and remembers a cashier telling him Japan bombed Pearl Harbor -Prior to the attack on Pearl Harbor he heard there were negotiations between the U.S. and Japan -After Pearl Harbor everything changed -Everybody got behind the war effort -People reused tires and other items that could not be produced new because of the war -Remembers the cigarette company, Lucky Strike, changing their label color -Went from green to red because the green color was made with copper -Mother went to work in a war factory (00:03:15) Enlisting in the Navy -Knew he would get into the service because of the draft, but he also wanted to get into the service -Graduated from Catholic Central High School in 1942 -Did construction work in Muskegon, Michigan the following summer -In the December 1942 he enlisted in the Navy Reserve as a Naval Aviation Cadet (00:04:12) Ground School (Pre-Flight Training) -Called up for active duty in April 1943 -Part of the Navy's Pre-Flight V5 Aviators Program -Ground School -Learned about aeronautics, meteorology, aircraft recognition, and Navy regulations -Trained at Ohio Wesleyan University -Program lasted three months -Close order drills, marching, and physical training -Emphasis on discipline -If you did not follow regulations you received a demerit -If you received too many demerits you got kicked out of the program -Didn't find the training too difficult and enjoyed it -All of the men were roughly the same age and mostly from the Midwest (00:06:37) Advanced Pre-Flight Training -Sent to Saint Mary's College in Moraga, California for advanced pre-flight training -More physical training with a competitive and team-based emphasis -Football, basketball, track, wrestling, and boxing -College was near Oakland and San Francisco -Had weekly tests on every subject -Very little time off �-Training through the day, studying at night, then sleeping -Got weekends off sometimes -Visited Columbus, Ohio when he was at Ohio Wesley University -Visited San Francisco, California when he was at Saint Mary's College -Spent two to three months at Saint Mary's College (00:08:58) Whitman College-Flight Training -Sent to Whitman College in Walla Walla, Washington -Began training with the Piper J-3 Cub -Learned the fundamentals of flying a plane -Started with an instructor then solo flew -Learned the basics of flying -Taking off, landing, flying safely, and how to get out of a stall -Came easily and naturally to him and he found the experience pleasant -Flew daily for about half of his time at Whitman College (1-1 ½ months of daily flight) (00????:11:55) Primary Training -Sent to Max Westheimer Field in Norman, Oklahoma for primary training -Flew the N2S Stearman biplane -Great plane for acrobatics -Learned how to fly like a fighter pilot -Started with an instructor then flew alone -Flew the Ryan PT-22 Recruit, a two seat, low-wing monoplane -Learned formation flying -Stearman was much better than the Piper Cub -Felt the Stearman was one of the greatest planes -Trained there for eight or nine months (00:13:54) Advanced Training -Sent to Naval Air Station Corpus Christi, Texas for advanced training -Started off by flying the SNV (BT-13 Valiant) for more formation flying training -Moved on to training with the SNJ (T-6 Texan) -Advanced training aircraft very similar to a fighter plane -Remembers that you could do pretty much anything with an SNJ -Accidents did happen -Had his own minor accident in Primary Training with the Stearman -Learned how to fly by instruments -Means flying without line of sight -Did night and day flying -Learned how to take off and land on a carrier-length runway -Experienced weather restrictions -No flying if it was too overcast, or if there were thunderstorms -Completed advanced training and graduated on November 1, 1944 -Held the rank of Naval Aviator, Ensign (00:18:54) Operational Training -Sent to Naval Air Station Sanford, Florida for Operational Training with a squadron -Flew the FM-2 Wildcat, the workhorse of the U.S. Navy during WWII -Learned how to land on an actual aircraft carrier -Qualified on the USS Solomons at Port Everglades, Florida -Revved up to full throttle with brakes on to take off -For landing, a signalman said if you were too high/low or too fast/slow -Got into position, cut the engine, and glided onto the carrier �-Had a few planes go off the carrier into the water, but no pilots died -Had ships standing by to recover pilots -Easy to get out of the plane because you kept the canopy open for take off and landing -He got it right the first time and it was exciting -Had more freedom since he was an officer in the Navy -Could go off the base at night and on weekends -Visited Sanford, went to the bars, and met girls (00:25:22) Leave -Between bases he received leave -Usually got a week off when he transferred to a new base -Leave was based on availability of space at bases and schools -Had to wait a week or two for the base to have room for incoming cadets (00:26:43) VC-80 Squadron -Joined VC (composite)-80 Squadron -12 TBM Avenger torpedo bombers -16 FM-2 Wildcat fighter planes -Carried out escort duty and observation -They were supposed to go to the USS Steamer Bay in San Diego, but those orders were canceled -He joined the squadron in Seattle -Went to Coos Bay, Oregon to learn how to fly as a unit -Unit moved to Holtville, California for night flying, gunnery training, and bombardier training -Flew training missions every day -Learned how to operate as a unit (00:29:12) End of the War & End of Service -Heard news that the atomic bombs were dropped on Japan -Had planned on being part of the invasion of Japan -Atomic bombs canceled those orders -Relieved that the war was over -Hated to leave the unit, but was ready to go home -Discharged from active duty in November 1945 -Spent the rest of his time with VC-80 decommissioning the squadron -Transferred to Naval Air Station Grosse Ile, Michigan to work as an operations officer -Sent to Great Lakes Naval Station, Illinois to get discharged from active duty to “ready reserve” (00:30:55) Life after the War -Returned to Grand Rapids, Michigan -Got married -Had three children -Worked part-time jobs and went to Grand Rapids Junior College (now Community College) -Went to work for Michigan Bell Telephone Company -Got to be the area manager before retiring (00:31:26) Continued Service with the Navy Reserve -Flew monthly with the Navy Reserve at Grosse Ile and Kellogg Field in Battle Creek -Flew the SNJ, FM-2 Wildcat, and AD-4 Skyraider -Never got to fly any of the new jet fighters -Never received any orders for the Korean War -Spent 25 years in the Reserve -Former pilots and Navy crewmen joined the squadron during the Vietnam War -Entered the retired reserve until he could get full retirement -Transferred to a VP squadron (patrol squadron) with P-2V Neptunes �-Knew he would never get to fly those, so he requested a transfer to another unit -Served with the “surface division” of the Navy at Jackson, Michigan -Worked as a recruiting officer and flew once a week -Did that for five or six years (00:36:52) Reflections on Service -Feels that his time in the service shaped his whole life -Looks back on his time in the Navy as an enjoyable time in his life -Believes that it was a good experience for him because he didn't see combat -Taught him independence and made him mature -Enjoyed flying and the camaraderie he had in the Navy Reserve � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-27_RaffertyR1744V Title A name given to the resource Rafferty, Richard Raymond (Interview outline and video), 2015 Date A point or period of time associated with an event in the lifecycle of the resource 2015-04-16 Description An account of the resource Richard Rafferty was born on October 31, 1924 in Grand Rapids, Michigan. He grew up in Grand Rapids and in the December 1942 he enlisted in the Navy Reserve as an Aviation Cadet. He was called up for active service in April 1943 and received training at Ohio Wesleyan University, St. Mary's College of California, Whitman College, Max Westheimer Field, and Naval Air Station Corpus Christi. Richard graduated from training on November 1, 1944 and became a Naval Aviator with the rank of ensign. He received operational training at Naval Air Station Sanford, Florida and qualified for aircraft carrier service aboard the USS Solomons at Port Everglades, Florida. From Florida he went to Seattle to join VC-80 Squadron, a torpedo bomber and fighter squadron. They operated in Coos Bay, Oregon and Holtville, California and when the war ended in August 1945 he helped decommission the squadron. He also served at Naval Air Station Grosse Ile, Michigan as an operations officer then went to Great Lakes Naval Station, Illinois to be discharged from active duty in November 1945. After the war he stayed in the Navy Reserve for 25 years serving at Grosse Ile, Battle Creek, and Jackson, Michigan. Creator An entity primarily responsible for making the resource Rafferty, Richard Raymond Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) WKTV (Wyoming, Mich.) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American United States. Navy</dc:subject Language A language of the resource eng Type The nature or genre of the resource Text Moving Image Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project collection, (RHC-27)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Relation A related resource Veterans History Project (U.S.) Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 https://digitalcollections.library.gvsu.edu/files/original/4fd7fa59261c8fbd63b201050e98908a.jpg 9b79ef0d5940341971df463a8deeb131 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime001 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image two actors in early 20th century costumes pose together. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/0599f7852675ee37d910d3e92fab2ef1.jpg 09a2252995ba8691e4817270b7dc6d50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime002 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image two actors, one a child, pose together backstage. Their costumes are semi-historical, and their faces are smudged with dirt. The man is wearing a large false beard, and the girl has her hair covered. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/fa039b9848d16318946f3d908dac30e2.jpg a90fe8c4c839d622faa6381d3f07930b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime003 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image two actors, one a child, pose together backstage in early 20th century costumes. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/8423623646a3baede8f5e8c579193b5a.jpg eab7b5bbda5f9643300a224b4399d5bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime006 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image two actors in early 20th century costumes sing together on stage. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/18c6e1e1ffd2944b3d2a6cbd0a557231.jpg 2ca760dd96981be4a220654bf163bf1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime007 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image a group of actors stand together and gesture towards an early automobile. Its driver is wearing goggles and a coat. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/e49e5ef3c98d24f16b1a9f30d089eb1f.jpg 288c3d85c3b13514c7978a51db9c9203 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime010 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image an ensemble cast is posed onstage. Several of the woman wear early 20th century dresses and carry parasols. One woman is dressed in a burlesque costume and poses cheekily. Behind her a man holds a large film camera prop. In the background, the set is dressed with industrial scaffolding, and a large screen which shows a beautiful blue sky. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/e2522a233750986527a39068f6cb246c.jpg 11e7d1c02ea61c186a61173c6500e2ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime012 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image seven actors perform onstage. They are standing or seated around wooden crates labeled "EXPLOSIVES." Two men, standing to the side, hold rifles. The backdrop mimics industrial scaffolding. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/bb9704b12521c54e4ddd1016869862fe.jpg 936fb6cb490dca9cf16161319739cdab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime013 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image five actresses pose together backstage. All wear early 20th century dresses. They each expose one of their ankles from under their skirts. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/a8c63ebd823ef32dc31a99a46ec3c338.jpg 5005ee8dd83918fd7c536ee21df5856a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV058-01_2008W-Ragtime015 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 2008 Title A name given to the resource Ragtime (theater production), 2008 Description An account of the resource Color photograph of Grand Valley's 2008 production of "Ragtime." In this image a young man dressed as a bell boy poses backstage. Subject The topic of the resource Theater College students Musicals Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 2008s https://digitalcollections.library.gvsu.edu/files/original/3938ed38445218f085c53f4f4c0fa635.jpg 4b52335cad43e9eba6f7403031b3ef53 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_J288-0001 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 1969-12-16 Title A name given to the resource Rail Yard in Chicago, Illinois Description An account of the resource Black and white photograph of an industrial city scene featuring a rail yard in Chicago, Illinois. In the photograph, a large high-rise apartment building can be seen rising behind the rail yard in the background. Scanned from the negative. Subject The topic of the resource Railroad yards--Illinois--Chicago Railroad trains--Illinois--Chicago High-rise buildings--Illinois--Chicago Chicago (Ill.) Black-and-white photography 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/fe1be2a4cf762feed092bb832e0c5881.jpg a845efe1324809b1863985cf3dab1ebe 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_J288-0004 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 1969-12-16 Title A name given to the resource Rail Yard in Chicago, Illinois Description An account of the resource Black and white photograph of an industrial city scene featuring a rail yard in Chicago, Illinois. In the photograph, a group of trains are parked in the foreground, including one labeled "Chicago South Shore & South Bend," while a large high-rise apartment building can be seen rising behind the rail yard in the background. Scanned from the negative. Subject The topic of the resource Railroad yards--Illinois--Chicago Railroad trains--Illinois--Chicago Chicago (Ill.) Black-and-white photography 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/b680b966820c9cf296a829eba0d999f0.jpg f3bdb8545ebba01a62a3a205a0026989 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_J288-0035 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 1969-12-16 Title A name given to the resource Rail Yard in Chicago, Illinois Description An account of the resource Black and white photograph of an industrial city scene featuring a rail yard in Chicago, Illinois. In the photograph, a train conductor is seen moving a train through the rail yard, while other trains are parked in the background. Scanned from the negative. Subject The topic of the resource Railroad yards--Illinois--Chicago Railroad trains--Illinois--Chicago Chicago (Ill.) Black-and-white photography 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/a415ef21c75454fe2dac51f34a6ae2db.jpg f21e0f5ffe10c01fedc5b1300d1d7f55 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_K008-0001 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 1970-01-06/1970-01-13 Title A name given to the resource Rail Yard in St. Charles, Iliniois Description An account of the resource Black and white photograph of a rail yard in St. Charles, Illinois. In the photograph, a group of freight train boxcars can be seen parked behind a building with smokestacks rising above in the background. One of the boxcars is labeled a "Burlington" boxcar while the other two are labeled as "Everywhere West" and "Frisco." Scanned from the negative. Subject The topic of the resource Railroad cars--Illinois Railroad companies--Illinois Railroad yards--Illinois Saint Charles (Ill.) Black-and-white photography 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 1970s 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/306ce6586de0f1b83513e6384cb6af15.jpg d43406dd7b50e61aff075d6fb9bbb1c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert H. Merrill photographs Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Date A point or period of time associated with an event in the lifecycle of the resource 1909/1950 Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Identifier An unambiguous reference to the resource within a given context RHC-222 Description An account of the resource Photographs, negatives, and lantern slides digitized from the papers of engineer and archaeologist Robert H. Merrill. A Grand Rapids native, Merrill held an accomplished career as a civil engineer. He founded the company Spooner & Merrill, which held offices in Grand Rapids and Chicago. From 1919-1921, Merrill lived in China, working as Assistant Principal Engineer on a reconstruction of the Grand Canal - the oldest and longest canal system in the world. Merrill became fascinated by archaeology, and among other projects, he traveled to the Uxmal Pyramids in Yucatan, Mexico, with a research expedition from Tulane University. Merrill's photo collection includes images of his travels and projects, friends and family. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Merrill_EastmanAlbum_3_1911-1915_041 Date A point or period of time associated with an event in the lifecycle of the resource 1913-08-04 Title A name given to the resource Railroad bridge west of Cornwall, Ontario Description An account of the resource Black and white photograph of a railroad bridge west of Cornorthwestall, Ontario. Taken by Robert Merrill, likely from a steamship. Subject The topic of the resource Bridges Ontario Cornothwestall (Ont.) Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/6b3b2a7148dfff38d37340085948da8f.jpg 0a87651bf0ea0ccbd8453c277af29776 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert H. Merrill photographs Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Date A point or period of time associated with an event in the lifecycle of the resource 1909/1950 Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Identifier An unambiguous reference to the resource within a given context RHC-222 Description An account of the resource Photographs, negatives, and lantern slides digitized from the papers of engineer and archaeologist Robert H. Merrill. A Grand Rapids native, Merrill held an accomplished career as a civil engineer. He founded the company Spooner & Merrill, which held offices in Grand Rapids and Chicago. From 1919-1921, Merrill lived in China, working as Assistant Principal Engineer on a reconstruction of the Grand Canal - the oldest and longest canal system in the world. Merrill became fascinated by archaeology, and among other projects, he traveled to the Uxmal Pyramids in Yucatan, Mexico, with a research expedition from Tulane University. Merrill's photo collection includes images of his travels and projects, friends and family. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Merrill_HotelItza_4_1930_002 Date A point or period of time associated with an event in the lifecycle of the resource 1930-02-25 Title A name given to the resource Railroad Coach enroute Description An account of the resource Black and white photograph of nine people, seven men and two women, standing next to a railroad coach. Subject The topic of the resource Mérida (Mexico) Mexico Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/2090f3e8ddc787ac37e6952510b46fbf.jpg 97124f9e2ce5e2f0d873c45d73273ab2 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_K166-0017 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 1970-07-16 Title A name given to the resource Railroad Crossing, Sycamore, Illinois Description An account of the resource Black and white photograph of a railroad crossing in Sycamore, Illinois. In the photograph, a sign that reads, "Life Offers More in Sycamore," is featured behind the railroad tracks. Scanned from the negative. Subject The topic of the resource Sycamore (Ill.) Railroad crossings--Illinois Black-and-white photography 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 1970s 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/4db02a2a68ae0721dd68877255d8dc02.jpg 5b48542a056f346dc3ee2b3d89145a0c 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_J275-0027 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1969-11-09 Title A name given to the resource Railroad Track in St. Charles, Illinois Description An account of the resource Black and white photograph of a railroad track winding through the countryside in St. Charles, Illinois. In the photograph, overhead power lines are running parallel to the railroad track and a bridge can be seen going across the track in the background. Scanned from the negative. Subject The topic of the resource Railroad tracks--Illinois Electric lines--Illinois Saint Charles (Ill.) Black-and-white photography 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/4ab71a45aaf27543235a3cde81ec3557.jpg fec2608b89e12cf0e0850012d9d8355c 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_I098-0032 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 1968-07-27 Title A name given to the resource Railroad Train in Szczecin, Poland Description An account of the resource Black and white photograph of a train traveling along train tracks in Szczecin, Poland. In the photograph, a sign is posted next to the train tracks that reads, "Przejscie Wzbronione," meaning "Crossing Forbidden." Scanned from the negative. Subject The topic of the resource Szczecin (Poland) Railroad trains--Poland Railroad tracks--Poland Black-and-white photography 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/7f5acd1f2b980de69c2bb073b8e99904.jpg 2251fd24b33f91c6323f2df5ec7db870 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_I100-0003 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 1968-07-27 Title A name given to the resource Railroad Train in Szczecin, Poland Description An account of the resource Black and white photograph of a train traveling along train tracks in Szczecin, Poland. In the photograph, a sign is posted next to the train tracks that reads, "Przejscie Wzbronione," meaning "Crossing Forbidden." Scanned from the negative. Subject The topic of the resource Szczecin (Poland) Railroad trains--Poland Railroad tracks--Poland Black-and-white photography 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/5348b862d939c1f881f0821a02db5654.pdf 9854851be72afedddaf4725f6b6ad9d4 PDF Text Text Young   L ords   In  Lincoln  Park   Interviewee:  Rainbow  Coalition   Interviewers:  Jose  Jimenez   Location:  Grand  Valley  State  University  Special  Collections   Date:  10/23/2016   Runtime:  01:48:03       Biography  and  Description               The  Black  Panther  Party  for  Self  Defense,  founded  by  Bobby  Seale  and  Huey  P.  Newton  celebrated   their  50th  Anniversary  on  October  20-­‐23  2016  in  the  Oakland  California  Museum.  Primary   organizers  in  the  Host  Committee  included:  Clark  Bailey,  Erica  Huggins,  Emory  Douglas,  Aaron   Dixon  and  Black  Panther  Party  Chairwoman  Elaine  Brown.  One  of  the  primary  events  of  the   conference  and  gala  was  a  panel  discussion  about  the  original  Rainbow  Coalition  begun  by  Illinois   Chapter  Chairman  Fred  Hampton.  The  moderator  was  Aaron  Dixon  and  panelists  included  founder   of  the  Young  Lords  Movement,  Jose  (Cha-­‐Cha)  Jimenez;  Stan  McKinney  of  the  Illinois  BPP;  Co-­‐ founder  of  the  Young  Patriots  Organization,  Hy  Thurman;  a  leader  of  the  Palestinian  Hamas  Bos   Campaign,  Dr.  Rabab  Abdulhadi;  Pam  of  the  Asian  American  Alliance  and  the  Red  Guard;  Professor   Harvey  of  the  I  Wor  Kuen;  and  Lenny  Foster  of  the  Navajo  Nation  and  the  American  Indian   Movement  (A.I.M.).   �Cha-­‐Cha  Jimenez  discusses  the  origins  of  the  Rainbow  Coalition  and  the  first  time  the  Young  Lords   met  Fred  Hampton  in  February  1969  right  after  the  Lords  non  -­‐  violently  occupied  a  police   community  workshop  meeting.  He  discusses  the  dual  struggles  of  Puerto  Ricans:  civil  rights  in  the   barrios,  and  human  rights  for  the  Puerto  Rican  Nation.   Stan  McKinney  discusses  CointelPro  and  its  use  of  gangs  describing  how  one  gang  was  shooting  in   the  projects  at  children  attending  the  BPP  Breakfast  for  Children  Program.  He  also  describes  the   charisma  of  Fred  Hampton  to  be  able  to  work  with  at  risk  youth  and  details  Fred’s  plotted  murder   by  the  FBI  CointelPro  and  State’s  Attorney  Hanrahan.   Hy  Thurman  discusses  the  origins  of  the  Young  Patriots  Organization  and  its  split  up  when  some  of   them  became  the  Young  Patriots  Party.  He  explains  that  the  organization  wanted  to  keep  the   organizing  focused  on  the  neighborhoods  and  explains  that  they  did  wear  the  confederate  flag   when  they  walked  into  the  bars  of  Uptown,  Chicago  but  it  most  Southern     Whites  did  not  realize  what  it  represented.  It  became  a  tool  for  discussing  racism  and  organizing  in   their  community.   Rabab  Abdulhadi  explained  that  she  grew  up  under  the  Israeli  Occupation  and  that  Palestinian  boys   would  sometimes  use  sexist  remarks  and  gestures  at  the  women  but  it  could  be  easily  resolved  by   telling  their  fathers  and  families.  However,  if  an  Israeli  soldier  would  attack  a  Palestinian  woman   the  woman  she  would  have  to  remain  silent  for  fear  that  it  would  jeopardize  the  lives  of  their   Palestinian  relatives.  She  explained  the  love  of  Palestinians  for  Mohammad  Ali  or  Cassius  Clay  and   said  that  her  parents  said  that  Angela  Davis  was  framed,  “the  proof,”  they  said  is,  “racism.”   Professor  Harvey,  is  a  lecturer  at  UC  Berkeley  and  recalls  being  part  of  the  I  Wor  Kuen  and  also   going  to  the  Black  Panther  office  in  Oakland  to  create  flyers  because  they  had  no  office  or  supplies.   He  participated  in  petition  drives  as  a  form  of  protest  and  says  that  it  was  a  duty  not  remain  silent   while  negativity  is  everywhere,  “things  get  worst”  she  said.   Pam  of  the  Asian  American  Alliance  and  the  Red  Guard  explained  how  her  Grandfather  left  China  to   work  on  the  construction  of  the  Panama  Canal  and  never  returned.  She  said  that  the  Red  Guard   started  a  Breakfast  for  Children  program  near  Jackson  Street,  in  San  Francisco’s  China  Town.  They   were  proud  of  Richard  Aoki  who  was  Chinese  and  a    Field  Marshall  for  the  original  Black  Panthers.   She  also  stated  that  they  were  Chinese  and  Chinatown  was  Chinese  but  it  took  the  Black  Panther   Party  to  teach  them  about  the  Red  Book  of  Mao  Tse  Tung.   Lenny  Foster  began  thanking  everyone  proudly  speaking  in  his  Navajo  language  because  that  is   what  he  spoke  growing  up.    During  World  War  II  Navajo  US  veterans  were  called  code  talkers   because  they  could  infiltrate  the  Japanese  and  speak  in  their  native  tongue  without  being  detected.   His  dad  was  also  a  U.S.  Marine  radio  operator.  When  Lenny  attended  Arizona  Western  College  he   joined  their  baseball  team  and  was  pretty  good.  He  said  then,  “  he  realized  he  did  not  have  any   money.”  On  a  trip  to  Denver,  Colorado  he  met  the  leaders  of  the  American  Indian  Movement   (A.I.M.).  He  asked  the  panel  to  help  him  try  to  get  the  Cleveland  Indians  to  stop  using  their  current   mascot  which  insults  Native  Americans.   �Transcript AARON DIXON: Come on up here, Cha-Cha. We got to get started. I’m sorry we’re starting so late but there was a little confusion and the last time I went a little overboard. You know how when you go to church, things last a little longer. But we want to get started for this very important panel that we have here. I want everybody to come on in and sit down and we still got more people coming in. We got a line out there of people or is this it? Okay. So my name is Aaron Dixon, I’m on the Host Committee helping to organize this event. And my job was to bring in a lot of the organization that we had worked with in the past and I’m just [00:01:00] really happy to have the original Rainbow Coalition up here. (applause) We have a couple more people to add to this Coalition because the Black Panther Party started very early in 1967 in terms of creating coalitions. That was one of the most important aspects of what the Black Panther Party did is brought coalition building. One of the first coalitions that the Black Panther Party started was with, was in 1967 with the free, the Peace and Freedom Party. Through the Peace and Freedom Party, the Black Panther Party ran political offices. It was [00:02:00] mostly symbolic. They ran Eldridge Cleaver for President, they ran Huey P. Newton and other Black Panther Party members. In Seattle, we ran Black Panther Party members also on the Peace and Freedom Party ticket in 1968. Then there was the Brown Beret Coalition that began in 1968 in Los Angeles and beginning to work with the Latino community. In 19was it ’69 in Chicago when Fred Hampton organized what is known as the 1 �Rainbow Coalition. The Rainbow Coalition was made up of the Young Lords under Cha-Cha. I call him Cha-Cha. Now, he’s know as José, but I (laughter) -- I [00:03:00] hope he doesn’t mind me calling him Cha-Cha because that’s how I identify him, okay? Also, the other part of that coalition was the Young Patriot Pary. I remember Preacherman as being one of the frontmen of the Patriot Party. But we have Hy Thurman with us today who is also one of the important figures of the Patriot Party at that time. (applause) We also have Stan McKinney from the Illinois Chapter of the Black Panther Party (applause) and we also have Lenny Foster with AIM. (applause) We also -- I’m going to be bringing up Professor [00:04:00] Abdulhadi (inaudible). Do you want to stand for a second? She’s a Palestinian. (applause) I learned about the Palestinian struggle through the Black Panther Party newspaper as did many other people. And ever since then, we’ve always had a very strong connection to the Palestinian movement. So we’re going to bring her up at some point. We also have -- also in the, I forgot to mention that also in the Bay Area, the Black Panther Party had began very early to have coalitions in the Asian community. The Red Guard in the Chinese community, as well, so we’re going to be bringing up Harvey. Harvey, you want to stand? (applause) [00:05:00] He was with the Asian American Political Alliance and that was very early on when the Black Panther Party began with that coalition. But we’re going to go ahead and get started on the Rainbow Coalition panel. First of all, I’m going to have everybody introduce themselves, say a little bit about themselves, how they got involved in their political organizations, and a little bit about themselves, and then we’ll move forward. We’ll start with Cha- 2 �Cha. JOSE JIMENEZ: Okay, so I was born in Puerto Rico. We came with the Great Migration in the late ’40s and ’50 to Chicago. New York already had a large Puerto Rican community. [00:06:00] But at that time, the Midwest was beginning to develop. So our main issue, our main question at that time as families were that our parents were more like pilgrims and that and they were just trying to get the church service in Spanish, in English, basically. So they were not political at all or anything like that and the youth, because there was no one looking out for us or trying to figure out programs for us, got involved with gangs and that. So we got involved with urban street gangs like any other city and that. And so got into a gang epidemic, things got a little bad. But the people, the families, they developed a community through the churches and that and they even started working with the youth, with the gangs and that. So we learned a lot of organizing from them. What happened is that Mayor Daley in 1955 when he came to office, [00:07:00] he wanted back the cities. The White Flight had gone to the suburbs and he wanted to bring them back in to increase the tax dollars and to basically take over the lakefront and the downtown areas of Chicago. But we happened to be in the way, with the Great Black Migration, the Native American community was being pushed out of the reservations and that. The poor white, the hillbillies were there in the community. Even some of the white ethnic gangs were there. So they went, we were in the way and they were, the working-class people were being kicked out to the suburbs but to the poor areas. You know, it was the segregation. It was the segregation was basically at that 3 �time. That’s the way we got to look at it because we call it sweet terms today like gentrification and it’s segregation. If we see it that way, then we can see a way to fight it back because we have a long, a precedent. The civil rights movement was [00:08:00] fighting segregation and all that. So we have a way to fight them back if we look at that. But I’m going to keep it short because this is an introduction. (laughter) So anyway, in the late ’60s, everything was happening in Lincoln Park. That’s where you had the Democratic Convention. We were there in the street corner just hanging out watching our neighborhood getting evicted. And I went to jail at that time from the gang, usually getting involved with substance abuse. So I got involved with that, wanted to clean up, wanted to go to confession, and this is a Young Lord from New York right here, all right? (laugher) But anyway, we set up, we followed the Black Panther Party at that time. We learned from the Panthers and that and we set up the same thing in our community. Chairman Fred Hampton became friends with us. We had taken over this police station nonviolently. We went in there (laughter) [00:09:00] but we basically went in and took a couple busloads to the police station. And inside there, we put our purple berets on and we bicycle chained the doors so the commander couldn’t leave and the reporters were inside. Anyway, the next day was February 12th. The next day, Chairman Fred Hampton read about us and he came back and he said, “I want to help you guys because you’re going to get killed.” (laughter) So we didn’t realize what we had done; we just thought it was a protest and that. But that’s how we met Chairman Fred Hampton who took us under his wings. He taught us about -- I had already learned a little bit about the 4 �Party and that so he gave us the skills that we needed to come right out of the gang. But we came right out of the gang and we started organizing. We did occupations at first and then we did demonstrations and we [00:10:00] united the community. We spread to 27 cities. A lot of people are more familiar with the New York Chapter but it started in Chicago and that. But anyway, that’s a good introduction? AD: That’s great. Thank you. (applause) STAN MCKINNEY: Good afternoon, my name is Stan McKinney. I’m a former member of the Illinois Chapter of the Black Panther Party. I don’t know if there’s some other party members here. (applause) First of all, I’m honored to be a part of the panel here with all the other courageous comrades. I wanted to point out something to the audience and I’d like for you guys to participate in just a moment of silence. Mrs. Iberia Hampton passed away which was the mother [00:11:00] of Fred Hampton just Thursday, 94 years old. So Chairman Fred Hampton, Jr. who I work with closely asked me to do that so we want to give a moment of silence and condolences for the Hampton family. (pause) Thank you. Basically, I was the last Illinois Chapter party member that concluded the Illinois branch of the Black Panther Party. I worked with the party, I joined in 1969, I probably was about 16, 17 years old. And I think when I left from Oakland California, it was probably about ’76 so that was my tender [00:12:00] in the party. (applause) HY THURMAN: I’m Hy Thurman, I’m one of the cofounders of the Young Patriots and also the original Rainbow Coalition. (applause) How I got involved was I had 5 �migrated to Chicago from a small town in Tennessee to find a job and try to get away from some of the pverty that was in the area. It was a small town and about agriculture. But I started to work and I say this to catch-up but I started work when I was three years old in the field [00:13:00] working with my mother and my other siblings. We were raised in a single-parent home, extremely poor. And I remember my mother and my older sister only had one pair of shoes and they would split that pair of shoes. My sister would come home from school and my mother would take them and go to whatever she had to do. So we were, we would go to work in the fields working all day long and then pool our money to eat. And there were times when it was very primitive, we would actually have to hunt our food. But that’s the way it was back then. This was through the ’50s. It was very little, there are actually very few services [00:14:00] to help anybody and (clears throat) excuse me. In my hometown, if you were poor, you were victimized. And you were victimized by the police, you were victimized by the agencies, and you were considered to be pretty much white trash. We grew up through that. So when it came time for me to leave, I left when I was 17, I went to Chicago and pretty green. There are some of my old friends back there now that knew me and I’m forever grateful to their help. And when I got to Chicago, I thought it would be different but it wasn’t. It was a slum. Uptown was a slum. The police were very brutal. The slum landlords were just vicious and they would never [00:15:00] fix up their buildings. People were actually freezing to death in some of these buildings. I knew people that would have to put, warm up bricks and put them at the foot of the bed so they could stay warm at night. Uptown 6 �was just a real impoverished area. I thought I was going to go into something different but I didn’t. But anyway, about the, I’d been there about two weeks and the cops stopped me. When they found out I had a southern accent, they became very indifferent. Told me to go back home and - I won’t use the word but screw my mother and my dog and my pig and whatever we do down there. And that’s the way we were treated and it didn’t change from there. So I had, my older brother was there and he had been involved in the Peacemaker street gang [00:16:00] but then he’d gotten involved with JOIN which was a Jobs Or Income Now program out of Students for a Democratic Society. JOIN people were pretty much responsible for giving us the ideology, political ideology that we could carry on. That’s basically, there’s a lot more to the story but they ended up leading a march on the police station in the era of police brutality. Peggy Terry who was, Peggy Terry was a poor woman from Oklahoma who lived in the South. She ran as vice president with Eldridge Cleaver so we were involved politically. A lot of the programs as far as women’s programs were started, women’s liberation was started there. But anyway, I got involved because of just the brutal poverty that was [00:17:00] there and the brutality by the police. That’s how I got involved. It’s a long story but -- (applause) LENNY FOSTER: (Navajo language) [00:17:12 - 00:17:51]. I want to say thank you for your presence today and the invitation to be [00:18:00] part of this panel. I’m very pleased to be part of such a historical occasion. I grew up in a sheep camp in northern Arizona on the Navajo Reservation. English wasn’t a primary language. My grandparents, my mother and my father, they all spoke the Navajo 7 �language so we were encouraged to learn who we are. Our culture, our heritage, our language. I’m glad that I was raised in that manner. But they also emphasized school, go to school. My dad used to say that because he went out in the world from the sheep camp. In 1942, he enlisted in the United States Marine Corps and they immediately took him because he was bilingual. They made him a radio operator and he became known [00:19:00] as the Navajo Code Talkers (applause) so because of the Spanish, my father emphasized education. He wanted us to go to school, to have perfect attendance, not to miss any school so that was my upbringing with the sheep camp and then moving into the small community of Fort Defiance, Arizona. I went to a school, I became a good student, a good athlete. And that was my ticket off the Reservation, out of what it was, I learned, poverty. We didn’t have all the fine things that other people had. I didn’t realize that until I went to college. While I was in college, I tried out for the baseball team and I made the team, Arizona Western College, and I played with some of the [00:20:00] best baseball prospects in the country. Several, seven draft choices. So in my meetings and discussion with some of my teammates, I realized I didn’t have any money. That was kind of a shame, shaming, because all these other white guys, they had a lot of money. But I was just as good as them. There was one profound moment in my life, that spring of 1968. I came in from practice, came into the dormitory. There was a big TV that everybody watched in the dormitory. It was a very -- Dr. Martin Luther King and Ralph Abernathy marching. They had a big delegation and right up front [00:21:00] with him were some Indians, Native Americans, American Indian. 8 �Later, I found out that was a Fools Crow, Henry Crow Dog, Archie Fire. I always wonder, I said, “I wonder who those Indians are?” And later, I -- because it made me proud that they were marching, walking with Dr. Martin Luther King and Ralph Abernathy. Then I also read about and learned Malcolm X, Frantz Fanon. This is enlightening for me because remember, I’m just a res boy from Fort Defiance, a sheep camp. And here I was learning about all these different movements. Then I came across how the Black Panther Party marched into Sacramento, California, with some arms but that was their right. But the white men freaked out over that (laughing) [00:22:00] and they changed the law here in California. You couldn’t do that anymore. (laughter) You can’t be bringing guns right into the state capitol and I thought, “Wow, that really --” This was, I think it was 1968 and ’69. Then I came to a conference here at Laney College July 19th, 1969 that was sponsored by the Black Panther Party. I was working for the Utah Migrant Council. So we drove from Salt Lake City, came to this conference, and I seen all the Black Panthers wearing their black leather jackets with the black beret, making the fists and power to the people and down with the pigs. (laughter) Boy, that was something so that was my awareness of learning. Then I went back to the reservation later that summer and right about that time, Woodstock was happening. The man had landed [00:23:00] on the moon, too, that same weekend. (laughter) So everything, everything was coming down (laughter) and I had to decipher all of this. Where did I fit into all of this? I transferred from Arizona Western and went to Colorado State in Fort Collins. Of course, I tried out for the team and my heart wasn’t in it anymore after what I seen. Laney 9 �College and just the movements that were going on. Bobby Kennedy was assassinated, and Dr. Martin Luther King was assassinated. These things were happening and so it had a profound effect on me. And when I was in Fort Collins, I noticed there were no Indians on the campus and I started going down to Denver, Colorado, to the Indian Center. That’s where they had the powwows every weekend and I met Vernon Bellecourt [00:24:00] (applause) and Clyde Bellecourt. They introduced me to Dennis Banks and Russell Means. So (inaudible) people for this movement. (applause) It was called the American Indian Movement -AUDIENCE: Yes. LF: -- and I joined the Denver AIM and I hitchhiked from Fort Collins later that year in December during Christmas break. I hitchhiked from Fort Collins, Colorado, through a snowstorm to San Francisco, Alcatraz Island. The Indians had landed. (applause) So that was my introduction, all of that. And here I am today and I’d like to ask the panel for their support regarding an issue that really irritates me and others, this mascot issue. AUDIENCE: Right on! (applause) LF: The cartoon, the cartoon characters, Cleveland Indians. They have this big buck-tooth [00:25:00] red face on their patches, on their arm and their caps. They need to change that. AUDIENCE: Yeah! (applause) LF: It’s humiliating for us. They say, “Oh, we’re doing this. We’re honoring you.” (laughter) You’re not honoring us, it’s being very derogatory, disrespectful. I 10 �know the African Americans wouldn’t put up with that if they use names in their cartoon characters. Because I remember at one time, I remember there was Uncle Ben, Aunt Jamima. That changed, that changed. AUDIENCE: Damn right. (laugher) LF: They got rid of it. (laughter) And the Chicanos, they were making fun of them with their Speedy Gonzales and those kind of cartoon characters. That changed. AUDIENCE: Right on. LF: Why is it that Indian people, we can’t change that? (applause) They continue to pollute our land, leave us here, threatening to put oil [00:26:00] into our water. Digging up sacred sites, cemetaries, and saying that they’re doing it for the economy of America. That’s not right. So at this time, these are some concerns that we have and I’m representing them and I’d like to ask the panel for their support to abolish. Abolish those cartoon characters and those names. We don’t want Red Skins and Chiefs and Warriors and stuff like that. That’s not honoring us. Think about it, think about it real deep. Would you like to be called that? Would you like your grandkids, that kind of legacy? No, that’s humiliating, humiliating and derogatory. So I’m asking your compassion and support to abolish that. You can do it and I know that the Black Panther Party has that legacy; [00:27:00] they stand up to the man. So we want your help and we stand with you. Thank you for allowing me to be part of your prestigious conference and historic event and to meet such distinguished gentlemen that have been in the movement for years and years. I always say I’m not a leader, I’m not a chief, I’m a dog soldier. (applause) I’m a dog soldier who picks his flag and his stick, 11 �who just puts it into the ground and doesn’t retrieve. He stands there and makes his fight there. That’s what a dog soldier, he fights -AUDIENCE: Right on! (applause) LF: Thank you again, man, for the education. That’s all I want to say at this time. Thank you again. (applause) AD: Thank you, Lenny. (applause) Okay, [00:28:00] I think now I want to bring up the other three panelists, Sister Abdulhadi (applause) and Pam (applause) (inaudible) and Harvey. (applause) AUDIENCE: All right! AD: Okay. I just thought since everybody was giving a little biography, we should also include the other members of the panel. (inaudible) going to start with Dr. Abdulhadi. RABAB ABDULHADI: As-salaamu alaykum. AUDIENCE: Alaykum salaam. RA: [00:29:00] Good afternoon. I first begin by honoring the people whose land I convene today. AUDIENCE: Right on. (snapping) RA: And I send greetings to people in Standing Rock, in Charlotte, in the streets of Hebron, in the streets of Gaza, in the streets of Jerusalem, in the Philippines, in Puerto Rico, in Haiti and elsewhere where people are struggling for their justice (inaudible). (applause) I also want to honor the memories of the martyrs from Michael Brown to Mohammed Abu Khdeir. For people who do not know, Mohammed Abu Khdeir was the young Palestinian killed who was kidnapped by 12 �Israeli settlers made to drink petrol and set on, burned alive. He was lynched in Jerusalem around, in the summer of 2014. And I want to say that actually, some people think that that’s the time when our people came together. But sometimes, the history and the [00:30:00] memories tend to be short because there is the intention in this country to actually have people not remember the histories of our people, the legacies, the struggles that people go back long, long time. So this is something that -- and I also honor the martyrs who are here from this movement here, from Joe Jackson to the people whose stories we were told yesterday to. I will offer condolences to the Hampton family. And I know knowing, hearing from Palestinian mothers how hard it is. Mothers always say they should never bury their children. They should never bury their children. They shouldn’t outlive their children. And this is our legacy, this is our struggle, this is what we have. So I will just say a couple of things about I grew up under Israeli occupation so I’ve experienced nothing but Israeli occupation. I’ve seen the Palestinian people, almost over a million people, displaced [00:31:00] and this was before my time in 1948 when Israel was founded. Actually, next year will be the 70th anniversary of the foundation and the Nakba. I’ve lived under occupation and I remember seeing Israeli soldiers all the time. The difference, and people talk about police brutality and the difference between the Israeli soldiers and people know that in our communities, and I was a young girl going to school in the morning. We used to have young boys harassing us, making comments and so on. But the difference between having young Palestinian boys harass us and young Israeli soldiers harass us is that with Palestinian boys, you could call on your father, you 13 �could call on your mother, you could call on your brother, and then go talk to them and they’ll stop. They’ll cut it out, they’ll cut it out. But with Israeli soldiers, you couldn’t do that. Because the only way you would do that is because you would have to call on your elders to come in and then risk their lives so you are in a dilemma of what you want to do. This has continued until, [00:32:00] it has continued until Palestinians waged their resistance. So whenever there isn’t resistance, you are supposed to stand and let them have the public space and this is exactly what’s happening here today. In terms of our, and I’ve had members of my family go to prison and imprisoned like all Palestinians. Actually, we have, one in four Palestinians have spent time in prison at one time or another. In this past March and yesterday, somebody made a shout out to the prisoner delegation. We went together to Palestine in March. Some of the people may be here, brother Andrew Douglas, brother Hank Jones. This is from the Panthers and the many others. It was 19 of us on the delegation and there were four former political prisoners from the United States. The ways in which Palestinians embraced the sisters and brothers who were coming from here, it was a recognition and identification with delegacies of the struggle. [00:33:00] When I was growing up, I do remember a couple of things about the Black Panthers. One is I remember something now about the Black Panthers but inspired by the Black Panthers and the Black Power movement, Muhammad Ali, Muhummad Ali “Cly.” My mother used to always say Muhammad Ali “Cly.” She never said Muhammad Ali “Clay.” Why? Because this is the way they pronounce it in the papers. (laughter) This was a very, this was a very big support for 14 �Muhammad Ali because he actually stood up to the United States and refused to serve in Vietnam. This was a source of pride for people in Palestine and the Arab world throughout the Muslim world. The other person was Angela Davis. AUDIENCE: Yes. (applause) RA: And I remember that (applause) -- yes. Angela Davis and I’ve actually told her this because we were on the delegation to Palestine in 2011 that I organized (inaudible). I remember my mother looking at the picture and she’s saying, “She’s framed. She’s framed.” Actually, at the time, my father would say, “Why do you think she is framed? Well, let’s hear what is [00:34:00] going on.” And yes, of course, there is racism in the US. She said, “Well, she’s Black. Of course she’s framed.” (laughter) It was the immediate recognition that there was something that was and I want to just bring it back to because I don’t want to take too much time in the introduction but I want to bring it back to the present, by mentioning two other experiences of solidarities among our people. One is that when Angela Davis came to Palestine, on the morning of the first day when we were there and we were hosted by Palestinians from different walks of life, political prisoners and activists and so on, she got up to introduce herself and she said -- and we didn’t know that. People didn’t -- she said one of the things that has sustained her the most when she was in imprisonment in the United States for 18 months was a letter she received from Palestinian prisoners. Palestinian prisoners wrote a letter, smuggled it through the waters and the seas, all the way to the United States that was smuggled to Angela Davis in prison to tell [00:35:00] her we are in solidarity with you. We were in Palestine, we were in 15 �Jerusalem, and we were visiting four Palestinian Leadership Council members were being expelled by the Israelis from Jerusalem to another parts of Palestine. One of the people who was meeting us was a man by the name of Yakoub Odeh. Yakoub Odeh was a very well-known, and he’s still a very well-known, Palestinian leader, former prisoner, spent 17 years in prison. Now, there is a film actually, about him and his village called The Ruins of Lifta. I recommend it. And Yakoub, when Angela comes down, he says to her, “So Angela, the letter was helpful to you?” He was one of the people who wrote. He was one of the leaders of the prison movement who wrote the letter that was drafted to Angela there. Yakoub Odeh was also one of the people who welcome our delegation, prisoner delegation, this past March to Palestine. One of the first things that he shared with us was he told us how he was meeting with this Jewish woman [00:36:00] who was a Holocaust survivor. When she exposed her arm, she said to him, “You see, these are the tattoos that I have.” She showed him where the Nazis had sealed her hand. He said to her, “I want to show you my tattoo.” He put his head down and his head is all broken and this was one of the results of the torture that he incurred in the Israeli prisons. This was a sign of the way he was talking about humanity and how it is that people who are experiencing indignations here, feelings, genocide. Experiencing violations of their rights need to come together and express solidarity with each other. The last thing I would, I want to mention is that during our delegation, one of the things our sisters and brothers did from here, from the delegation is they put together a pamphlet that has statements from US prisoners, political prisoners, like Herman Bell [00:37:00] 16 �and like Mumia Abu-Jamal - all solidarity to Palestinian prisoners. They put together a pamphlet and somebody drew a picture of one of the (inaudible) or the some of you know about her in Chicago that she is struggling day in and day out. And we call, we email people in Palestine telling them can you print the pamphlet because we are worried about bringing in, crossing the border, the Israelis will stop us. We don’t know what’s going to happen. They said we’re not going to print it -- and this is, mind you, and this is really important. Because when you represent, you introduced me as professor and yes, I am a professor at San Francisco State. I’m proud of being at San Francisco State, the home of 1968 strike where the Black Student Union led by the Panthers (applause) (inaudible) after united struggle. So we are not talking about just any regular school. We’re talking about the place where the academy actually comes together to engage in critical pedagogy in order to change the world. This is what the job that we (applause) -AUDIENCE: Right on! RA: -- so what happens, yes. So what happens is [00:38:00] we were doing a conference with Birzeit University Institute for Women’s Studies. If people think that women’s struggles and women’s gender studies and so on is irrelevant, you need to go and look at the Institute for Women’s Studies at Birzeit University in Palestine. We put together a conference on settler colonialism, racism, prisoner solidarity, and the sisters at Birzeit University printed, not only printed the pamphlet. They translated it to Arabic in order to make it available to the Palestinian prisoners so they can read so they know what their sisters and 17 �brothers in US jails who are incarcerated have to say in expressing their solidarity. We were at that conference the last time at the [four rings?] and one of our sisters, Johanna Fernandez, who is part of the Mumia Abu-Jamal Defense Committee, she says I have a call. Mumia Abu-Jamal called from his prison, from his prison to Palestine to wish and express solidarity with the Palestinians. [00:39:00] This is what solidarity is all about. This is why -AUDIENCE: Yeah. RA: -- the 50th anniversary of the Panthers is really important, (applause) this is why I’m very inspired to be part of this movement of (applause; inaudible) [00:39:07 00:39:25] AUDIENCE: Oh yeah, right on! (applause) RA: -- to learn from our histories and our solidarities in order for us to chart a different path towards the justice and the freedom of our people and we will prevail. Thank you. AUDIENCE: All right! (applause) AD: Okay, Harvey. (laughter) PROFESSOR HARVEY: It’s a challenge for me to follow (laughter) [00:40:00] but I can connect because the struggle still continues. I’m a lecturer at UC Berkeley (applause) and one of the big fights that we’ve had recently was that there was an experimental decal class that taught about Palestine. The settler colonialist theories, right? Outside pressures forced the university to suspend this class and there was a long period of silence. The students were intimidated, they didn’t know what to do. And myself, as a lecturer, was in touch with other 18 �lecturers about how come there’s so much silence. So we felt that maybe we should do something. So what we did was we were involved in a petition drive, we were involved [00:41:00] in contacting other people, and the class got put back on, okay? (applause) But they had to -- so it shows that if you’re silent, things will get worse. We have to learn from this legacy of the Black Panther movement. When I was active in the ’60s, we always tried to look to the past and we couldn’t really find a whole lot. We didn’t know too much about the labor movement. We looked towards revolutions going on but for this generation, we have the legacy of the Black Panther Party as part of our DNA. It’s part of us now. Because I remember before, I used to look at it in terms of struggle for my people, Asian people, and all this stuff. But the Panthers taught us hey, the people is all of us, all different nationalities. (applause) That’s what Rainbow [00:42:00] Coalition is all about and understand that that’s why Panthers who believed that lost their lives because they believed in this. So it’s a very serious thing about coalition and solidarity where people paid for it with their lives and we have to not let that go. Myself, I’m a second-generation Chinese American and we, that’s a generation that, whose families went through exclusion, all kinds of racism, discrimination. Our families would just kind of suck it in and then our generation was upset abut that. Hey, why can’t it be discussed? What happened, you know, the racism? Then you extend it further, how can we form solidarity [00:43:00] with others who suffer from racism, colonialism, imperialism, and whatever, okay? So I was actually in the military program at UC Berkeley, ROTC program. Because of my self-study, I turned against the war and I joined 19 �the Stop the Draft Week movement. And at this Stop the Draft Week movement, there was an alliance with the Black Panther Party so I began to feel a connection with the politics of the Black Panther Party. Because the Stop the Draft movement focused largely on the war itself but the Panthers dealt with the issues not just of war but also of racism. So I started going to different Panther activities. There was actually a call for students to go down the Panther office because they heard it was going to be raided. I went down there [00:44:00] with classmates with our textbooks. We’d be studying for our midterms and helping prevent a raid. (laughter) Wonderful combination. Soon, I joined the AAPA, the Asian American Political Alliance at UC Berkeley, and became friends with a Mr. Richard Aoki (applause) who was a founding member of the Black Panther Party, okay? So that was a very wonderful time. AAPA, Richard Aoti, connecting with the Panthers. Some of us even went to an anti-war conference in Montreal, okay? So if you look at the history of this period, you might come across on the internet a couple of Asian faces, AAPA members, holding [00:45:00] signs that say yellow peril supports black power. (laughter) Free Huey. (laughter) AUDIENCE: Right on! (applause) PH: Free Huey. So following that, this whole Panther movement became part of our DNA. I was also involved in the Third War Strike at UC Berkeley. Then later, I continued doing community work, Asian Community Center, especially involving the fight to save the [I-Hotel?]. Again, the Panther connection would be serve the people, heart and soul, serve the people programs. So I think you could say for every Asian American political organization that was formed during that time, if 20 �you look at their programs, you would see some type of connection with the Black Panther Ten-Point Program. I think there was organizations, I Wor Kuen, Panthers helped start Red Guard, [00:46:00] there was LLC organization. All these organizations, you could see lineage, connection, very much so with the Black Panthers, okay? So for that, I’m really glad to be on this panel. (applause) AD: You done good. (laughter) PAM TAU LEE: Hi everybody. My name is Pam Tau Lee. I’m a former member of the I Wor Kuen and I’m very honored to be here on this panel with you and I’m very honored to be a part of the legacy of the Black Panthers. What I want to talk about today, a little bit about myself is I’m a third-generation Chinese. I have a great-grandfather who I understand left because of [00:47:00] colonization in China. Left to become a laborer to help build the Panama Canal but he never returned home. We don’t know why. But these kinds of stories and experiences around colonization but I didn’t really understand about colonization until 1969 when the Black Panthers came to San Francisco Chinatown. And I’m Chinese. He’s Chinese. Chinatown is Chinese. But it took Bobby Seale and the Black Panthers to bring this book. (applause) This book was, Bobby Seale led study groups on Jackson Street in a pool hall with us and the legacy [00:48:00] of that, of those study groups that we had a lot of them. But the legacy of the study group began the journey for somebody like me back in 1969 to be here today. That journey where the transformation that a book in the words like this and the Ten-Point Program of the Black Panthers transformed people internally and externally. So for me, the whole experience of colonization and that growing up 21 �in Chinatown with the whole thing around assimilation and accepting white supremacy. When I got to college and the movement around national independence struggles around the world and the work of the Panthers, the programs that they were instituting, [00:49:00], this was an awakening. It was a moment in which people like myself found their full humanity. The impact of internalized oppression runs so deep and I feel that because of the Black Panther Party and the Ten-Point Program and the Serve the People programs and the practice in terms of serve the people, love the people, have the faith in the people. That it was real things that you could see. So in Chinatown, the Red Guard and many of you have the program of the Red Guard in front of you. They started breakfast programs and other kinds of things in terms of childcare. They stood up [00:50:00] to the Right-wing in Chinatown. One of the things that the Black Panthers helped us understand was class, the importance of class struggle. (applause) So in Chinese communities, we have class. Those people who owned the sweatshops and people like my grandmother who worked in the sweatshops. Those landlords who owned those apartments, those single-room occupancies in which I spent a lot of my life and those people who lived in those single-room occupancy sharing toilets, sharing a kitchen, having tuberculosis, having mental illness, all of these kinds of conditions. But how understanding an analysis. Being able to analyze the conditions locally, nationally, internationally. The Black Panther Party helped us do that. (applause) [00:51:00] The other thing was the concept of internationalism and solidarity. Richard Aoki, man, my brother. We’re not giving him up. (cheers) He’s ours! Richard is ours. One of 22 �the things around Richard that really instilled in us was the concept of internationalism and solidarity and working out of your communities, crosscommunities. So that is in terms of the legacy of the Panthers, the importance of that. I just want to have two things to end is there is the Ten-Point Program that we studied and the Red Guard people. I was not a Red Guard, but the Red Guard studied and adopted. But I want to draw your attention to one more thing that the Red Guard added as a principle to the Ten-Point Program is 11 [00:52:00] points. (laughter) And 11, point 11 reads, “We demand that the United States government halt the rape of the land. We believe that if greedy businessmen with the help of the US government do not stop destroying our land,” I can’t read because this is, I’m 86 years old and okay. Okay, it says, “Air does not destroy our land. The air, the water, and the streams of the earth will become a lifeless planet of rock and dust.” That is principle 11 that was added -AUDIENCE: Right on! (applause) PTL: -- to the Black Panthers. (applause) The legacy of this book and the Panthers in terms of the I Wor Kuen, I want to share [00:53:00] in terms of what guides me as a vision for the work that I did as a young person and I am 45 years later still a revolutionary. (applause) There’s two more things that we added onto the I Wor Kuen document is number, principle number four. Very important. “We want an end to male chauvinism and sexual exploitation.” AUDIENCE: Yes. (applause) PTL: (inaudible) a patriarchy in our society. The last one that we added, point number 12, is we want a socialist society. 23 �AUDIENCE: Yes. (applause) PTL: Each according to their ability, to each according to their need. AUDIENCE: Yes. (applause) AD: Thank you, thank you. PTL: (inaudible) is that [00:54:00] the legacy lives on today. I want to be able to bring you -- I’m affiliated with Asians for Black Lives. AUDIENCE: Right on. (applause) PTL: One of the things that Asians for Black Lives that Ricard taught us and we embrace today is the study of the movement platform, the platform for the movement of Black Lives. (applause) The second thing in terms of the legacy of the Black Panthers is solidarity. Myself from the streets of Chinatown to the camps of Standing Rock, we’ve just returned from Standing Rock in solidarity with them. (applause) AD: Okay, this is what all power to the people is about, okay? AUDIENCE: That’s right. AD: The Black Panther said all power to the people. AUDIENCE: All power to the people. (applause) (snapping) AD: Thank you. So now, I would like [00:55:00] to ask Hy and Cha-Cha and Stan how did the Rainbow Coalition in Chicago begin? How did it get started? Who wants to go first? Stan? SM: Well first, I think I would like to give some history in terms of the Rainbow Coalition. First of all, Chairman Fred was a very charismatic brother. He was so dynamic and charismatic, this is… his death, his blood that was spilled actually 24 �opened the doors for the Black Panther Party to sue the government. It busted loose. It opened up the doors for COINTELPRO. I mean, we had other cases but we were able to link the government when William O’Neal testified in that courtroom that he was paid [00:56:00] 125 dollars to put the Seconal in Fred’s milk. One hundred and twenty-five dollars and a promise to be an FBI agent. He supplied the floor plans, he poisoned Fred, he collaborated with the government to set this whole thing up. That was our proof. That was our proof that connected Illinois Bureau of Investigation all the way to DC, okay? So the FBI in Illinois tried to denounce their relationship with DC, DC tried to blame it on CPD which is Chicago Police Department, Chicago police -- and all of them put it onto the state’s attorney’s office. [00:57:00] States’ attorneys, basically they’re paper pushers. They go out and serve notices. Never before in the history of the state’s attorney’s office being used as a puppet to send 14, 14 of their lackeys in at 4:00 in the morning in a AT&T truck -AUDIENCE: Yes. SM: -- to murder. The target was Fred Hampton. AUDIENCE: That’s right, tell ’em. SM: Okay? The target was Fred Hampton. Even down to the point where the pig that testified, Gloves Davis, a Black, fascist pig -- AUDIENCE: That’s right. SM: -- went into that room and said, “I shot him in his head. He’s good as he’s dead.” Okay? I mean, he’s reporting to the masters. “I’ve shot him in his head, he’s good as he’s dead.” Deborah Johnson, Akua Njeri, Deborah was in the bed 25 �pregnant with Fred, Jr. at that time. [00:58:00] So these base, these reactionaries came in with no compassion. This is a pregnant woman and they machine-gunned this place, okay? This was one of them St. Valentine’s Day massacre deals. They came in and the target was to kill Fred. Mark Clark was sitting on the door, he was a defense captain from Peoria, Illinois. Mark really didn’t know a lot of folk. He was on security. So when the pigs came to the door, they gave a fictitious name so Mark said who? Automatically, they shot right through the door, striking Mark, killing Mark. Striking him right in his heart, killing him and simultaneously kicking in the back door, coming in on a brutal searchand-destroy mission in particular was Fred Hampton who they knew. They knew from their informant that they had placed in that apartment that [00:59:00] exactly where Fred would be laying his head and that he had been drugged, okay? The coroner said there was enough Seconal in his, in this man’s drink to kill a horse. So moving forward from December 4th of 1969, the dynamics and the charisma -I want to take you back a little bit. This is something that just came to me. There was an incident. There was an incident where the Chairman had went to meet Jeff Fort. Jeff Fort was the leader of the Blackstone Rangers. There was a church on the South Side that they had basically took siege over. It was like a headquarters. Chairman had took a group of us Panthers there. Clearly, when we walked into that church, we were outnumbered and outgunned. But [01:00:00] you could tell from the charisma of the Chairman that it engulfed these brothers and they had much respect. I mean, I was shaking. We walked out of there. We were outgunned, outnumbered, but the Chairman got his point across. 26 �What that had to deal with was that we had that breakfast program in the CabriniGreen Projects which was on the North side of Chicago. The Cobra Stones, we were trying to feed hungry children. The Cobra Stones were paid to get on top of the housing projects and machine gun at the children coming to the breakfast program. So this precipitated the meeting but they were paid by the daily administration to stop the breakfast program just like with the medical center. The FBI told the Vice Lords, a Chicago street gang, we’ll let you sell [01:01:00] as many drugs, as much drugs as you want to sell. Just don’t let the Black Panther Party open that medical center. Well, it opened. AUDIENCE: All right. SM: It opened. AUDIENCE: (applause) SM: We had to take matters in our own hands but it opened. So moving forward, in terms of the Rainbow, the same charisma that the Chairman walked into that church and diffused that situation with the Blackstone Rangers that Fred, Chairman Fred, was able to organize. He was able to take groups along with, as Cha-Cha said. They started out initially as a gang and came over. Hy Thurman with the Young Patriots. So the charisma. But when J. Edgar Hoover made that statement that the Panthers were the greatest threat to the internal security of this country, Fred was on the hit list. He was one of the many on the hit list. In terms of organizing and developing the coalitions, [01:02:00] of the many people that we developed, the many groups that we developed solidarity. Because you guys don’t realize this but the party was under attack. I mean, there was 38 27 �Panthers that was killed through the whole course but we were constantly being hauled off to jail. One of the main torture tactics that the pigs would use when they would bring Panthers in was tactics that were employed from Vietnam. They would take us in and handcuff us and take toothpicks and stick them under our fingernails, okay? You guys heard about [John Burrage?]. Well, John Burrage’s been doing this thing. He didn’t just start doing that before. John Burrage was a part of the Red Squad, a group of racist dog police bring you into the police station and slam your fingers into the medicine, file, I mean file cabinets. You know, hey, so they didn’t want you to sell the Panther paper. They were so [01:03:00] intimidated by the organizing and the coming together in solidarity of various groups because we believed that -- and that was the thing that differentiated us from other organizations is that we believed in the international revolution, okay? We wasn’t locked into the whole cultural nationalist scene. We believed in the people’s struggle, the people’s alliance, the people’s movement and that’s what the Black Panther Party was about. The coming together of that Rainbow Coalition was devastating. It dealt a blow in addition, in addition to the many other programs. The many other programs that the Black Panther Party initiated. The Breakfast for Children program, even sickle cell, sickle cell anemia. We exposed that to the government. The government wasn’t even dealing with that. We took a school bus [01:04:00] and turned it into a laboratory and we went around testing. Testing children for sickle cell anemia throughout this country. Same thing with the bussing program. We took a Greyhound bus and put a Panther on it and turned it into a bussing the 28 �prisoner program. (laughter) So these programs -- and it heightened the contradiction because many loved ones, many people with loved ones that were in prison, they couldn’t get to these institutions so these reactionaries were able to kind of do their treachery in the dark. We exposed that. All we asked people to do was donate. The program was free, free, free. So we had a love for the people and I think the Rainbow Coalition was just an example. But Fred being the charismatic young brother that he was, he was, a bullet was put in his head. He was only 21 years old. So -AD: Excuse me, Stan. SM: Sure. AD: I know you have a lot more to tell us. SM: [01:05:00] Right on. AD: But we want to hear from, we want to move forward but thank you very much -- SM: Right on. AD: -- for your company. (applause) Okay, I wanted to ask Cha-Cha if you want to add anything to what led to the Coalition beginning in Chicago. JJ: Thank you very much. I even forgot I want to thank you and Elaine Brown for bringing us out here. I forgot to mention this. I’m not trying to get any points. (laughter) You know, again, like I said, we met Chairman Fred. We knew about the Panthers in Oakland because we had gone to the Crusade for Justice conference in Dever with Jorge Gonzales. We met in the Brown Berets and the Black Berets from San [01:06:00] Jose and some of the gangs from Los Angeles. Then we heard about Oakland and I came, I actually came out here for about a 29 �month to learn what was going on at that time. But we met Chairman Fred Hampton after the police takeover workshop that we did, that we had. He, again, he came to work with us at that time. Then around April is when the Rainbow Coalition began and we got together. He asked us to get together with the Young Patriots, another branch of the Panthers was the department was working with the Young Patriots and that’s when we formed the original Rainbow Coalition. It was a symbolic, it was like a federation. It wasn’t an organization. We knew about the class struggle, the importance of the class struggle. The Sister was saying that. But what Chairman Fred understood was [01:07:00] that we all came from different nationalities and different communities. So we didn’t want to be cultural nationalists and definitely the Black Panther Party was never a cultural nationalist movement. But we wanted to recognize the fact that we have to start where our people are at and our people are -- the Puerto Ricans, we have two issues. We have the barrios in the United States but then we also have the fact that we’re a colony, a direct colony of the United States. As you can see when they’re talking about the fiscal control board. As you can see when they have brother Oscar López Rivera in jail for almost 35 years and we need the brother back out here. He’s been in jail longer than Nelson Mandela, brother Nelson Mandela. AUDIENCE: (inaudible) JJ: So we need to free Oscar Rivera and that. That’s part of our struggle. And in fact, he’s from Lincoln Park, too, which is where the birthplace of the [01:08:00] Young Lords originated. That’s where they came from. And in fact, when they 30 �got arrested in Evanston, I got arrested, too. I had to do another nine-month bit at some kind of crazy charges they put on me. The reason I won the case was because I had an amended trial. They said they were international revolutionaries and I had just run for alderman. I said, I’m a citizen, I’m demanding trial, and they had to let us go. The only reason I stayed the jail, we couldn’t afford the bond. It was too high. But anyway, that Chairman Fred Hampton and was targeted like Stan said. He was targeted. They wanted him. He was their leader, our leader at that time. We recognized the Black Panther Party as the vanguard organization. We knew that from the very beginning. They were our role model, that Red Book that you’re talking about, [01:09:00] unite the many to defeat the few was a concept that we used in terms of the Rainbow Coalition. So he wanted us to -- what he basically said was don’t hang on to our coattails; go out and organize our community. It’s a job that we have to do that we’re all responsible to. So that’s what the Rainbow Coalition meant to us. And that’s what we did as young boys. We went and organized 27 chapters nationwide. Then we come together in unity with all of the other movements. He taught us about internationalism, about the movement that was going on on Palestine and all over the world. We learned that, we used that little Red Book because again, we came right from the gang into a movement. We didn’t study for nine months for training. We were on the street corner and the next day we were occupying McCormick Theological Seminary. You just mentioned the Cobra Stones. SM: Yeah. 31 �JJ: The Cobra Stones, [01:10:00] when we occupied the seminary, we had about 350 people. A few of us occupied it for bicycle chains but we didn’t even have cars in Chicago. Some of our members rode bikes. So we used the bicycle chains to close the -- you know, we’re talking about a university. I forgot to tell you I’m in the middle of two professors here and I got (laughter) (inaudible). I’m a non-traditional student, I’m (inaudible). (laughter) So I got some homework, I just remembered. I can do it on the internet on Wiki -- I’m serious. (laughter) But -- AUDIENCE: Right? JJ: -- so I have respect. I have respect especially for revolutionaries. Thank you very much. I appreciate that. But the Cobra Stones, they came to McCormick Theological Seminary and they came with their guns and everything and they want [01:11:00] to come in. We tried to be non-violent but we didn’t take the seminary. We had some weapons. We disarmed them and said put the weapons in the car and you can come in because we’re not -- we want you to come in. We’re trying to work with you. We want you to come in. So I didn’t know about that connection. But they told us themselves the police paid us to come in and take it over from you. So that’s kind of strange that I learned that today. But anyway, so that was a job but the revolution is a job and somebody’s got to do the job. The Rainbow Coalition is -- that’s our contract to do the job. That’s really what, the way I see the Rainbow Coalition and Chairman Fred was able to unite all of us to relate to it as a human being from a community standpoint. I’m going after this, my plane [01:12:00] ticket, I’m going right to the 32 �funeral of, to the wake of Mrs. Iberia Hampton. I didn’t know that my youngest daughter who was trying to find out information about me because I had to go to Michigan on a underground, whatever you want to call it at that time and I kind of stayed there. I thought, “This is a good place. There’s no trouble here with the police.” (laughter) So they said they kind of stayed there. But while I’m there away from my family, my youngest daughter is, lives right down the street from the Hamptons in Maplewood. She got to know Ms. Iberia Hampton pretty good; I never knew her that well. Through her, I got to know Mrs. Iberia Hampton. I knew Bill Hampton and through them, I got to know -- so it’s a family thing. In fact, on one of her birthdays, I gave her a cake with the Puerto Rican flag on it. (laughter) (inaudible) But anyway, so we had that family thing and we were there. [01:13:00] I believe that Jeff has said that I was one of the pallbearers for Fred Hampton when he died because he was trying to reach out to me. I’m a, it’s a thing, it’s an honor. But I don’t want to take away from Chairman Fred Hampton but we took, we occupied the People’s Church in Chicago and we held the church for two years. Right away, the next day after we occupied the church, we said you know what? The pastor was working with them, Reverend Bruce Johnson, and he prevented a bloodbath. He told the police I, the congregation wanted to put us in jail and the pastor said no, I gave them permission to be there. They asked me at the press conference are you going to allow them to have church service? You know, my family’s very religious. I’m going what are you talking about? We’re, I’m going to be at church, too. We’re all going to be at church. This is the People’s Church. [01:14:00] We worked with the 33 �congregation and I guess the system didn’t like that because two months before Chairman Fred Hampton was killed, September 29th, Fred Hampton was killed December 4th, they stabbed Reverend Johnson 19 times and his wife 9 times in front of their children. That’s a cold case that hasn’t been solved that we are, we’ve had several tours during that time to bring that out in terms of the Latino struggle. They were, they were not Latinos. But they were from the United Methodist Church, a regular church. They’re modern-day martyrs. We need to bring it out and connect the dots because around that time, there were other Panthers that were killed and arrested during that time. So it was a national effort by the FBI COINTELPRO to destroy our movement, our Rainbow Coalition, our united movement. [01:15:00] I’m honored to be bunking with Mr. Foster. I appreciate that. AUDIENCE: Right on! (applause) AD: Right on, hi. (applause) Cha-Cha, Cha-Cha. (applause) Unfortunately, we don’t have a lot of time left and we want to try to get to some really important questions. I’m going to ask Hy how the Patriot Party began and then I want to ask Stan, as well, what was it about the Patriot Party that you guys decided to make them part of the Coalition? We’ll start with Hy first. HT: Okay. Well, there’s really two separate organizations. The Young Patriots started as an organization in Chicago. We were, we came all the way down from a street gang being involved in JOIN and as I had mentioned before, being involved in [01:16:00] the [Cleaver Terry Collections?] march on the police station. But then there were some -- just to make a point. There was a Patriot 34 �Party and a Patriot organization. Bill Fesperman, Preacher man, left the Patriots and started the Patriot Party. He wanted it to go national which was fine but that’s something that we didn’t want to do in Chicago because we were entrenched in the community and we wanted the revolution to work there first. Somebody, Chuck Armsbury over here, he was a, he was a captain of the Eugene, Oregon Chapter of the Patriot Party. One of the few that’s left. I’m one of the few that’s left in the original Young Patriots so there’s not a lot of us around. But we were kind of destroyed before [01:17:00] we even started hardly and we were approached, we were approached by Fred or Bobby Lee. Anybody that knows Bobby Lee -AUDIENCE: Oh, yeah. (applause) HT: -- I talked to him on a daily basis just about because he, Brother Bobby, he’s still a revolutionary. SM: Oh, yeah. HT: He said he’s never a former anything; he is a Panther (applause) and he’ll always be a Panther. AUDIENCE: Right on! (applause) HT: What happened was we were at a community meeting. I believe it was in the Lake View area of Chicago which is just south of Uptown. This particular committee of people liked to invite people in to talk about who they are and we were given a presentation. This was an all-white group and they came down on us really hard. Now, we didn’t know [01:18:00] that Bobby Lee and some of the other boys and some of the other Panthers would be there at that time so they 35 �came down on us pretty hard. We were trying, actually, what we were trying to do was we were trying to get some funding to set up some survival programs because we had been watching the Panthers and what they were doing. We as an organization, had, we’d gotten a little bit more political. Now, we were nowhere near as political as let’s say as the Panthers or the Lords because we were the oppressor, basically. We were the white people from the South that oppressed many. Everybody else, basically. But and I remember asking Fred Hampton one time, “Why would you accept us into an organization, into the Black Panthers in unity and equality?” He said, “I can, I can,” since we’re the oppressor. I said, “We oppressed you all.” [01:19:00] He says, “Well, I can look past that because I’m looking toward a revolution.” He said that it’s all a class issue. It’s not a racist issue. We were running around with, some of them were running around with a Confederate flag which was really a big point of contention. (laughter) That was okay with the Panthers and that was okay with the Lords. But it did cause us losing, everybody losing some membership (laughter) because not everybody would agree with that. But we used that flag and we explained why we used it was to go into the bars and to the places in Chicago where there was a bunch of Southern people. Because at that time, if you were [01:20:00] in Uptown, you knew that that flag was there but it was invisible. It was there everywhere. And most of the people didn’t understand what the hell the flag was, meant anyway. That it was a, it was a symbol of slavocracy. Of a time where people were owner, owned. They were bought and sold and treated and slaves. We started going in with a flag and also, we would, 36 �started attaching a Free Huey button (laughter) and it would cause a lot of talk. (laughter) AUDIENCE: Oh, yeah. HT: Wha we would do is we would get in the conversation about how, what is this, what is this flag mean? Well, I mean if it worked for a while but (laughter) and we [01:21:00] decided we’d give up on it after a while. (laughter) But it did have -and if you see some of the, some of the old pictures of the Panthers, we also provided security for the Panthers. We would stand shoulder to shoulder with the Panthers at any given rally. The one on fascism that was here, we did. We would stand there and we would have the rebel flag on it. But then that would really, really cause some conversations around the country. (laughter) But we decided to abandon that after a while. (laughter) But we always studied the Panthers, we respected them. We looked at their [01:22:00] Ten-Point Program and we looked at their survival programs. That meeting that Bobby Lee was in -- AUDIENCE: Oh, yeah. HT: -- he stood up for us. AUDIENCE: Yes. HT: As a matter of fact, I’ll put in a plug. We have a panel coming up right after this over in lecture hall about how poor whites worked with the Black Panthers and others. We’ll be showing a film strip of Bobby Lee in it, too. PTL: Yes. HT: But what came out of that was the invitation to become part of the original Rainbow Coalition and we learned a lot, man. We learned a lot from Fred and 37 �from Bobby Lee and others that were around. We learned a lot from the Young Lords and I tell you, it was a life-changer for a lot of us. We at this point are rebooting the Young Patriots. We have a couple of chapters now, one in Chicago, [01:23:00] one in Huntsville, Alabama. We’re doing a lot of work around racial issues in the South, the deep South, environmental issues and Chuck is working out in the Pacific Northwest and trying to get some chapters started and doing some work out there around the police brutality in some places. So we’re back but to make a long story short, it’s life-changing for me. It’s probably one of the best things that ever happened to me in my life was something like that, even though the COINTELPRO destroyed us. The leadership. Urban renewal kicked us out of the community but we’re still here. We’re back and we’re going to be, we’re going to be here. I’m always a patriot. AUDIENCE: Ha ha! (applause) HT: And I’ll always be a revolutionary. [01:24:00] (applause) We just, I just ask that you join in with us and we’ll win the fight eventually. AUDIENCE: All right. SM: Right on. AUDIENCE: Right on! (applause) HT: Okay, thank you. Thank you, thank you. AD: We only have about 25, 20 minutes to go but we want to ask some questions from the audience but I just wanted to ask a few more questions. (laughter) How does this Coalition -- I’m going to just ask two questions and you guys can chime in. But how did the Coalition actually work? I mean, you already told us how 38 �there were two separate organizations and we always told white people that they had to go organize in their community. But I’m just kind of interested to know like how did this actually [01:25:00] work, this Coalition? And what are some of the brightest moments that you could remember about this Coalition? JJ: The Coalition worked because every event that we had, we supported each other. There was no competition like there is today and that competition really comes from COINTELPRO. So that was a way of -- if there was a demonstration, every day was like going to a party, like hanging out. Like being part of a family, okay? The Panthers were having events, were there’s going to be some Young Lords and Young Patriots there and vice versa. So that’s the way it works. And again, that was a respect. We all knew about the class struggle. We would advance, vanguard, whatever you want to call us, but we had to, we had, [01:26:00] it was the people’s revolution. We can’t make a revolution without the people. AUDIENCE: Right on. JJ: So like Hy, brother Hy was saying they had the rebel flag. But you know, these were courageous people. They went into those bars where nobody else is going to them bars today to work with those people. And to work with their people. We had prejudice. We had prejudice in our community. My mother thought I was going to be a lawyer because I was a little light-skinned (laughter) so we, so you know, we know about prejudice. So we had to -- instead of a lawyer, I was on the other side. I was in jail. In jail university. (laughter) AD: Yes, sir. (laughter) 39 �JJ: But anyway, so that, we were -- HT: Well I just want to interject something about Cha-Cha is any time we wanted to find him, we just called the county jail and there he was. [01:27:00] (laughter) SM: Stan, yeah. One of Chairman Fred’s saying was that you don’t fight racism with racism; You fight it with revolutionary solidarity. I think, I think (applause) the examples, I think the example of all the testimonial up here. So when you hear this myth about the Panthers was this racist group, no. That’s not true. That’s not true and the proof is in the pudding right here. AUDIENCE: That’s right! Understand. SM: The proof is in the pudding. Often imitated, never duplicated. (applause) AUDIENCE: Right on! (applause) AD: Okay, Sister Abdulhadi wanted to say something and then we’ll go to you, Harvey. RA: Yeah. I actually when you were speaking, I was thinking about, and [01:28:00] I was thinking before what were the things that were happening at that particular moment that different groups were dealing with? So this is something that I would like to bring in from the Palestinian context. One of the things that Palestinians, especially the most revolutionary elements in Palestine, the New Left, what they call themselves -- the New Left. They were grappling with similar questions that people were grappling with here in the United States. Questions of how do you deal with the Old Left? In the Palestinian context, for instance, there used to be historically from the turn of the 20th century, there was a Palestinian communist party, for instance. It’s one of the earliest ones that was 40 �formed in collaboration with the Soviet Union and October Revolution and so on. However, and they actually led a very strong workers’ struggle in the 1936 revolt which was one of the biggest worker strike in Palestine. But then the Zionist movement intervened and tried to, they had the slogan of Judah is in land and labor. And when that was going on, [01:29:00] that split the Pales-- the workers’ movement in Palestine because you couldn’t be working around questions of racism and questions that talk about class solidarity if you actually do not address the questions of racism, exploitation, indigeneity, loss of land, genocide, and so on. So in 1948 when Israel was founded, the Palestinian Community Party ceased to exist. It became the Jordanian Communist Party and the Israeli Communist Party. So that was, there was a need for new formations to come out which is very similar which is very similar to what’s happening in the case of Puerto Rico which we will talk about all the formations that were there. But also in the United States and so on. So this was one of the things that people were dealing with and Maoism at that time was the ideological framework for them because also, the Soviet Union had recognized Israel in 1948 so Palestinian Leftists were not going to go with it. Also, there was a very interesting, eclectic mix because people say well, are you pure Marxist/Leninist? Are you pure this and that? And people say no. You don’t really have to [01:30:00] adopt everything. You actually bring in what works with your people and you do have, you do have, you have a Muslim tradition within the Palestinian community. That is actually very long part of the struggle against colonialism and so on. So you need, the way you’re talking about the church and so on, we have churches in 41 �Palestine that have been historically involved in liberation theory and against Zionism that tries to have an exclusivist Jewish state. So we have all of these things that you really need to be aware of and bring it together as you’re struggling together against colonialism, as you’re struggling against imperialism, as you’re building. So that was one of the thing. The other thing that I think is very interesting which is different from the Palestinians because I think with the Black Panthers and the Young Lords in particular, there was this whole question of what Fanon talks about, the lumpen. AD: Yes. RA: Right? AD: Right on. RA: Now, with the Palestinian, and the Algerians, it was very prevalent in the Algerian movement. I think it’s very interesting why Algeria, the same way that Cuba gives refuge to Assata Shakur, the Algerians gave refuge to the Black Panther Party [01:31:00] and they say come on, and we will take care of you and we -there was this whole discussion about what, and people were reading Fanon at the same time. They were trying to figure out how do we deal with the whole question of lumping the various sections within the movement? The question of hegemony that Gramsci brought up that wasn’t exactly what Marx and Lenin and other people were talking about. And the whole relationship with China and the ways in which China was very revolutionary and then of course, it went sour. The Chinese -- I mean, there was a problem, especially for Pales-- Arabs and Palestinians. But also the whole question of violence and how do you think 42 �about violence in terms of, not in terms of anybody carrying guns and going on and shooting and so on but actually thinking about. What does this mean? Is this something that Malcolm X said? It is by all means and people think only by all means without thinking about the context in which he spoke about that. Or before the mentor, Robert Williams, who talked Negroes with guns and he actually mentored the Panthers, mentored SNCC, mentored a whole bunch of people. [01:32:00] So I think it’s really important these kind of things. The last thing I would say is also the question in which COINTELPRO was a program that was plucked our leadership. When people come and say, “Oh, what happened to you? You are docile. You are not doing anything. What’s happening to the Palestinians?” Look how many leaders have been assassinated every single day. Then why is it that the COINTELPRO was formed and why is it that we have also programs by the Israeli Mossad assassinating a whole bunch of Palestinian leaders? I mean, we don’t have enough time to even talk about every single one of them but when, until it continues until today. It takes a very long time to grow leadership. It takes a very long time to grow leadership. It’s easy to kind of have a protest but you have a long time to grow leaders to, for people to be published, for people to be organized, for people to be organized for the people, for people to learn about all sorts of things that are required. They pluck our leaders and they do it whenever they think the movement is a danger. When they think the movement is a danger to the system, they go and pluck the leaders. AUDIENCE: [01:33:00] That’s right. 43 �RA: This is one of the things. As we talk about nostalgia, as we talk about what happened, this, it’s also really very important to think about that. How is it, what’s necessary today? How do we come together and how do we think about encouraging people to build movements? What are the things we need to be worrying about? One of the things I’m very concerned about is “anything goes.” Anything was very big problem for me. I think we really need to be, people really need to be disciplined, people need to be accountable to each other -- AUDIENCE: Right, yes. (applause) RA: -- (inaudible) [01:33:26 - 01:33:32] and we were critical of each other. People were critical. So I think these are the, some of the issues of the, some of the lessons of what you all have been going through because we are also, we are living here in the United States so we become much more knowledgeable about the movements that exist in this country. And there are a lot of similarities. I think this whole question of comparison, coming together, talking with each other, arguing, helping each other, building on each other, that’s what’s going to push our movements forward. AD: Thank you. Thank you. [01:34:00] (applause) SM: This panel and the things that we’ve talked about in terms of the Rainbow Coalition has shed light because we had one side-show phony by the name of Jesse Jackson (applause) that tried to, that tried to co-op, okay? That tried to coop the Rainbow Coalition but let me tell you something. Chairman Fred, Chairman Fred took a Black Panther newspaper and beat Jesse on his head and kicked him down the stairs at 2350 W. Madison. (applause) So this is the real 44 �deal like Roller Bill. AUDIENCE: Right on! (applause) AD: Okay, Harvey. Grab that mic, Harvey. Go ahead. Did you have something to say? PH: Well, it was just a minor [01:35:00] point but it just flashed in my eyes. (laughter) In fact, it’s so minor but I’ll say it anyway (laughter) but okay, so a typical week for those of us that were doing day-to-day political work was that we had to get out flyers, get out leaflets, and all this stuff costs money. Graphics was really expensive back then. Today it’s kind of expensive but you have internet. But the Black Panther Party national headquarters had an office there that was an open office for organizations in the Bay Are to utilize so whenever we needed graphictype services, Gestetner stuff ready to go for the work in Chinatown or Manila town or whatever, we could always rely on the Black Panther Party office. So I would say [01:36:00] that was a very significant part in terms of enabling organizations beyond just the Panther organization to get the word out, yeah. AD: That was, (applause) that was beautiful. I’m glad you put that in there. (applause) Okay. We got about 10 minutes to go. We’re supposed to be out of here in five minutes but since we didn’t get in here late, we’re going to be a little late, okay? AUDIENCE: Right on! AD: So I think we can take about two questions. Try to be short with your questions and I’m going to try to ask the panelists to be a little short with your responses so brother from the Chicago Chapter here. 45 �AUDIENCE: Right on. MALE SPEAKER 1: All power to the people. AUDIENCE: All power to the people. M1: We’ve got several people on that panel who I’ve known since my childhood. I was a Blackstone Ranger and I was shot [01:37:00] by the Black, by two, by some Black Panthers. To show how the Coalition, how Rainbow Coalition worked in Fred’s life was that he took me into his home to provide a political education. I sit with a gangster disciple who also was a Black disciple who also is a PhD student. And so we talked about the Rainbow Coalition; this wasn’t just some theory. Cha-Cha and I go back to the neighborhood, 57th Street, the Blackstones, the Cobra Stones, and the [Emerald Knights?]. So this was an active part of the philosophy of the Black Panthers so that was -- it wasn’t so much a question but just to build that what we did was we went, was that the Black Panthers, Fred went to the Black community, he went to the white community, he went to the Latino [01:38:00] community, and he built a coalition and he made sure that we honored it. Literally, he would kick our ass if we disrespected (laughter) so literally. So when a sister said discipline, we talking about in this movement, there needs to be discipline. But there needs to be vision for a people movement. (applause) AD: Yeah, thank you. Thank you very much. We needed that, thank you. (applause) Okay. One more -- okay, my son wants to ask a question. He’s always got to ask a question. I’m sorry, did you have a question? So you go first. (laughter) Sorry, [Jan?]. 46 �KIANA MARY: Hi, my name is [Kiana Mary?]. I’m currently an MSW student pursuing my master’s degree in social work. I’m really excited about getting involved in the people’s fight but [01:39:00] just talking to other people, I realize they’re not as open to racial solidarity and working with others and really passionate about their own group. How do you market racial solidarity to different people and other perspectives to gain unity? AD: Beautiful question. (applause) Who wants to take that? (pause) Who? Who wants to try to answer that question? SM: Sister, the only solution is revolution, okay? You have to educate. The same, I mean the [temper plate?] is there. The Black Panther Party basically had set the [temper plate?]. You just heard all of the different Panthers speak in terms of the interconnection. That was one of the things Huey always said. The struggle is, all things are interrelated and interconnected. [01:40:00] So it’s just a matter of organizing, organizing, and organizing. Work. That’s it. PTL: I want to add one more thing. JJ: I took a marketing class. Face-to-face organizing. (applause) AD: Ma’am? PTL: I just want to acknowledge that if it has to be really intentional. That this, the work that you want to do needs to be intentional. So within your organization, being intentional that that’s part of the work that you do. So in San Francisco Chinatown organization in terms of racial solidarity, we just in the middle of Chinatown just did a day of remembrance and we read every single name in terms of young Black, young Black men and women who have been murdered by 47 �the police. And we did this in Chinese, right? Our young people are right up there in the second-to-the-last row [01:41:00] (applause) that did this in Chinese. It has to be intentional and it has to have (applause; inaudible). AD: Thank you. I’m going to ask some of the -- okay, yes. Go ahead, I’m sorry, yes. Go ahead. MALE SPEAKER 2: I just have one question for the panel and that is today, we live in the age of repression and also the age of suspicion, in a police state. So what lessons can we learn from the Rainbow Coalition and bring it into our present day when you have the US government criminalizing all kinds of organizing and making different people in different communities suspicious of one another saying if you work with such and such a community, that community may be linked to external organizations [01:42:00] and so on and so forth especially within the age of global war and global empire. There’s a war in Yemen now, there’s a war in Syria, there’s a war in Palestine and the genocide that’s going on in Palestine. Pretty soon, Latin America’s about to be destabilized. There’s a war against Native Americans, there’s a war against African Americans here in the US. So to think globally, where do we start as a Rainbow Coalition today? Just something to contemplate. And I would really appreciate an answer. (laughter) AD: You want to take a shot at that? Go ahead. RA: Just say very, very linked two actually questions together. The whole question of racial solidarity and this question is that I think we need to be very principled, number one, about our politics. 48 �AD: Yes. RA: I don’t, [01:43:00] it does not, it is not, at least, well, no. From our communities, it does, we need to think about justice as indivisible. We cannot be arguing for justice for one kind of communities without arguing for justice for another type of community. (applause) So I’m saying for instance today, while we are talking against racism, and this is one of the things where, and I know there is some critique for movement for Black Lives. But one of the things that we really appreciate in the Palestinian Arab Muslim community, the ways in which movement for Black Lives came out being very forceful around the questions of genocide in Palestine, anti-Zionism, anti-Islamophobia, and so on. This is, it’s really, really important and this is not new. I know you’re looking at me, it is not new. It doesn’t just happen yesterday. This is decades, decades, decades of struggle, by elders, by people who actually laid out this when it was very difficult to say something like this. So [01:44:00] I think it’s really important to connect everything together. I think it’s very, very, damaging, too, and I’m not saying that because I’m Arab or Muslim or Palestinian. But I think that we really need to confront Islamophobia. We need to confront anti-Arab racism with the same regard that we are talking about racism, with colonialism, everything else. I think it’s very unhelpful to speak about Muslim communities as being specifically and excessively oppressive of women because they were, our communities are not more oppressive than any other communities (applause) and we do not have oppression in our DNA and our men, and our men are not specifically misogynist while other men are actually very liberal and wonderful and so on. (laughter) It’s 49 �not about men and women. It’s not about men and women. It’s about structural issues. Structural inequalities, the system of oppression, the global war on terror, the US greed towards invading and intervening and killing more people. What’s happening in Yemen you mentioned the bombing, Saudi Arabia happening in Yemen [01:45:00] and United States standing by supporting Saudi Arabia in order to which gather revolutions in the Arab world. Against each, every single place where there are revolutions in the Arab world. Bombing every single day in Yemen. Nobody is saying anything about that. And continuing putting people in prison, 2.3 million people are in prison in the United States today. There is more privatized companies that own prisons like G4S and elsewhere. (applause) This is really a problem. If we don’t connect the dots and if we only think about our own little community and we don’t think about the question of justice in general, we will not be able to win and I don’t want to end on the negative. I want to end on the positive. That we are here because we are building with each other. (applause) We have connected the dots. So nobody tells us what can we do. There are things you can do. Instead of asking a geological question, a theoretical question, how do we think about it? We are here, we just need to come together more and we need to take the risk and we need to call people [01:46:00] on their complicity to be accountable (applause) because they are complicit if they are being neutral with questions of justice and injustice. AD: Thank you, thank you. (applause) Okay. Go ahead, get your question. That’s the last one. F: So it’s actually a statement. Having worked with Chairman Fred and Huey and 50 �Cha-Cha and Hy for the last 40 years, we’re missing the student movement. The SGS as Stan remembers was a critical part of that Rainbow Coalition. We stood together, we marched together, and that march on the police station was ChaCha and the Panthers and STS marching on that station and saying Jeff Fort, hands off [01:46:40]. But there’s also a legacy. That coalition didn’t die. When I moved back to Chicago in ’83, we elected Harold Washington. (background noise; inaudible) AD: Okay, I’m sorry. We’re going to have to cut it. F: I was just going to say the legacy did not die, [01:47:00] we elected Gerald Washington, and in 2002, we came together and we elected Barack Obama. AD: Okay, all right. Okay. I’m biased. My son wants to ask one last question. Make it quick, [Jan?]. JAN DIXON: Cha-Cha, I just want to ask a question. Did the Young Lords at any time ever go farther than just in America? Were the Young Lords ever around? JJ: Other than, other than what? JD: Other than places in South America? JJ: Farther than the US? JD: Yeah. JJ: They went to Puerto Rico and the people in Puerto Rico, some of them didn’t like the fact that we were there because each neighborhood is different, each community is different. But so we made some mistakes but we corrected them and we’re working together. But that’s a very good question. I appreciate it. AD: All right. Thank you. Okay, give everybody a hand. (applause; inaudible) 51 �[01:48:00] END OF VIDEO FILE 52 � https://digitalcollections.library.gvsu.edu/files/original/0d75b9f19827615e5173494de372c960.mp4 4fa83770f47dc018678c302bb4d254e6 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 Young Lords in Lincoln Park Collection Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Personal narratives Social justice Community activists--Illinois--Chicago Description An account of the resource Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives. The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. Creator An entity primarily responsible for making the resource Jiménez, José, 1948- Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park collection (RHC-65)</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 2017-04-25 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 eng spa Type The nature or genre of the resource Moving Image Text Identifier An unambiguous reference to the resource within a given context RHC-65 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2012-2017 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Título Spanish language Title entry Rainbow Coalition Panel, 23 de octubre de 2016 (Oakland California Museum) Descripción Spanish language Description entry Panel de discusión sobre la Coalición de Arco iris original iniciada por el presidente del Capítulo de Illinois, Fred Hampton. El moderador fue Aaron Dixon y los panelistas incluidos el fundador del Movimiento de los Jóvenes, José (Cha - Cha) Jiménez Stan McKinney del BPP de Illinois Co - fundador de la Organización de Jóvenes Patriotas, Hy Thurman Un líder de la Campaña Hamas Bos Palestina, el Dr. Rabab Abdulhadi Pam de la Alianza Asiática Americana y la Guardia Roja Profesor Harvey del I Wor Kuen Y Lenny Foster de la Nación Navajo y el Movimiento Indígena Americano (A.I.M.). Sujetos Spanish language Subject terms Young Lords (Organización) Puertorriqueños--Estados Unidos Derechos civiles--Estados Unidos--Historia Lincoln Park (Chicago, Ill.) Mexicano-Americanos--Relatos personales Justicia social Activistas comunitarios--Illinois--Chicago Mexico-Americanos--Illinois--Chicago--Condiciones sociales Relaciones raciales Conflicto social Identitad cultural Partido Pantera Negra. Illinois Capí­tulo Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park (RHC-65)</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-65_Rainbow_Coalition_20161023 Title A name given to the resource Rainbow Coalition Panel, October 23rd, 2016 (Oakland California Museum) Creator An entity primarily responsible for making the resource Rainbow Coalition Description An account of the resource Panel discussion about the original Rainbow Coalition begun by Illinois Chapter Chairman Fred Hampton. The moderator was Aaron Dixon and panelists included founder of the Young Lords Movement, Jose (Cha-­Cha) Jimenez; Stan McKinney of the Illinois BPP; Co-­founder of the Young Patriots Organization, Hy Thurman; a leader of the Palestinian Hamas Bos Campaign, Dr. Rabab Abdulhadi; Pam of the Asian American Alliance and the Red Guard; Professor Harvey of the I Wor Kuen; and Lenny Foster of the Navajo Nation and the American Indian Movement (A.I.M.). Contributor An entity responsible for making contributions to the resource Jiménez, José, 1948- Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Mexican Americans--Personal narratives Social justice Community activists--Illinois--Chicago Mexican Americans--Illinois--Chicago--Social conditions Race relations Social conflict Cultural identity Black Panther Party. Illinois Chapter 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 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Date A point or period of time associated with an event in the lifecycle of the resource 2016-10-23 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/b442e5c65e1c3b7e321c9d9b11a5dece.pdf e89581a501756a9df13766511516cbb1 PDF Text Text lhe.Rai Join us as we greet our new students and welcome back our LGBTA Student Organizations I Sorbet from every color of the rainbow and entertainment by the fabulous Liz Snively of LVNMUZIQI Wednesday, September 15th 7:30 pm-9 pm LGBT Resource Center (Kirkhof 1161) @ GRANDVALLEY STATE UNIVERSITY LGBT RESOURCE CENTER � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory 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 DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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-09_SGF_LGBTQ_2010_Rainbow-Social_Flyer.pdf Date A point or period of time associated with an event in the lifecycle of the resource 2010-09-15 Title A name given to the resource Rainbow Social Description An account of the resource Flyer with information on the 2010 social to welcome back students, and information of the event, including the place, time and date. Subject The topic of the resource Sexual minorities Community centers 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 Text Format The file format, physical medium, or dimensions of the resource application/pdf 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 Source A related resource from which the described resource is derived The Rainbow Resource Center Creator An entity primarily responsible for making the resource The Rainbow Resource Center https://digitalcollections.library.gvsu.edu/files/original/1ae59d4ddc25209f7726f116e6136b60.pdf e49b60f0aa60240f57195da5d4e32344 PDF Text Text @ GRANI>\MJ...Ev STATE lJNrvERSITY LGBT RESOURCE CENTER www.gvsu .edu/lgbtrc/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory 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 DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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-09_SGF_LGBTQ_2011_Rainbow-Social_Flyer.pdf Date A point or period of time associated with an event in the lifecycle of the resource 2011-09-14 Title A name given to the resource Rainbow Social Description An account of the resource Flyer with information on the 2011 social to welcome back students, and information of the event, including the place, time and date. Subject The topic of the resource Sexual minorities Community centers 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 Text Format The file format, physical medium, or dimensions of the resource application/pdf 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 Source A related resource from which the described resource is derived The Rainbow Resource Center Creator An entity primarily responsible for making the resource The Rainbow Resource Center