840 24 26018 https://digitalcollections.library.gvsu.edu/files/original/0da55dc21449dbf92e5825f93fc15cd0.mp4 b2eeecbbee5fc187296715de0e70b723 https://digitalcollections.library.gvsu.edu/files/original/640508d60514792dc199f078b3c696b9.pdf 20755cfc594dd771655eac549651b7d6 PDF Text Text William James College Interviews GV016-16 Interviewer: Barbara Roos Interviewee: Ronald Poitras Date: 1984 [Poitras] How is Burns doing? Is he doing okay? [Barbara] [Inaudible] [Poitras] Good. [Barbara] [Inaudible] [Poitras] You're only teaching part-time though, right? [Barbara] [Inaudible] [Poitras] You’ve got to do it full time now? [Barbara] [Inaudible] [Poitras] Do you want to, or don't you want to know? [Barbara] [Inaudible] [Poitras] Walter! How about Walter? Is he coming around? Huh? [Barbara] I'll tell you all about it. [Poitras] Okay. [Barbara] Focus on your eye... [Inaudible]. [Poitras] Okay. [Barbara] [Inaudible] [Poitras] Okay. Thank you. [Barbara] Anytime we can go. [Poitras] You want me to put this down? You going to start? You're asking questions? �[Barbara] I ask you a question. [Poitras] And I can answer them. [Barbara] If you had to sum up William James philosophy in a sentence or two, what would you say? [Poitras] A sentence or two? I would say that the William James philosophy was teaching, and that we were all teachers. Both the students and the faculty alike. I think that's the biggest thing that we all receive from it. That's how I'd sum it up. Is that too…? [Barbara] No, that's fine. I've not gotten the same answer from… [Poitras] Anyone. [Barbara] Which is fine. Which is fine. Okay, you were saying that you… If you were special… [?] Projects? Is that why you came to the college? [Inaudible] [Poitras] No, I came to teach. I also had another opportunity to teach at Ohio State in the graduate school. And I chose William James because I knew I would do more than just planning. So, I came to William James because I could do more than just planning. But what I did for William James, and what William James got for me and Grand Valley was the projects I did. Because I continuously got reviews on the presses, and TV, and newspapers, and that was the neat thing. But that's not why I came to William James. I came to William James because I knew I can do more than just planning and I did. Well, you and I team taught, Barbara. And think I almost team taught with everyone at William James. Probably one of the few that did. There aren't many people I didn't team teach with, almost everyone I went through. Just I had a list when I got there. I went bang, bang, bang, bang, and I went through everybody. And I learned, that was the whole idea, right? So, I learned, I learned a lot. And that was one of the neat things. The projects, as I saw it, for me were just a little icing on the cake. But it was very important to William James for their survival. It was really important for professionalism. It was important for our students, and important for Grand Valley. So, I did that just… not because I wanted to do it so much, not because I think maybe is the best teaching device (although I think it's good), but I did it as something extra for the college. Just with all the Public Relations. [Barbara] It fascinates me that we all think of James and somehow recognize it for what it was. How did we all come to understand James' philosophy? What is the background that we all have? [Poitras] That's a tough question. That is a tough question, right? Well, I think when… see �when I first read about the ad for William James, it talked about professional planning. You know, in kind of a free environment. But those weren't the terms. It insinuated it, implied that. [Poitras] So I said okay. I would like to see what a free environment is, and I think maybe something to that effect even though the words are different probably for all of us. Something to that effect probably attracted most of us. I mean maybe that's a common thing. That we would not be tied down to a lot of the traditional things. Like requirements for each class, and one class fitting the other. That we would have a lot of freedom, and flexibility. And I think that's maybe the thing, the common bond. A group of individuals you'll never find that, such a group again, everybody was such an individual and that was a neat thing. I could walk through the hall anyway, anytime, anyhow I wanted to. Anytime, and nobody would say a thing-- one thing. Even though we were a community, but a community of individuals that was a neat thing. And that was the success of it, right? Because each person went out, and did their own thing and made a college very successful. Primary aspect, you look at Robert and his ability to run CAS-- not run it but at least part of that whole thing. And Steve with his strong academic liberal arts background, and go to everybody. Then me with a lot of professional things, and yourself a professional and academic background. Just looking those things, each one of us unique, and then we could get together and struggle through our councils together to try to mesh our ideas. But I think was that freedom, just that freedom. In fact, I could walk through those halls and I was famous for walking the halls, and I could say anything to anyone, and it wouldn't upset them. Almost everyone. It wouldn't upset them. It didn't matter what I said because they were too bogged…you know, involved with all the things that they're doing, and they didn't care. You know they didn't take it. They weren't paranoid like a lot of other professional settings and organizations. [Barbara] Do you think we made some critical mistakes? [Poitras] The critical mistake, and I don't know if it was our fault, the critical mistake was we started taking in students that were more concerned with professionalism than careerism that's concerned with the overall concept of William James. And I don't think that's our fault because we're worrying about numbers, and so-- But that's what led to the decline of the college as far as I'm concerned. We were only concerned with professional career areas, and less concerned with the ideas of the students. Not all of us, but generally that's what happened, and that's what led to the fall the college. That was a real problem because look at all the students that we have near the end compared to the students that way maybe couple years earlier. They were just different times, neither good nor bad, just different and I think that was a critical mistake. Let me give you a real good example of that. So, I can just… have to defend this statement. A good example would be, we'll say in the arts program. Not the media as much, but the arts �program. They became known for certain type of art program. So, the admissions office would send people to them that were interested only in art, and then they would let them into the college. [Poitras] And that's true planning and other things, too. I just use art as an example. So, the students came there interested in art as a career, but not interested in James and the concept. Some certain lots were but many weren’t, and I think that's what led to the decline of the college. That's my impression that was as far as I was in the most critical error that we made. [Barbara] How else could we have— [Poitras] Yeah, well I don't know, see? So, that's… I'm saying I can blame us… because following in [?] and all of the country following moment here [?] we had to have students. So, I guess that's a compromise we made in the process I think that led to the fault college because if we would've had the same students that we did in the early years, I don't know, I think William James would still be there. I think they would've given us as faculty [?] and the support that we went [?] and want to be able to stand and fight for James and we just didn't have… it wasn't a mutual thing, you know. The students gave us energy and we gave the students energy and it worked real well but near the end it wasn't way. I'm not absolutely… gosh [?] doesn't really need kids there you know. I know that just the career thing really got us, and I think that it's too much of the career thing with all the other components and I think that lead to the end. That was the year, as far as I'm concerned. [Barbara] What you're teaching now, are you teaching the same lesson? [Poitras] Yes, in fact, I'm doing some graduate classes as well and I had a student to graduate William James who works at the college who came and took my graduate class, she goes: "Gosh, I like this class it’s just like William James." Now that's easier doing a graduate level. I think in my undergraduate levels (classes) they're a little different but I know that it's really hard. It's hard to make that compromise and the bridge between giving grades and people that come in there and then they have taken the of course after that. But I'm trying real hard to be who I am when I am and I don't think I've changed too much. [Barbara] I want to talk about a thing that worked for you best in your years. If you were telling somebody about the college and wanted to be very specific about something, what story would you tell? [Poitras] I guess, I can think of two stories. One story might be just doing all the team teaching. It was just such a beautiful experience for me. The other story would have to be the projects I worked on with all the different students and they were �really pretty fantastic and I guess the Prospect House was the biggest one that we worked on. Trying to take an inner city house and making it self-sufficient in the inner city and it took so much out of me and so much out of the students. But to this day every one of those students are in well-paid professional positions. [Poitras] The ones that were a part of the key team that ran that thing, they all have big, good careers. They all went to the best graduate schools; they all have well-paid jobs. So, this really paid off for them and I was glad to see that the Prospect House itself, as far as the costs were concerned, worked out. We managed to get out of it before there was some problems with it. So, the cost was okay but as an overall concept just didn't carry on as long as I wish it would've but that was fine. The big thing, heck, I worked… I didn't sleep for I think two years. I worked on that thing straight for two years, day and night, with all the students. About thirty William James’ students and there must been a hundred involved through different levels and, of course, you did things, too. But there was a core of about thirty students that worked on that thing, and maybe even a real small core of about ten that worked day and night on that thing, also. And I can't take any of the credit; they have to take as much credit, and probably blame as I do. [Barbara] You didn't have anything beyond that did you? [Poitras] Well, a little bit, but not really – that was Rod Bailey's project. Really a good project. [Barbara] If you were going to do it all over again, would you do it again? [Poitras] Oh yeah. The Prospect project? [Barbara] No, I meant James. [Poitras] Oh yeah, definitely. Definitely. Oh, God, yeah. Hey, I'm so sophisticated, I could have never… I made leaps and bounds. You know, I can go to professional organizations, which I do, the planning ones, urban planning organizations. I can sit there and talk on anything. Hell, are you kidding? Of course, I’d do it again, it was the best education I ever had. [Barbara] How? [Poitras] Just, well, just being able to teach the courses I wanted to teach, being team teaching and teaching things outside my area. I mean, I came here thinking I was going to teach… well no, I would've had to teach urban planning at Ohio State. Here I taught urban planning, political science, I taught geography, I taught a writing class. I taught myself …this isn't team teaching now. I taught some philosophy classes about William James. Oh gosh I can go on and on. And as �you know just to prepare for each one of those classes just took time, and time, and time. So, I learned all sorts of things, and I became less narrow, I think. I hate to use that. That sounds so much of a cliche, less narrow. [Poitras] But it provided me with a better background to teach the courses I'm now teaching. It really broadened my education. Expanded my undergraduate education enormously. [Barbara] Let’s stop the tape a second. Let’s repeat the question. What about burnout? [Poitras] Well, I think in some areas the projects have tired me out. Just doing those professional projects is really difficult, especially with the different students that we have because it takes a lot of initiative on the individual student’s part to do a good project. So, I've been doing more… well, I was doing more [Inaudible] when I was in William James. And I think that part maybe wiped me out a little bit. But as far as burnout, as far as the college was concerned overall, uh-uh. The feedback from some of those good students, it was a lot of energy they gave me and it was a reciprocal thing. I think that was a really neat thing about William James. Just having that ability to act with the students, get energy from them, and return the energy. So, I never felt burnt out. I think we could've kept going. You know some people say there's too many meetings, and I, you know, I don't like a lot of meetings either but in a lot of ways it was good, and we found a lot of information. One neat thing about Adrian, the dean that hired me, was that she would always let us know everything that was going on and that was kind of neat. So, those meetings I thought paid off and I didn't get too tired of them. Some people thrived on them. So, I can't believe there could have been too much burn out. I don't know where the burnout would have come from. Nah, I don’t think burnout was an issue or question at all. [Barbara] Okay, okay, why don't you do the family stuff because I'm not sure what you mean, so just do it. [Poitras] Yeah, well, I think some personal ways William James was really good for me was because… in the following ways: (One) Not only could I do my thing but Peggy helped me do a film with the college under Jan Zimmerman and there were several faculty involved in that. That was a nice experience. My son, Walter Wright, I had my son in his computer classes. That was always good. Moscovitch is always [?] I need to advise my students… I mean my own family. So, on a personal level, William James was good not only for me, you know, through my work. But was also good for my family and their own growth. So, I think that William James provided a lot of stuff professionally, but a lot of stuff personally for all of us, too. And I look at other faculty people and often it was both spouses were teaching at William James. And there was a lot of growth. So, it wasn't just a separate thing. And it wasn't that… even though I mentioned earlier that were �all free as individuals. There was that little, somewhat of a community, because we'd all help one another. You mentioned in the hospital that one of the faculty was there with you. And when my son was hurt his leg. [Poitras] I think almost everyone in James faculty went to the hospital and visited him, when he got hit by a car. So almost all of them were there. So, it was kind of neat. I think it’s a real personal experience that we all enjoy also. [Barbara] [Inaudible] [Poitras] One little note, one little mistake that we made, Barbara, was that we didn't work close enough with our counterparts in CAS and I really made an attempt to do that for William James and I team taught with several faculty in CAS so that we can try to bridge the gap. And I think more faculty should've done that and I think it would've helped our college immensely. [Barbara] Politically at the end? Or other ways? [Poitras] Everyway. I think politically we would've had more friends and more people supporting us, and if we did put on a big fight, if we would have then we would've had more support and I think that would have helped everyone. [Barbara] Should we have tried to fight? [Poitras] Oh yeah, yeah. I think we should have. [Barbara] I think so, too. [Poitras] Good. [Barbara] Why didn't we? [Poitras] My excuse is, I think, I didn't see any… who was going to fight. A lot of the students weren't and I just didn't think it was there. I think maybe the time had passed and it just wasn't there. [Barbara] Good, I'm glad that happened… [Inaudible]. � 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 William James College Interviews Description An account of the resource Videotaped interviews of William James College faculty, students and administrators by Barbara Roos. William James College opened in 1971 as the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. Curriculum was organized around three concentrations that were meant to be interdisciplinary career preparation offerings: Social Relations, Administration and Information Management, and Environmental Studies. The college was discontinued in 1983 during a reorganization of Grand Valley. Date A point or period of time associated with an event in the lifecycle of the resource 1984 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education 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 Roos, Barbara (Interviewer) Identifier An unambiguous reference to the resource within a given context GV016-16 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng 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 GV016-16_GVSU_14_Poitras Creator An entity primarily responsible for making the resource Poitras, Ronald Date A point or period of time associated with an event in the lifecycle of the resource 1984 Title A name given to the resource Ronald Poitras interview (video and transcript) Description An account of the resource Interview with Ronald Poitras by Barbara Roos, documenting the history of Grand Valley State's William James College. William James College was the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. The college opened in 1971 and was discontinued in 1983 during a reorganization of Grand Valley State. Ronald Poitras was a Community and Environmental Planning faculty member in William James College and longtime professor at Grand Valley. In this interview, Ron discusses the philosophy of William James College and what attracted him to teach there, in addition to his experience working on the Prospect House project in Grand Rapids, Michigan. This interview is part 1 of 1 for Ronald Poitras. Contributor An entity responsible for making contributions to the resource Roos, Barbara (Interviewer) Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng 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/eb83f4f623211d56eba6b26fb599f3c8.jpg 5665e20f2b460134dc196b1491729eae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 2000s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</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 GV012-01_UAPhotos_001297 Title A name given to the resource Ronald VanSteeland and wife at the VanSteeland Arboretum dedication Description An account of the resource In 2001, the VanSteeland Arboretum on Grand Valley's Allendale campus was dedicated to former university Vice President Ronald VanSteeland. Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities and colleges Facilities Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 2001 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives color photo https://digitalcollections.library.gvsu.edu/files/original/d6a4dd9e22bc0b119dc4d7f40ae1f73b.jpg 019374ac92d2f6ef5b9e3431f14de179 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 2000s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</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 GV012-01_UAPhotos_001298 Title A name given to the resource Ronald VanSteeland at the VanSteeland Arboretum dedication Description An account of the resource In 2001, the VanSteeland Arboretum on Grand Valley's Allendale campus was dedicated to former university Vice President Ronald VanSteeland. VanSteeland is shown with two unidentified individuals. Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities and colleges Facilities Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 2001 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives color photo https://digitalcollections.library.gvsu.edu/files/original/02a8e5e3b1b2d97a21923f2f21d7c57c.pdf 32ade96cb7c9ff1f49b5d3fff47370ea PDF Text Text Grand Valley State University Veterans History Project Ken Rondeau (4:33) Background Information (00:10)       Born in Grand Rapids, Michigan, in 1962. (00:11) Both his mother and father were from Wisconsin. His father worked as a plant superintendent and ran an orchard. (00:17) He joined the Michigan National Guard. (00:44) Ken was training to be an electrician before going into the military. (00:47) He had grandfathers and an uncle who had already served in the military. His oldest brother served in the Navy as well. (1:00) Ken joined the National Guard to make some extra money as well as to serve his country. (1:25) Basic Training (1:33)    He was flown from Grand Rapids, Michigan, to South Carolina. He was then sent by us to Fort Benning, Georgia. (1:35) There was much emphasis placed on physical conditioning. (1:56) 2 days before graduation, one of Ken’s fellow trainees had tried to take home some of the lizards that lived on the base in his ammo pouch. (2:10) Service in the National Guard (2:56)    Ken served initially as an infantryman. He spent most of his time I the service as a Sergeant for a gun crew in the mortar section. (2:57) Most of his training was geared toward going into Germany in case Russia had attacked Western Europe. (3:19) Operation Desert Storm occurred while he was in the Reserve. (4:00) � 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 RondeauKT Title A name given to the resource Rondeau, Ken (Interview outline), 2011 Creator An entity primarily responsible for making the resource Rondeau, Ken Description An account of the resource Ken Rondeau, born in Grand Rapids Michigan in 1962, served in the National Guard during the 1980s. During this time Ken served mostly as a sergeant training mortar crews. Contributor An entity responsible for making contributions to the resource Rondeau, Brenton (Interviewer) Caledonia High School (Caledonia, Mich.) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings United States. National Guard Other veterans & civilians--Personal narratives, American Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2011-11-12 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf 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/270fe3b5ecab7ea58b65d5eed2baae15.mp4 b66ef2cb1f353c95504b8ccb265b3a71 https://digitalcollections.library.gvsu.edu/files/original/5d5c3de9f7a65bcc2c802889f4640176.pdf fe55bfe4b28ea13b34794f25e6aec9f2 PDF Text Text GVSU Veteran’s History Project World War II Marcia Rood Interview Total Time: 13:35               (00:20) Her brother served in the Navy during WWII (00:51) Nearly 6 years old when her brother went into the service; it was 1944 when her brother was 18, knew he would be drafted soon (2:00) Father was in the Navy in World War I (2:30) At the train station when they were dropping off her brother, he and the other recruits were being counted off o Switched places with the man next to him so he could end up in the Navy (3:10) House was lonely with her brother gone o Had cousins that had battle experience (3:44) Jimmy (her brother) took basic training at Great Lakes Naval Academy in Illinois o Went to visit him once before they were shipped out o Went to California and then was sent to Philippine Islands (4:10) At this time, they had no telephone o Drove to Ferndale when they knew Jimmy would be calling o By the end of the war they had a telephone in their house – currently lived in Farmington (4:56) Jimmy was in the Philippine Islands when he was injured, then shipped to California o War ended during this time (5:27) Didn’t talk about the war often o Brother’s friend was killed on a ship that was bombed (6:16) Remembers writing letters to her brother while he was away o Sent a family picture to him (7:20) Remembers using rationing stamps to get coffee, sugar, anything that was made of rubber was hard to get o Couldn’t buy a car o These things went towards supporting the war effort (8:03) Saw newsclips at the movies about the war, as well as the radio (8:33) Remembers car breaking down when they went to visit her brother at basic training o Took a train the rest of the way; noticed a lot of servicemen on the train (9:20) Shows letters that her mother saved from Jimmy �   o One of them talks about a friend that was killed (10:13) About her brother’s injury in the Navy o Stationed in Philippines – Subic Bay o Worked on a tugboat o Brought in ships that docked o There was a small cannon on the tugboat that shot lines up the side of the ships o Problems with Japanese snipers on the island o Tried to set a trap for the snipers o Brother’s leg was tangled in a line – ended up getting fractured (12:42) There was still a concern about snipers o Her brother wasn’t in a battle but saw enough of a conflict while he was serving (13:16) Jimmy was in the Navy from the middle of 1944 until the end of 1945 or early 1946 � 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 RoodM0702V Title A name given to the resource Rood, Marcia (Interview outline and video), 2009 Creator An entity primarily responsible for making the resource Rood, Marcia Description An account of the resource Mrs. Rood was being interviewed to talk about her brother Jimmy's time in the Navy during World War II. He served for about a year and a half. He received training at Great Lakes Naval and spent most of his time in the Philippines, where he worked with tugboats in bringing in ships to dock. Contributor An entity responsible for making contributions to the resource Scheidel, Caleb (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings Other veterans & civilians--Personal narratives, American Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2009-05-26 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8a3f87fd6be0c00b149a161700959f55.jpg bba5ee80d8f92b9593f920d5fcd5ba9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-LordB_Roofing-Continued-2 Title A name given to the resource Roofing Description An account of the resource Page from Bob Lord's family photograph album with three photos. The left two pictures are of three men roofing a yellow-orange house. The other image is oriented the opposite way, and it depicts what looks to be two doors with some sort of archetectural molding around the top. Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Source A related resource from which the described resource is derived Digital file collected by the Kutsche Office of History as part of the Stories of Summer Project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/0c7340975cb462926812b67ac77711da.jpg ec64915bbdd20d11f8b886300dff8bb9 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_J152-0032 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 1969-05-16 Title A name given to the resource Rooftop Laundry Line, New York City Description An account of the resource Black and white photograph of a collection of linens drying on a rooftop laundry line in New York City. In the photograph, the laundry line is strung across the rooftop of a building with a fire escape and apartment windows overlooking them in the background. Scanned from the negative. Subject The topic of the resource Laundry--New York (State)--New York Rooftop architecture--New York (State)--New York New York (N.Y.) 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/3bde243a5c69d39f6504cfbd92529498.mp4 d9bdcc94d2aab7a19ca5db89656b6191 https://digitalcollections.library.gvsu.edu/files/original/6259a516c47399f4e14ff32ad40a86b9.pdf 17de74a9283a86dfee2d759e9c85f2f4 PDF Text Text Grand Valley State University Veterans History Project Interview Desert Storm Leanne Rooker Length of Interview: 14:27 [not sure who the interviewer is here so using XX as initials. (00:02) XX: What is your maiden name? LR: Leanne Marie Cook XX: Where were you born and raised, Leanne? LR: I was born in Jacksonville, North Carolina, but I was kind of raised in Michigan. I moved to Manistee, and then pretty much raised in Caledonia. XX: Okay. What is your current job? LR: I am a supervisor at the contact center of Foremost Insurance Company. XX: What is your address? LR: 10145 Alaska Avenue, Caledonia Michigan 49316. (00:53) XX: What war did you experience? LR: Desert Storm. Persian Gulf. XX: At the time of this war, were you married? LR: Yes. XX: What was your spouse’s name and his wartime occupation? LR: My spouse’s name was Brian Mitchell Rooker, and he was a Lieutenant in the Navy. XX: When and where were you married to Brian? LR: I married him, Brian, December 27th of 1990. And we were stationed in Norfolk, Virginia, on the Theodore Roosevelt Aircraft Carrier. (01:35) �XX: Did you have any children during the war? LR: Yes. Jake. Morgan was not born until 1994. XX: Where did you live and work during this war? LR: Well, we lived in Norfolk, Virginia and I was a flight attendant with U.S. Airways. During the war. XX: What type of training did you go through for this job? LR: For the flight attendant job? XX: Yes. (02:13) LR: Umm, well, there was quite a bit of training for that job. I went to training in WinstonSalem, North Carolina, for three and a half weeks. Cause I was originally with Piedmont Airlines. And then U.S. Air bought us and I had to go through further training on different aircraft. XX: What did you like or dislike about this job? LR: I loved that job. I loved flying all over the country and seeing the different cities, and you know, and the geographics and the different cultures around the country. And I liked the flexibility that the job gave me. I had quite a bit of time off so it was easy to raise a family, at that point in time. (03:10) XX: How were your children taken care of while you were gone? LR: Well, we pretty much worked it out where, um…I was pretty flexible that when Brian was out to sea, I would be home. Cause he’d be gone a couple of weeks at a time and I would just make that my vacation, or so I’d bunch up all my time and be home with the kids. Otherwise, we had a daycare person who would take Jake during the day, and Brian, actually Mitch, he goes by Mitch, would take Jake to the daycare every day when he’d go off to the ship and then he’d pick him up at the end of the day. (04:00) XX: Were you unionized? LR: Yes. XX: And how did you feel about worker’s unions? �LR: I really didn’t care. What I didn’t like about a union is that it’s one voice. So you don’t really get a raise that’s based on your performance. It’s more that everybody votes it in and so it really doesn’t matter what kind of a job you do. So everybody gets the same raise. I don’t really care for that, but XX: Did you have any other friends or family besides Mitch that did war work, during the war? LR: Family? Or friends? XX: Both. LR: Well, we had a lot of friends, what with Mitch being in the military. We had a lot of friends in the military. Some in the Navy and Mitch’s closest friend was actually in the Marine Corp. so we kind of had that aspect too. My father was active in the Marine Corp but he didn’t see any more time because he had actually served his time for Vietnam, so he didn’t have to go back to do that. (05:15) XX: Okay. How did you feel about the Persian Gulf War? LR: I really didn’t…I really didn’t think it was any of our business to be over there. And then when we didn’t really accomplish what we went there for. And had to go back, obviously, several years later, it was like, what was that all about the first time? And I felt like…I felt like it was more of a personal vendetta with the Bushes then anything else. (05:56) XX: Did you live with your family, or friends and co-workers then, as well? LR: Well, when it first started, I was living at home with my parents. And then Mitch and I got married. And I continued to live at home with my parents until he was due…cause he was deployed right after we got married, and I continued to live with my parents until he was due home. And then, just before he was due home, I moved to Virginia and lived with him. (06:42) XX: What were your friends and families feelings about the war? LR: Well, those in the military, they kind of had a different view on it. It was just a…something they were told to do, so they never questioned what came down. And in a lot of sense, I knew better than to form a big opinion on it, because all that does is frustrate me. So you had to go and it was just what it was. (07:25) XX: How did the war change aspects of your life? Like your job or your daily life? LR: Um, it really didn’t change my daily life, other than my husband wasn’t around. Anymore. Of course, then I had to worry about him. You know, you just follow the news. And I got �involved in all of the wives clubs that I could, the officer’s wives clubs, so that I could kind of be abreast of everything that was going on. Cause back then they didn’t have the internet. They didn’t have cell phones, things like that, so we went months without hearing from him. And then when he would call, it was when he was in port. And most of their ports got cancelled. So it was in a port and maybe you had five minutes to catch up on months of being apart. And at that point, we didn’t have Jake yet, so it was just him and I, so it was okay, but… (08:37) XX: Did you worry our side might not win this war? LR: Absolutely. War is always…you never know what the outcome is going to be in war. XX: Did you know anyone who was killed or wounded during this war? LR: No, not really. I knew somebody that was in an accident, but they end up not really being hurt. Their aircraft, landing on the aircraft carrier, they didn’t catch it right, so it went over. And he went in the water. XX: How did you and your spouse communicate during the war? (09:23) LR: Letters. And that one phone call, that I had mentioned before. XX: All right. Did you feel like you got a good support from the men in the service? LR: I don’t really know what that question… XX: I’ll just skip it then. Did you have areasonable standard of living during the war? LR: Yes. (10:01) XX: Did the war ever have an effect on your mental or physical health? LR: Not really. Other than just really worrying about everybody. And just really not wanting him to go to war. Not wanting him to be on the front line. So I was really happy with him not being on the front line. And I know that most soldiers, they’re trained to be on the front line so they’re not happy if they’re not on the front line, but being back home, I was happy with them not being on the front line. (10:44) XX: Okay. Did you think that America should have been in this war? Should have fought this war? �LR: Yes. But I don’t think we solved anything, for the first one. The first Gulf War. Cause it still came up later. We still had to fight it again. And the war on terrorism, I don’t really feel like it touched on what it should have touched on. XX: What did you think about the enemy? (11:18) LR: I’m trying to understand where they came from. I guess it really kind of opened up my view, because that, I’m a Christian and I’ve got my Christian values. And that other parts of the world, that they value something different. And I tried to keep things… XX: Openminded? LR: Openminded, correct. So I guess it just kind of opened up my horizons a bit more, to not be so narrow minded in thinking that the whole world thinks like the United States does, cause they obviously don’t. (12:07) XX: How did the news stories…what effect did they have on you? LR: Anxiety. Every time something came up, I was shhh, shhh, shhh. I made everybody be quiet, cause it was coming up. Cause when you have a loved one that’s over there, it’s very terrifying that something could be escalating war, and create more, you know, loss and heartache. XX: How did you feel about the American anti-war protesters during the war? LR: I kind of thought that they really didn’t have…that they didn’t understand that these soldiers that went over there don’t have any choice. They’re just doing what they’re trained to do. And the protesting, you’re not hurting the President, at all. Who you’re hurting are those over there fighting it. (13:19) XX: How did you feel the war ended? Like did we accomplish any of our objectives, or… LR: No. We didn’t accomplish anything. It just ended. Like I said, we had to go back again. And we just left. XX: How did you feel once you heard the news that everybody was coming home? LR: Thrilled. Excited. Confused, because like I said, we didn’t accomplish anything. But happy, because I knew that my husband was going to be safe. (13:52) XX: How did this war change your life? �LR: I don’t know if it did. I don’t think it did. XX: Is there anything else you would like to add to this topic? LR: No, I think we did a good job on touching on everything. (14:09) � 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 RookerL0703V Title A name given to the resource Rooker, Leanne (Interview transcript and video), 2009 Creator An entity primarily responsible for making the resource Rooker, Leanne Description An account of the resource Leanne Rooker's husband fought in the first Iraq war while she remained home in the states. She was very anxious the whole time he was gone, even though he did not actually get involved in combat. Leanne felt that the protesting during the war was not even being heard by the President, but just negatively affecting the morale of the soldiers. She was disappointed with the war in that she felt nothing was actually accomplished because there was a second war later dealing with similar problems. Contributor An entity responsible for making contributions to the resource Rooker, Jacob (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings Other veterans & civilians--Personal narratives, American Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2009-11-15 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/c1da3360bea9a09ed518621ca1f977fd.jpg 4bc8bb77125337f5f2ae2cf4b0f1a52d 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RoosBarbara Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Roos, Barbara Description An account of the resource Barbara Roos, Film Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/3374b746086ee20d9594ab662ae38868.jpg b2756ed5b6c2bb1a9c2c2f8f1fc9f3f6 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_O304-0013 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 1974-11-18 Title A name given to the resource Roosevelt Road, Wheaton, Illinois Description An account of the resource Black and white photograph of a sign for "Roosevelt Road" in front of an auto repair shop located in Wheaton, Illinois. Scanned from the negative. Subject The topic of the resource Street signs--Illinois Automobile repair shops--Illinois Wheaton (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/a7f6a03a987b3548a038e58ab6407825.jpg 8e149ea9f0010c01e9566bf18653913d 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RootWilliam_Photo1 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Root, William Description An account of the resource William Root, Band Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/c00092ed2e66d11cafbbbdf68cf44389.jpg 209fe17a361bf06b0db098fb78748147 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RootWilliam_Photo2 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Root, William Description An account of the resource William Root, Band Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/f2d1d148928b4f63de46a2eb1a9e6b2b.jpg 8cf5fc9293f8034fd88709726eb9dcba 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RootWilliam_Photo3 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Root, William Description An account of the resource William Root, Band Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/c9cb620d500adc31812990ee97c8240a.jpg 9afce65068c55fb5c146ed0dff692913 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RootWilliam_Photo4 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Date A point or period of time associated with an event in the lifecycle of the resource 1981 Title A name given to the resource Root, William Description An account of the resource William Root, Band Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng 1981s https://digitalcollections.library.gvsu.edu/files/original/7e00767490fc88b64ab21ac2e4a4225b.jpg e2d127bb57fb0cbe209cdb06f435c7f5 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 RootWilliam_Photo5 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Date A point or period of time associated with an event in the lifecycle of the resource 1986 Title A name given to the resource Root, William Description An account of the resource William Root, Band Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng 1986s https://digitalcollections.library.gvsu.edu/files/original/1e6f03fe89a3ae4265982d4550eb2125.mp3 f7b851e1b11ce73d0aecf8da111b8890 https://digitalcollections.library.gvsu.edu/files/original/1752ae2ab7ac76de21548984349c5796.pdf cbc9def3307f63343c085d65961ce107 PDF Text Text Rootedness and Belonging Eastertide; Mothers’ Day Philippians 3:8 Richard A. Rhem Christ Community Church Spring Lake, Michigan May 14, 2000 Transcription of the spoken sermon For Mother's Day and for our reflection on the family, I have a dilemma for you. Perhaps a better word would be paradox, and that is that it is in the family that we gain our rootedness which has the positive value of giving us a sense of identity as to who we are and who we are being called to be. It is also in the family that we can be so deeply rooted that we fail to have an appreciation for an openness to the wonderful diversity of creation. That is something of a paradox, and what I want to say to you today is that the family is so terribly important for giving to us a shaping and a formation that will enable us to move through life effectively, but it is such a perilous task because if we don't do it with great care, we can be shut down rather than opened up. A couple of weeks ago I was invited to Grand Haven High School for their Diversity Day. The Diversity Day was a morning in which they brought in someone from the outside, an actor, a psychologist-type, a very effective speaker who addressed half the student body while the other half went to their respective classes. And then they did a switcheroo, and I was one of a number of guests who were brought in to address or to be with the students in their respective classes while half of them were being addressed by the star of the morning. I, of course, represented the field of religion, and I was paired with Rabbi Alan Alpert, my good friend from Muskegon. Bob Kleinheksel was also one of those who engaged with the students. But, Alan Alpert and I, before we opened our mouths, were already a statement to the diversity that exists within the religious community and the fact that that diversity can be overcome with mutual respect and affection, as we were very good friends and we are able to share with the students about our own relationship and the relationship of our respective communities. As I began to address that situation, suddenly I recognized the fact that all of my nurture, all of my training, all of the influences of my home and my church, all of the efforts and the prayers of my parents and my pastors and my teachers were to the end that I might be narrowed down, not opened up. This simply struck me. Obviously it wasn't anything I didn't know all my life, but I never thought about it in this context. I realized before those students that a diversity day like that in old © Grand Valley State University   �Rootedness and Belonging Richard A. Rhem Page 2   Kalamazoo Central when I was a Maroon Giant would have threatened the pants off me, because I was traditioned, I was nurtured, I was shaped, I was formed, I had rigor mortis of the soul before I was graduated from high school, and it struck me so that all of that which was done for me was to give me tunnel vision, narrow me down, secure me in the truth, and, as I shared with the students, done by tender, loving, well-meaning parents and pastors and teachers with the best of intention and done so tenderly, but it is a fact that it was to close me down. Now I am so far from that today that I can hardly believe that it's still going on, and so, I said to the students, "That doesn't go on anymore, does it?" They said it does, and of course I really knew that it still goes on, because isn't that what home and family are for? Isn't that the function of parents? And then, thinking about it, I recognized how perilous it is to do that job of nurturing and shaping and forming. Now, the positive side of it is obvious. I was rooted, and rootedness is essential for a healthy human being. I knew who I was; I had a sense of identity, a strong sense of identity. I had a sense of God and family and faith and those fundamental values and issues of our human condition. But the peril is that nurture and formation end by creating walls around us, isolating us from the other, and insulating us from the rich diversity of the human experience. I had set aside an article that I came across sometime ago for this particular Sunday prior to my Diversity Day experience. It was written by a fellow named Pico Iyer in Civilization, the magazine of the Library of Congress, and the title of the article is "Citizen Nowhere," an excerpt from a book recently published. This particular author, who is a journalist, was reflecting on the fact that there is a new human being emerging, a human being with a global soul. He represents that group, which certainly is a first-world, affluent phenomenon, nonetheless a growing phenomenon in our world today and a kind of experience that many of us can somewhat identify with, although his situation was certainly in the extreme. He grew up in India and he never knew his father's native tongue nor his mother's native tongue, they all shared British English, and he was born into a home of Hindu faith, raised in Christian schools, and identifies mostly now with Buddhist communities. He spoke about the nature of this phenomenon which is becoming more and more the case in our world where one may not dwell on the continent where one works, or, in his case, have no relatives on the continent where he more or less lives. He told about the thousands and thousands of miles, air miles, that he clocks and said these kind of people are the people that still engage with the rituals of death, perhaps scattering a father's ashes 6000 miles from where one lives, or get up in the morning in Santa Barbara and in the evening be in the broken heart of Manila Or start out in the Big Apple and end up in the dusty streets of Haiti. A world in which we are thrown around and thrown together, exposed to all kinds of experiences, one upon another in rapid fire, ending up with a porous personality that doesn't really know who it is, a porous personality that can become whatever the particular situation and location calls © Grand Valley State University �Rootedness and Belonging Richard A. Rhem Page 3   for. People who grow up as he did in three different cultures and live somewhere in the cracks, people who are so informed about every facet of every issue and can see so many sides of every question that they have no basis for making a judgment or come to conviction or make any commitment. He talks about being unaffiliated. He says, "Oh, there's a blessing of being unaffiliated - one can continue to have new experiences that bring wonder and awe. But, unaffiliation can also cause lack of responsibility and accountability." And then he spoke about the threat of rootlessness and the fact that the human soul needs rooting, and that in this day, in this phenomenon which is becoming increasingly common, the threat is for a kind of amorphous being to evolve that has no sense of identity when no one else is around, who doesn't know really who one is or what the human condition is all about. So, if it is possible to be so deeply rooted that one is isolated from the diversity of creation, it is also possible to be so exposed to that diversity that one has no sense of who one is and what one is called to be. Interesting juxtaposition and on this day of the family, this Mother's Day, I thought it might be good for us to recognize the paradox of that need for nurture and shaping and formation and that need to so nurture and form that we will be able to transcend all of those givens of our lives, those givens over which we have nothing to say, the color of our skin, our race, our ethnic grouping, our national alignment, our religious tradition, our creedal grouping, our sexual orientation, those things that are simply given to us. Nurture that is positive must root in order to give a sense of identity, and nurture so that there is the ability to transcend all of those natural givens in order that we might find a community in which the other is no longer other, but is embraced in a larger grace and love and community. At the post-resurrection appearance of Jesus, there was a breakfast by the Sea of Tiberius, with those going back to Galilee. Peter had said, "I'm going fishing." They said, "We'll go with you." And, however they took up their lives, it was in the picking up of that life in Galilee that they experienced again the presence of the Lord, but they had come to the bonding of community. The classic example has to be Paul, who has gotten a lot of bad press and probably deserves most of it, but that amazing thing about Paul is the degree to which he was able to transcend the traditioning, the formation of his life. He talks about it in that third chapter of Philippians - circumcised the eighth day, born of the people of Israel, the tribe of Benjamin, a Hebrew born of Hebrews. As to the law, a Pharisee. As to zeal, persecuting the church. As far as the righteousness of the Law was concerned, blameless. All of that and what did he do for it? And this is the danger of effective nurture. It made him a violent person, because he was on the road to Damascus, issuing warrants of arrest to those who were of another Jewish sect, the followers of the Way. If nurture is not carefully given, it will imbue in one the idea that one has the truth and, whether taught explicitly or not, © Grand Valley State University �Rootedness and Belonging Richard A. Rhem Page 4   will imply that is the only truth. It will isolate one from the larger human community and, where things don't go well, it can issue in a violent personality. We see it in our world today which, as Piko Iyer has said, is becoming a global village. A global village sounds secure, but it's a global city and it's threatening, and the rising of nationalisms around the globe are full of peril and danger, and in the religious sphere the upsurge of fundamentalists is a consequence of fear and the insecurity of those who feel threatened in their little respective selves. If we are not careful in the nurturing of children and adults, we'll be creating persons who are threatened by the other and have a potential for violence. But Paul had an experience and it was an experience of Jesus Christ, and talk about transcending, he takes all of that bundle of credentials and says, "I consider it refuse." Another translation says rubbish. That's a little radical, but then Paul was never known for moderation. But he was so imbued with all of that tradition of his Jewish Pharisaical face, that for him to be able to tie it all in a bundle and let it go was nothing less than a miracle of grace. He saw something more. He was the one with some validity; he is credited as being the founder of Christianity. Not Jesus, but Paul, because Paul saw in the Jew Jesus, in the God of Jesus, the God of Israel who was a God of inclusivity - he saw the possibility of a grace of God that embraced the whole world. Paul was the universalizer, taking his cue from Jesus, and he was able to let go. That's a miracle. Do you know how tough that is? He let it all go and created a whole new community, and I want to say that the only reason for the church is to be a community which can give a sense of belonging and be a center for generating inspiration, emerging in conviction and commitment for the transformation of the world through the tearing down of all barriers that separate humankind, to tear down those barriers that separate us from the other who become so threatening because of color of skin, because of ethnic curiosity, because of sexual orientation. Suddenly we de-humanize, we denature, we demean and destroy. This community is a community of inclusion intentionally, respecting no boundaries or barriers that would divide. It's not easy. It is very easy to nurture, deeply rooting. Giving a narrow sense and a tunnel vision builds strong institutions, builds strong congregations. It's quite a risky thing to tell you that we don't possess all the truth. It's quite a risky thing to tell you that there are other places where the grace is just as free, quite a risky business to tell you that you don't have to be here any more than you have to be here in order to be fueled up to get out there and do the job you are called to do. I'm proud of this place; I'm proud that last night at "A Night of 100 Stars," honoring volunteers in this area, 20% or 25% of the volunteers in this Tri-Cities area came from this community. (Three of our people were very instrumental in putting on that event - Trudy Schultz, Kathy Bolthouse, and Gloria Klinger; there may have been some others involved.) I'm not surprised at all. Peter has been leading the charge into this community for a number of years now because the © Grand Valley State University �Rootedness and Belonging Richard A. Rhem Page 5   purpose of this place is not an end in itself; it's not that this place may exist. It is that this place may exist in order to send people out of here with a sense of breadth and grace and reconciling love that will tear down every barrier and bind together all the people of God, all of the children of God. It's a tricky business, but what a wonderful, freeing thing it is when the fear drops away. What a wonderful thing it is to be able to embrace the other as a brother or a sister, and what a beautiful community this is. We had an Elders' Meeting again this week and I said to the people who came, "I love this community. I'm so proud of it. I believe in it because of the kind of people who are continuing to come to it, all sorts and conditions of humankind. Wonderful." Now, how do you nurture so that you create enough rootedness through a sense of belonging in community that you can go forth, having transcended all peculiarities? That is the task and that is divine. © Grand Valley State University � 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 Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> 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 Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Mother's Day, Eastertide IV Scripture Text Philippians 3:8 Location The location of the interview Christ Community Church, Spring Lake, MI 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 KII-01_RA-0-20000514 Date A point or period of time associated with an event in the lifecycle of the resource 2000-05-14 Title A name given to the resource Rootedness and Belonging Creator An entity primarily responsible for making the resource Richard A. Rhem 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 Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Sound Text Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on May 14, 2000 entitled "Rootedness and Belonging", on the occasion of Mother's Day, Eastertide IV, at Christ Community Church, Spring Lake, MI. Scripture references: Philippians 3:8. Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Community Diversity Inclusive Mother's Day https://digitalcollections.library.gvsu.edu/files/original/6f9963969fed44d074cddb5153f62759.pdf a280183ab9d48ff495031d4dcc5c3e2a PDF Text Text Young Lords In Lincoln Park Interviewee: Rosa Meria Hernández Interviewers: José “Cha-Cha” Jiménez Location: Grand Valley State University Special Collections Date: 3/28/2012 Biography and Description Rosa M. Hernández grew up on Orchard Street, just down from Waller High School. Like many of the Puerto Rican women of that era, she grew up sheltered, kept inside while boys were free to stay out late and roam the streets. So Ms. Hernández was glad to be the neighborhood store errand girl because it was a way to be free and visit with her friends and neighbors, and to see boys. There were other reasons why Ms. Hernández’s family tried to keep her inside in the evenings. Right down the street at Burling and Armitage, the Black Eagles, Paragons, Flaming Arrows, Imperial Aces, Continentals, Trojans and Young Lords would hang out daily until the early hours of the morning, drinking and talking. Even they would not bring their women, though occasionally they would drive around with them in their soupedup cars and stop briefly to chat. Several of these groups also had auxiliary women’s groups, like the Imperial Queens and Young Lordettes, who would be seen during the day. Ms. Hernández knew everyone of importance in the neighborhood from youth to adults, including Eugenia Rodríguez who attended the same churches as Ms. Hernández and her parents. She recalls how everyone in the neighborhood watched out for each other and that even the alleged gangs were polite and courteous to their neighbors. Her oral history provides much insight into everyday life in Lincoln Park during that significant era in the early to mis-1960s for the Puerto Rican community. �Transcript JOSE JIMENEZ: Okay, and whenever you want to start -- ROSA HERNANDEZ: Okay. JJ: -- just start with your name and, you know, like that. RH: Okay. JJ: Okay? RH: All right. My name is Rosa Meria Hernández. The age of 12, I went by the name [as Rosalind?]. I didn’t want to combine my Spanish name, so I put Rosalind, like Rosalind Russell. But I was born here in Chicago on June 12, 1957, Cook County Hospital. My mother was 20 years old. Her name was [Margarita González?]. She came from San Lorenzo, Puerto Rico. She came here to Chicago at the age of 15, married, and my father -- JJ: You know what part of San Lorenzo, or --? RH: Huh? JJ: You know what part of San Lorenzo? RH: Barriada Roosevelt. JJ: Roosevelt, okay. RH: Yeah, from [Lo Arzuaga, Rosales?]. [00:01:00] My father’s from Caguas. His name is [Ramón?] Hernández. He was 24 years old. JJ: You know what part of Caguas? The country or the city? RH: The pueblo that my father is from was, I think, Santiago. JJ: San Salvador or --? 1 �RH: San Salvador. Yes. San Salvador. I know it goes like San. You know, San Salvador. JJ: (inaudible). RH: Where he’s from there. My grandfather is from there also, was from there also, from San Salvador. (Spanish) [00:01:39] [Damian Garai Perez?], (Spanish) [00:01:45]. JJ: (inaudible) RH: (Spanish) [00:02:00] [Felicita Hernández Trinidad?] or Trinidad Hernández. I was born in Chicago in 1957. JJ: Okay, but when did your parents come here? RH: My father came here in 1952. JJ: ’52. RH: Yes. My father came here at the age of 17. JJ: And what did he come for? I mean, what (overlapping dialogue; inaudible)? RH: He came here to work. He started working washing dishes at the Palmer House Hotel, and he had family here, a lot of cousins, male cousins with their families that lived here, so -- JJ: Do you remember some of them? RH: -- we lived in the Lincoln Park area. JJ: Do you remember some of the male cousins [here?]? RH: Yes. [Manolo?] -- last name -- I [00:03:00] forgot the last name. Maloco, [Juancho?] -- JJ: Actually, Maloco was Jiménez. 2 �RH: Jiménez, (Spanish) [00:03:08] a lot of old-timers. You know, there was a lot of old-timers in the neighborhood -- JJ: (overlapping dialogue; inaudible). RH: -- especially in the Lincoln Park area. JJ: Maloco was part of this group they had in [Aguas Buenas?], Hacha Vieja. RH: La Hacha Vieja. JJ: Do you remember them? (inaudible)? RH: Yes. Yes. I remember them because my father had a jacket, a leather jacket, and I used to put it on, and he used to tell me to go hang it back up, and I used to laugh at -- you know, make fun of my dad because I said he was in a motorcycle gang. Some movie that I watched. But we lived in the Lincoln Park area. The first time I remember was that I lived on Orchard and Armitage with a family that my mom [00:04:00] had baptized one of the sons that was near my age. I was three, and I was left with the family, and something happened. My mom left me, and she never came back. So, I remember the first place where my -- even though I remember before, Clark and Barry, memories of my mother, of where we lived because I was little. I have a good memory, but -- was on Armitage and Orchard, 653 -- JJ: You said Clark and Barry, ’cause that’s [up north?]. RH: Yes, Clark and Barry that -- my mom lived there because Clark and Barry -- my mom and my dad, when they first got together, we lived on Belden, or -- when they first got together, when I was born, they lived on Cleveland and Armitage and Lincoln, by the [Old President Hotel?]. Remember [00:05:00] the Old 3 �President Hotel in the Lincoln Park area that had the medicine cabinet to the other apartment? Did you remember that? JJ: Oh, I didn’t know that. (inaudible). RH: Yeah. You shared the medicine cabinets together in the President Hotel. There were a lot of families -- JJ: So, you could see right through to the other apartment? RH: You could see in the bathroom. You shared the same medicine cabinet back in the Old President Hotel, and that was on Lincoln and Cleveland -- Sedgwick. Lincoln and Sedgwick. Yes. And, at that time -- JJ: So, you guys lived in that hotel, or --? RH: -- was when Vitin bought El Coco Loco. Vitin Santiago bought the Coco Loco, and my uncle at that time had the old 1800 Club on Halsted and Willow, which is [Rafa?]. Rafa [Rivera?]. JJ: Rafa Rivera. RH: Rafael Rivera (Spanish) [00:05:55] Turin Acevedo, you know, with the long [00:06:00] hair. That’s how Turin Acevedo [want, like, copied?] that from my uncle, [Padrino?] (Spanish) [00:06:06]. Rafael Rivera. JJ: Rivera. Were they related to [Mario Rivera?], the [store?]? RH: No, no. No Mario Rivera. [El Campo?]? JJ: Yeah. RH: No, no, no. JJ: [They weren’t?]? RH: They were not related, no. I knew Mario. 4 �JJ: So, this was a different Rivera. RH: Yeah, [Del Campo?]. JJ: (Spanish) [00:06:23] So, his club was called what? RH: The 1800 Club. JJ: The 1800 Club. RH: He was partners with someone else. I can’t recall -- (Spanish) [00:06:33] because (Spanish) [00:06:43] -- they had a lot of problems, and it was real domestic. She was a beautiful woman, and she [stood?] with us for a while, and he left, I think to Cleveland. Something [00:07:00] happened where he left to Cleveland. And so, my father went into business with my uncle and the 1800 Club, only for a few months. This was on 1800 North Halsted and Willow Street. JJ: On Halsted and Willow? (inaudible) ’cause the Campo was right there too. They had (overlapping dialogue; inaudible). RH: Yes, right across the street. JJ: So, you had a couple businesses [there?]. RH: Right. So, my father was located -- he lived on Lincoln and Larrabee, right in front of Grant Hospital. JJ: Ramón Garai. RH: Ramón Garai Hernández, my father, and the husband of the -- I called her my aunt, my mom’s comadre, found my father living at that address. At that time, my father had remarried, and I had a six-month-old sister and a six-year-old stepbrother. JJ: Okay. And we’re talking about [00:08:00] what year? 5 �RH: In 1964. JJ: ’64, okay. RH: ’63, ’64. I’ve tried to go back with my mom about things, but my mom did not really like to talk about anything, you know. My dad -- JJ: Why is that? I mean, why --? RH: Because my mom -- at the time, on 1900 North Bissell and Wisconsin, my father mutilated my mother’s face in that bar. That’s one of the dark -- JJ: In the 1800 Club? RH: No, no, no. This was on Bissell and Wisconsin. JJ: It was a different bar? (overlapping dialogue; inaudible) RH: When I was two. I think I was two. They don’t like talking about stuff like that, you know. JJ: So, mutilated meaning that he cut her -- RH: He mutilated my mother in the face. He found her in the bar. I was in the [00:09:00] car, and she was looking for my dad, so I can vouch for that. They don’t talk about stuff like that, but I remember. I was two. From that, my mother totally disappeared from Chicago, and, at two and a half to three years old, I was left in the care of my mother’s godsister, comadre, and, after a while -- I’d say maybe, like, 10 months -- my father was located ’cause my father was nowhere to be found either. I guess, in that time, in that area, things happened. He went - I don’t know where. I think he went to Philadelphia, New Jersey, but, you know, my mom totally just abandoned me. So, I went to live with my dad, and his wife, and my sister, my baby sister, and my stepbrother, [00:10:00] and I grew up on 6 �Lincoln and Larrabee. I think it was 2758 or 2157 -- I can’t remember the address -- on North Lincoln, and it had the porches. It was in an [angle?], and there was the old Stand-JJ: So, this is more like around Belmont or [somewhere?] -- RH: No, no, no. This was on Lincoln, Webster -- JJ: Webster. RH: -- and Larrabee. JJ: And Larrabee. RH: And there was the old Standard Oil station right there. Remember? And the building that we lived in used to be a hall. I don’t know if it was a theater or a banquet, but I remember that they had front gates with chains on it. The building was real big, and it had four floors, and it was combined with -- you know. We used to have a burglar in the neighborhood called [El Gato?], and he used to go and rob in this [00:11:00] building, so -- and we all had our [heads up with?] El Gato. And, from our porch, we could see Larrabee Street and the store there on Larrabee, and Lincoln, and -- JJ: Was it a Spanish store or no, just a --? RH: It was a candy -- they had a lot of candy. JJ: A candy store. RH: I’m a candy fanatic. Me and my brother. My brother and I, we were candy -- we grew up right there. We went to Lincoln School. We went to Lincoln School, and we lived right in front of Grant Hospital. JJ: Where was Lincoln School? Where was Lincoln School? 7 �RH: Lincoln School’s on Geneva, [Terrence?], and Grant Street. Right there. [Belden?] and [Eugenie?]. JJ: By Grant Hospital, right there. RH: Grant Hospital, yes. Grant Hospital is right in front. And that area there -- I used to [00:12:00] go walk to the Carnival grocery store, and, for a couple of years, my grandfather would pick up his granddaughters -- my aunt’s granddaughters -- and there used to be a [Bernardine Ballet School?], and, on Saturdays, my grandfather would pick us up, and take us to do ballet, and read a paper in front while we practiced ballet, my grandfather. Those are one of my most cherished memories. JJ: So, he was really into ballet, or he just [liked it?]? RH: We were into ballet. JJ: I mean, he was into it too, then. RH: My grandfather wanted to keep us busy because we were so many girls in the family. My aunt had, like, seven girls, and my other aunt had, like -- at that time, at my age, she had little boys. The boys started coming -- JJ: Were they all living in the same area? RH: And we all lived in the same area. My aunt -- JJ: Was that a common thing, [00:13:00] for families to --? RH: Yes, we all lived around together, and -- JJ: In Lincoln Park. So, it was common to have -- RH: It was common. JJ: -- [different families?]. 8 �RH: We had family -- we all moved together. We all lived together, and we went trickor-treating together. We went to school together. When we moved from Lincoln, we moved back to that building that I lived in, where my mother left me, which is Orchard and Armitage. I lived 653 West Armitage, and we moved to 657. And then, my aunt, [Heidi?], moved to the second floor, and we lived on the third floor, in front of Robert Waller High School and Arnold Upper Grade Center. JJ: Right in front of the school, right there. RH: Right in front. Armitage and Orchard. Right there. But my most memories are really [00:14:00] Lincoln Avenue, the Biograph Theater. We went every Sunday. JJ: So, if you were with a lot of family [and that?], you actually hung out outside, not like some other women that are sheltered. You were more, like, outside. RH: No. See, we grew up on a porch. JJ: (overlapping dialogue; inaudible). RH: We grew up on a porch, but -- JJ: Okay. What does that --? RH: -- I was the store girl -- JJ: The store girl. RH: -- you see. My stepmother was the kind -- if she wanted to eat a piece of gum, she sent me to the store to get it, so I was always out, you know? I’d go to the store, and I put down my stuff, and I buy me candy, and I swing on the swing. I used to take hours coming back from the store, but I used to go to the store, like, four, five, six times a day in the winter, the blizzard, and the rain, and the cold. It was a freedom for me because we were not allowed -- the only time that we were 9 �allowed, any of the kids in [00:15:00] that neighborhood -- we were not kids that roamed the streets. We were not children -- because there are families in that neighborhood that had nine, like the [Betinas?] had nine, and the [Nieveses?] had eleven. JJ: So, these were big, huge families. RH: Huge families. My aunt had eight. JJ: And not only did they have eleven, but they had other relatives -- RH: And they had other relatives. So -- JJ: -- living in the same neighborhood. RH: So, we all went to school together, so we -- JJ: So, what year are we talking about (overlapping dialogue; inaudible)? RH: I’m talking about -- we moved out of Lincoln Avenue in 1960-- right after the blizzard, ’67. We moved -- JJ: ’67. RH: -- there in ’68. JJ: ’68. RH: Yeah. We moved there. JJ: So, at that time, there were a lot of Latinos still living there, in 1968. RH: The buildings were still there, and the gas station was -- when we moved, you know, because I used to go to the Carnival grocery store. So, from [00:16:00] Armitage and Orchard, I had cut through. Remember, there used to be a playground on Larrabee and Armitage, so I used to cut through the playground 10 �and cut through Dickens into Carnival ’cause Carnival was on Lincoln and Dickens. Now, I was, like -- ’67, I was 11 years old, so I had shortcuts. JJ: Now, going back, now, is that were your father came to live first when he came -? RH: My father first came to live -- was on Belden and Clark. JJ: Belden and Clark. RH: Belden and Clark by Augustana Hospital and that area. JJ: And what year was that? RH: My father came in 1952 to Chicago. JJ: So, he didn’t -- RH: He was 17. JJ: -- live on Chicago Avenue (inaudible). RH: No. He never lived on Chicago Avenue. JJ: But he lived on Belden and Clark. RH: We lived right there, on Belden and Clark. JJ: Okay, so -- RH: He [00:17:00] lived right by the warehouse where they had the St. Valentine’s Massacre. JJ: Right, (overlapping dialogue; inaudible). RH: Because he would show us. JJ: Right. RH: He used to take us on a tour on Sundays of the neighborhood. My father taught me Chicago history, which I now -- 11 �JJ: So, were there more Puerto Ricans living there [on Belden at that time?] (overlapping dialogue; inaudible)? RH: Yes, at that time, yes. Really, everybody started settling -- JJ: In ’52? 1952? RH: 1952. Everybody started settling into the President Hotel. That’s where everybody was a couple. JJ: Now, there was a Lincoln Hotel. Was it the President Hotel or the Lincoln Hotel? RH: Was it the Lincoln Hotel? JJ: Maybe it was the Lincoln Hotel. RH: But then, it was changed to the President Hotel. JJ: Maybe it was called President Hotel too. RH: It was changed to the President Hotel. JJ: (overlapping dialogue; inaudible) there was -- RH: Because there was a candy store right across the street. JJ: I just want (overlapping dialogue; inaudible) -- RH: The same area, same hotel. JJ: Oh, same hotel, [just changed name?]. RH: So, everybody that started coming into -- [that lived?] because we had the old Harrison Gents on Halsted [00:18:00] South, you know, Halsted past Elston. Was it? Past Elston? Halsted? JJ: Over by Division, by --? RH: Right. Right. That’s where there were families from there, like -- oh, God. There’s some families that came from that way, but the brothers started coming 12 �from the families, and the sisters. Everybody married into people from the neighborhood, so everybody that married went to live at the Lincoln Hotel, President Hotel. They all went to live there. And then, once they had children, they couldn’t have their kids there. JJ: And this was a hotel where the -- RH: On Sedgwick, Lincoln -- JJ: Right, but, I mean, it had the -- RH: -- and Cleveland. JJ: What else? What other features did it have besides the -- RH: Oh, okay. JJ: -- medicine cabinet that --? RH: The [00:19:00] other feature about the Lincoln Hotel was -- JJ: [Just try to?] describe what it looked like. RH: It was tall. It was a tall building. I think it was, like, seven stories high. Think it was seven stories high because it had a old elevator. I used to be scared of that elevator, and my father -- JJ: But was it apartments or -- I mean -- RH: Yes, there were rooms. It was a hotel, so, apparently, there were rooms. It had close to 80-something rooms. JJ: So, a whole family lived in one room? RH: No, no, no, no. No. Certain couples, you know, from the families. Like, one family would have a brother, or they would have a sister, or two brothers, and, once they met women from other of our families, they would go live there before 13 �they rent an apartment, you see. But I know that there were no kids there. You could have the babies, but you [would have?] no kids because there were some families in [00:20:00] that hotel that snuck children in, and they would fall out the window. That’s why they closed the hotel, ’cause too many kids were falling out the window. JJ: Oh, there were kids that were falling out the window? RH: So, that’s why it was closed down. JJ: Okay. So, that did happen (overlapping dialogue; inaudible). RH: That did happen, yes. It did happen. So, we never [intervened?] with the West Side, like to Humboldt Park area. We didn’t know anything. We mainly kept in the Lincoln Park area because we had the lake right there, and we had the zoo, and we had -- the zoo wasn’t built -- we had the zoo, but we didn’t have the farm yet. The farm was built in ’70, around that time. JJ: The Lincoln Park Zoo farm? RH: The farm, when the brought -- JJ: The farm. RH: -- the cows and all that stuff. JJ: But you had the lagoon? RH: Where our parents used to drag us to the dairy, where they -- and it stunk. JJ: [00:21:00] Were you involved in any organization? Was your family involved in any organization? RH: Yes. My family came from North Avenue and Western, [Los Hijos de Caguas Sociedad?]. Los Hijos de Caguas. 14 �JJ: On North Avenue -- RH: That’s where we had all our weddings, all our baptism parties, all our cotillions, all our -- we were members of that hall. That’s where I started meeting kids from the West Side, like the [Suchet?] family, [Raymond Suchet?], and a lot of -- the [Cruzes?] from Division, [George?] Cruz. I started meeting them because I knew them when I was little from this club that -- you know, where everybody would get together for weddings and events. We would see the [Condes?], Lily y Su Gran Trio come. At that [00:22:00] time, a lot of singers -- because, see, my mother’s related to [González?] from La Rosa del Monte moving company. Forgot his name. JJ: Not [Ramos Movers?]. Not them. RH: No, not Ramos. Not (inaudible). No. JJ: [The González movers?]. RH: No. González. JJ: González. RH: Yeah, he was from San Lorenzo Express, and then he opened his own. I this it was La Rosa del -- no, he worked for La Rosa del Monte Movers, and then he opened San Lorenzo Express. That was my mother’s cousin, [El González de?] San Lorenzo. They’re from San Lorenzo. So, we, growing up -- JJ: Were there a lot of people at that club, or -- I mean -- RH: Yes, there was a lot of [00:23:00] members because my uncle, my godfather, Rafael Rivera, was one of the -- like a [shrine?]. They had banners. He was a -- JJ: [In the club?]? 15 �RH: -- loyal members. JJ: So, these were, like, lodges today, what they call -- RH: Right. So, he was a loyal member, my uncle, and he -- JJ: I didn’t know they got that elaborate, that fancy, with the club. RH: Yes, they used to have -- that was our hall. JJ: They had officers and all that stuff? RH: Yeah. [La Sociedad?] Hijos de Caguas. JJ: Okay. Society. Society. RH: Yes, it was a society. Yes. And so, my uncle was one of the true members, loyal -- JJ: And he had a uniform? RH: No. He had a suit, but they would wear, like, this big banner thing. JJ: [Oh, I see?]. RH: Like, president banner, but, you know, they didn’t have no funny hats like the Shrine brothers. JJ: Okay. And then, they would be part of the parade or something? RH: Yes, they used to -- JJ: [They would participate?]? RH: -- be part of the parade. And, [00:24:00] at that time, we were mainly -- a lot of the families, the children were kept indoors at the time because there was no gangs. There were no gangs. JJ: There were no gangs? RH: The boys -- no. 16 �JJ: In Lincoln Park? RH: No. No. Now, Lincoln Park, there was -- [as?] growing up, they started to become gangs. JJ: But, in the beginning, there were -- RH: But, in the beginning, we’d never seen any gangs. All we knew about was the Harrison Gents, you know, and, as we started growing into -- the only first really society of organization was the Young Lords. JJ: Okay. That was later. RH: That was, yes, later. That history there, for me, was the heart of my neighborhood. JJ: Can you explain that, or -- I mean, we can go back to it later too. RH: Because, at that time, see, we lived in that neighborhood. We were behind [00:25:00] Cabrini-Greens. We had Cabrini-Greens on Division and Halsted. We had them close. There was a way you could get to Cabrini-Greens. Even though there were Spanish families that lived in Cabrini-Greens, like the [Negrons?], Quiñonez family, you know, Adolfo Quiñonez, the breakdancer -- for breakdancing. Yes, he came from Cabrini-Greens, and a lot of -- there were some families that were Latinos that lived in Cabrini-Greens, so we did a lot of going into Cabrini-Greens when I was a little girl, like, maybe five, six years old. JJ: To visit the families, or --? RH: To visit families. See, my father was a chef later on, international chef, and he drove a taxi in the day, and he delivered bread for the Gonnella bread company. [00:26:00] My father had three jobs. So, you know, he delivered bread from four 17 �in the morning until ten o’clock, come home, take a nap, get up at twelve, one o’clock, drive a taxi ’til four o’clock, get home, eat, and then go to the restaurant from six to two. My father was a master chef on Lake Shore Drive. JJ: You said he did work at the Palmer House. RH: Yeah, but -- when he was younger, he washed dishes. [When? What year?]? You know, when he washed dishes -- he originated working in the job in a restaurant in a hotel, my father. My father started to learn -- he mainly became a dishwasher, my father, and I guess he learned in the restaurant, you know, the area, the cooks and that. So, my father became a chef on [00:27:00] Lake Shore Drive, 1400 North Lake Shore Drive, called [Le Coq Au Vin?], and, at that time, the owner’s sister or mother lived in the apartment next -- we moved in in that apartment because I remember it was all furnished. See, that apartment was furnished because, you know, there were the Nancy Drew books, the Trixie Belden books, the Hardy Boy books. See, when we were growing up in Newberry and Lincoln School, my father didn’t want us to speak Spanish. He wanted us to learn English the right way. He wanted us to learn Spanish. He put us in TESL, which was Teaching English in the Spanish Language, but we were already English because we would speak [00:28:00] English, and we spoke Spanish to our parents, but our parents wanted us to make sure we were fluent in writing and reading, so he made us go to the classes, and, in certain areas -- JJ: How was his English? RH: Huh? JJ: How was his English? 18 �RH: That was easy. That -- JJ: I mean, how was his English? RH: His English was broken up, but, you know, my father talks English, but he has the Puerto Rican accent. My father, and my mom too. They know how to defend themselves in English. JJ: But do you think that was a reason that -- RH: That we -- yeah. They learned from us. JJ: That he wanted you to speak perfect English. RH: Yes, to teach -- what happened was it was a interchangeable thing for -- we were teaching them English too. They paid attention because, see, they had to keep up with us, you see. [00:29:00] My brother would say, “Hurry up. Let’s finish up your chores, and we’re gonna go to the show.” And, you know, my dad would pop out. “What do you mean, ’the show?’ Why are you gonna go to the show?” And we go, “Dad, Dad, we’re gonna go to the Biograph. We want to see the Beatles movie, or we want to see Godzilla.” “Oh, well, I don’t know. How long is that gonna be? How long?” “We’re gonna come back at 10 o’clock.” I remember we used to come back, walk on Lincoln Avenue. This is Lincoln Avenue. JJ: You went to the Biograph? RH: The Biograph. Our -- JJ: Was that the neighborhood show? RH: That was our neighborhood show. JJ: So, were there a lot of Spanish people that went to that --? 19 �RH: Not really because -- JJ: (overlapping dialogue; inaudible). RH: -- my brother and I grew up very interested in history. We were movies. We were always in front of a TV, my brother and I. We watched everything. We were housebound children, you know, except for me. I was always in the store. Sometimes, I’d run and get [00:30:00] some [homework?], or sometimes I’d run to my aunt and see if she needed anything from the store. See, I made my candy money. I would make candy money, which, later on, turned into cigarette money. JJ: Candy to cigarettes. RH: Because I was very nervous girl. A lot of Latinos in that time were very hard, disciplinary people, you know. We didn’t get the time out and the little punishment. We got whupped. We got our butts -- JJ: No time out, no. RH: -- kicked. They’d beat us like a man. Oh, and don’t swear. They’re swearing all over the place, and, if you say one swear word, you’re dead. I used to tell my dad, “Why are you hitting me? You swear.” He goes, “Yeah, but I’m a big man. I [00:31:00] work hard.” JJ: But how did he feel later? I mean -- RH: After that, we -- JJ: But was that a common thing? I mean -- RH: No. We grew up with -- JJ: Was that only your father, or were -- 20 �RH: Everybody. JJ: In the neighborhood? Everybody? RH: Oh, yeah. Everybody had strict fathers. See, we came from a household, that neighborhood came from a house -- every household had a mother and a father. JJ: Okay. So, they had a mother and a father. RH: And, now, as we’re older, we found out the father had women too. The men in that neighborhood handled two families at a time. Sometimes three. They had kids somewhere else. JJ: You found that out later? RH: And we found it out later. You know, once we got started going into high school, you meet a girl that’s [Linda Hernández?], and I told my dad, “Dad, there’s a Linda Hernández in my school,” and my father goes, “Oh, that’s your sister.” “What? I have a sister?” Like nothing [00:32:00] because they never talked. They never came to visit. [I didn’t have any?] brothers and sisters, you know? JJ: So, it was common for men to have mistresses. RH: Yes, mistresses. They pass them as their cousins. JJ: And what about their wives? What did they think about that? RH: Their wives were too busy taking care of the kids, and cooking, and cleaning, and giving us lunch. You know, we didn’t eat lunch at school. They had to cook us three meals a day. Our favorite was coffee and corn flakes growing up. JJ: So, there was no lunch program or breakfast? RH: There was no lunch program. There were times that kids used to get hit by a car. They’d see ’em in the morning and, “Hey, what happened to So-and-so?” “Oh, 21 �did you hear? He got hit by a car.” “What?” You know, we all had to run home to see Bozo. We had to run home and see [00:33:00] Bozo, so our lunch was Chef Boyardee spaghetti and meatballs and white rice, or guanimes, with habichuelas. JJ: What is guanimes? What is that? RH: That’s flour -- like dumplings -- JJ: Dumplings, okay. RH: -- that my stepmother would make these long -- they looked like icicles, long ones, and then she’d make them, and boil them, and boil them, and she used to bake them, and, by the time we came for lunch, we had beans and guanimes, and sometimes eggs, papas fritas, French fries, and amarillos. That was our lunch. Then, we go, ten to one -- JJ: Amarillos are what? What --? RH: Soft plantain, yellow plantain. Bananas. Plantain. Platanos. That was our lunch. That’s what we grew up on. [00:34:00] We did have a milkman. We did have a milkman. I remember my stepmother’s sister’s husband [Joe?] used to be the driver, the milkman, and it was run by the Home Juice Company, and they were gallons that you would leave out on the porch, and he would pick them up and leave the milk. I remember that. But, see, I had to go buy the milk myself ’cause my stepmother -- she didn’t invest in none of that, but I used to remember him driving the little truck and the bottles clanging in there. And, in the summer, everybody was an ice cream driver. See? My dad tried it one summer. He went, and he got an ice cream truck, and he put everything in there. Ice cream, 22 �nuts, bananas, cherries, [00:35:00] pineapple, and he stuffed it up, and he went to take a nap because, see, these men loved naps. And this is in the Halsted and Armitage area. I’m still talking about Halsted and Armitage. JJ: It sounds like there’s a lot of Spanish people living there. RH: A lot. It was everybody. You know, the baker was Puerto Rican. The cleaners were -- they were Cuban. They were always [there, Cubans?]. That was the cleaners, our cleaners. They became mega-rich with us because, then, after the ’90s, the yuppies moved in. They’re still there. They still own that cleaners. My godfather was (Spanish) [00:35:48]. He upholstered furniture. [Charlie?]. Charlie -- forgot his name. He was like my godfather of water, and he upholstered. He was the upholsterer. [00:36:00] He had a shop on Halsted and Armitage, and he would upholster green, and yellow, and blue, and white vinyl on the couches. JJ: So, you had the godfather of water. What do you mean? Was that confirmation or baptism? RH: Yeah. Okay. Back in the days, coming from Puerto Rico, they all were families, and friends, and cousins, and stuff. What happens is, when they’re best friends, and they’re in a party, and the wife’s having a baby, you know, the men are like, “Oh, I want you to be my kid’s -- put water on my baby.” You know, before you get baptized, they put water on you. JJ: So, they would baptize you first. 23 �RH: Yeah. So, I have four godfathers. I have Charlie, the one that put water on me. I have Rafael Rivera, the one that bought my dress. [00:37:00] I have another godfather that drove us to the church, and then I have my real godfather. JJ: You said your real godfather? RH: My real godfather. JJ: Why is he the real one? RH: He’s the one that baptized me. He’s the one that baptized -- JJ: So, the other ones were -- RH: The other ones -- JJ: -- (overlapping dialogue; inaudible). RH: -- were just friends. JJ: But in case you got sick before you got baptized. RH: Right. In case, like me, when I busted my chin on the porch. JJ: In case you passed away. Then, you already were baptized. RH: I was two, and I remember, and I know my father was with my mother at that time. JJ: So, these were Catholics, then? So -- RH: We were all Catholic. JJ: Were most of the people in the community Catholic, the Latinos? RH: Yes. We were all Catholic, yes. JJ: So, where did you go to church? RH: We went to church at St. Michael’s. We were all baptized at St. Michael’s in the Lincoln Park area. [00:38:00] Father Kathrein was very busy. 24 �JJ: Father Kathrein. (inaudible). RH: Yeah. He was very busy. He did all the baptisms, all the weddings, and there weren’t too many sweet 15s. You know why? Because we were all -- there were struggling families. There were families -- like, my uncle worked in the day and then worked on the Turin Acevedo Show, and my other uncle, his brother [Pedro?] that lived on Howe Street, he worked at the gas station, the Gas for Less, right there on Armitage and Sedgwick. That was my uncle, [Tío Pedrito?]. JJ: That’s when gas was 50 cents. RH: Right, right, right. That’s when we used to put air in our -- well, see, we didn’t ride bikes, but, you know, my brother and I, we used to go with -- my brother never went outside since [00:39:00] Lincoln Avenue. My brother [Josi?] -- that’s my stepmother’s son. That’s my brother. JJ: What do you mean, “never went outside?” RH: Huh? JJ: Never went outside? RH: We never rode bikes. JJ: Oh, I see what you’re saying. RH: We weren’t allowed to jump rope because I was always clumsy. I was always getting hurt, so I never played gym. A lot of the fathers never let the girls in that neighborhood play gym. Okay? But, when we got affiliated with the neighborhood, affiliated, we got to know people in the neighborhood because we used to see the guys with the berets on, the purple berets, you know, which -- JJ: The Young Lords. 25 �RH: Yeah, and we said, “Wow, what is that?” And my brother said, “I’m gonna be one. I’m gonna be one of those.” And I go, “They don’t even know you. You never go outside. You got to be outside.” Plus, you know, we were terrified of my mom, his mother, but she [00:40:00] just protected us. She was overprotective. JJ: Now, you said that you saw the purple berets, and were they big? You said they were big in the neighborhood, or what do you mean? RH: They were mainly everywhere. They remind me of the Guardian Angels at first, like the Guardian Angels are at first, because there was a lot of -- a lot of crime started happening after Martin Luther King got assassinated. We started having a lot of [hostile?]. The neighborhood started getting dangerous, or bad, or not safe at night. A lot of poetry was written about the L on Sheffield and Willow. There’s a poem. “Under the L”, it’s called. There were certain areas you couldn’t go at night. I did a lot of babysitting, [00:41:00] mainly a lot in Magnolia, and Racine, and Lakewood, as I got older. When I was in eighth grade, I was walking dogs in the neighborhood. I was making money every Saturday because, you know, I grew up deprived of -- no clothes. I wore clothes from the second-hand store. By the time I went to eighth grade, I had everything paid. I paid everything myself. I left home at 12. I went to live with my mom. When I met my mom, she lived on Halsted and Webster, and I went to live with her and her boyfriend that was living with us, and I had already been to school. I was pretty good in school. I just was not happy at my stepmother, even though [00:42:00] my brother and my sister -- leaving them behind, but, at that age, 12, I learned a lot of 26 �perspectives things, important things, being a Hispanic. I used to pick up your newspapers and read them. JJ: When you say you -- the Young Lords? RH: The Young Lords’ newspapers. I used to even take some to school with me. I used to -- JJ: Why would you -- so -- RH: Because I wanted my friends to read stuff that -- you know, we were kept in the dark about things because our family really -- we didn’t have no history of the neighborhood. A lot of people now, they come, and they know I know my history because I know every building [has its?] history, and I was privileged [00:43:00] to have the English language put in us because we were -- some of us ended up in summer school, lot of us, and it wasn’t because we weren’t smart. It was because it was open. There were teachers in there, so we had to go. That was the summer. A lot of us were in summer school. So, you know, as we got into older, we weren’t into -- the teenage pregnancy came out in the neighborhood, and I got caught into it at 15, but I was responsible. I don’t have a police record. I never stole. I never -- JJ: So, were they trying to make that, like, criminal, or --? RH: Yeah. The neighborhood was mainly [00:44:00] falling -- JJ: What do you mean? RH: -- apart. JJ: What do you mean, falling apart? 27 �RH: Like, falling apart -- as I was growing up, some mothers that had single children had to go work because they were separated, but, you know, some had -- as we got older, the fathers were there when we were little, and I was (inaudible) growing up and wondering. I was the wonder girl. I wondered, like, wow. I knew my mother’s name. I remembered her face, and I was, like, on a hunt, so, when I met my mother at 12 years old on the corner of Halsted and Armitage, I knew who she was. I had memories of her, and I left my dad. That was the -- JJ: All of a sudden, she appeared there [00:45:00] on Halsted and --? RH: She appeared. She lived on Halsted and Webster. She lived in the neighborhood. She had came back in the neighborhood. She was around. She was around because my stepmother used to let her come in when I was little. She was around. It’s just that I was -- my dad kinda protected me from that, but, growing up, you know, you make something in school for Mother’s Day, and I wasn’t really -- I felt I wasn’t my stepmother’s child. I was just a kid that she was taking care of, but, for mother’s day, I always brought my father something. Anything I made in school was for my dad because my dad was all I had. You see? My dad was all I had, even though I had cousins, and his sister, and my uncle’s brothers, their family, and [00:46:00] I kind of grew up [by myself, really?], but my brother, he protected my childhood, you see. As we got older, my brother would be in the yard, playing with the friends downstairs. I had to go upstairs. My brother wouldn’t let me be out there with his friends. JJ: This was your older brother? RH: This is my stepbrother. 28 �JJ: Stepbrother. RH: And, you know, my father didn’t like us sitting on nobody’s lap. The only person we could sit -- at a certain age because Abuelo was like that too. Once you’re seven years old, you’re off the lap. We weren’t -- JJ: So, you had rules like that. RH: Yeah. JJ: Don’t sit on nobody’s lap. RH: Don’t sit on no man’s lap. JJ: Any other rules like that, or --? RH: Yeah. That’s -- JJ: Any other type of rules? RH: Yeah. When people came over, like my dad’s friends and their wives, the wives would be with my stepmother in the kitchen, and they would come with kids. We weren’t running around the house. We were in our [00:47:00] room, and I was the waiter. [Papi?] called me (Spanish) [00:47:06] because I would bring the beer and light the cigarette. That’s how I started smoking. He’d say, “Here, go light the cigarette for me.” And I’d go, and I’d light the cigarette, and I’d smoke it and bring it back, and he’s like, “What happened?” I go, “I had to walk down the hallway.” That’s how I started smoking. I was, like, eight. JJ: So, when visitors came, you were the waitress. RH: Yeah, I would serve them. I’d be around. I won’t be in their way, but I knew the timing. See? I’d bring ’em new beers and empty the ash tray. You see? I was the waitress, so Papi always called me (Spanish) [00:47:48]. “(Spanish) 29 �[00:47:48].” I was the waiter, and I still do. I do that because I have a problem -I have to be on a [00:48:00] track. A pattern. I have a pattern. I suffer from, like, OCD. I’m always -- like, if I’m talking to you, and you have something here, it has to come off your face. JJ: OCD stands for what? RH: I forget the name of it. I have it. It’s written down. I just got diagnosed with it, so -- it’s where you’re perfectly -- everything has to be perfect. If you have a carpet with fringe on it, you got to make sure they’re straight. Like, if I see that dirty, that plant, I have to clean it. I was real bad, but, now, I don’t think about it, but, when I was little, I was like that, but I never knew I was like that, and I was a reader. [00:49:00] I always had a book in front of me. I read all Nancy Drew, all those big books that were in that library. See, I have a library. I have books everywhere. This is all me. All these books, everything, that’s what I cherish. That’s what I learned in school. I didn’t carry books going home. I stole them. I’d steal a book, and leave it at home, and mark down my homework, and I didn’t have to carry books coming from school. I’d just go home. Sometimes, my dad would have to pay for a missing book that I would keep, but I have books that my father gave me when I was little. I still have ’em. JJ: Now, this was a community, then, when you were growing up. RH: This was a community. We all went to the library together. [00:50:00] We were not troublemakers. There was music everywhere. See, I loved music. I always had a transistor radio, or I had -- my grandfather would buy me all types of things. My grandfather bought me the record player that you carried. My 30 �grandfather had us radios. He had us watches. I had a good upbringing. I had a good upbringing. We weren’t poor. We weren’t that poor because my dad had three jobs. My dad was a moneymaker. My stepmother, (Spanish) [00:50:40]. She used to make things for tables, towels, which I hated, with the [doll’s?] faces on them. Oh, my God, I hate those. Or the toilet tissue covers. My stepmother sewed everything. My stepmother made everything. But, you know -JJ: Were there other [00:51:00] people in the neighborhood like her, that --? RH: Yeah, there were people that were selling clothes, like the Negron. [Josephine?], [Josefina?], she used to sew (Spanish) [00:51:11]. There was another -- JJ: And this was house-to-house that she sold them? RH: There was another man with -- (inaudible) sold a lot of the (Spanish) [00:51:19] and the curtains, but we weren’t into curtains. We grew up with the plastic curtains. Remember the plastic curtains? My stepmother did not like curtains, so, now, you’ll see, I don’t like curtains either. JJ: (inaudible). RH: She hated the dust. It drove her [nuts?], my stepmother, so I grew up with no curtains. I only have ’em in my bedroom. That’s why I will not -- and I’ve got -- JJ: But you decorated [and everything looks good?]. RH: Yeah. I don’t like curtains. I think they’re messy. I like the light. I like [00:52:00] the light because I grew up with brightness, you know. We grew up mainly -Chicago area. We grew up in a neighborhood where we had to learn how to sit. We go to somebody’s house. We had to sit down. We couldn’t jump around. 31 �We had to sit there. We were asleep while everybody played dominoes at one, two in the morning, but we’re still sittin’ there. JJ: The kids just sat in the living room. RH: Yeah. Our father’d sit us there, and there you sat. There, we would play, and throw things, and stick our tongues out, and me and your sister, we used to jump everywhere. We drove your mom crazy. I remember. I think you had yellow and green sofas. JJ: In my house? In our house? You got a better [00:53:00] memory than I do. RH: Yellow and green, ’cause we would jump from one sofa to here. Not jumping. Just playing, me and Daisy. We were always playing, and my Papi would be in the kitchen. JJ: Daisy, my sister. RH: Uh-huh, your sister Daisy. And I remember your sofas were so cute ’cause they had little leaves on ’em. JJ: [That’s right?]. RH: And I don’t know if they had plastic. I think they had plastic later on. JJ: I think we did. RH: Yeah. Yeah. But we were always playing, me and Daisy, and she was blonde. She was blonde. JJ: I think she dyes her hair. RH: Yeah, but she was blonde when she was little. JJ: Well, that might have been -- I think [Myrna?] had more blondish -- RH: Uh-huh, more blonde, but they were light. They had pretty eyes and everything. 32 �JJ: Yeah. Daisy’s hair is more dark [now?]. RH: Uh-huh. JJ: (overlapping dialogue; inaudible) but she dyes it, though. (inaudible). RH: Mm-hmm, and we used to play together, me and her, and she was fun. She was -- JJ: Yeah, you were telling me (inaudible). RH: She’s fun. I’ll never forget that. I still can see her playing. JJ: [00:54:00] Was this on Bissell, when we lived on Bissell, or --? RH: You know, I think when you lived on Bissell. JJ: Okay. So, you lived on Bissell too. RH: No, I had [Pilar?]. Remember Pilar, that lady? She had her husband, and then he died. JJ: Oh, okay. You were babysitting? RH: She lived on the first floor. (Spanish) [00:54:17]. She was a friend of my family. She knew all the families, and she had no children, so she used to pick me up for the weekend, and I remember playing on Bissell and Wisconsin. Remember, where the train track? But you couldn’t go through the other side. It was closed. You could only go through under by -- JJ: Right, they had that tunnel. RH: -- Mulligan. JJ: They had the tunnel by Mulligan. RH: The tunnel, but not there. Not on that part, on Wisconsin. It was just closed up, and there were two buildings. One on the corner, the bar, the 1800 bar right 33 �there, and then, there was the red brick building ’cause that’s where she lived, [00:55:00] [Tía Pilar?], and she used to pick me up for the weekend, and I used to go and play with the kids in the neighborhood. That’s when Dad would come and get me, and we’d go to your house, like, on a Sunday afternoon. JJ: I know my mother did a lot of work with Father Kathrein too, so maybe your family were connected [in that way?]? RH: Is she still alive? JJ: Yeah, my mother is (inaudible). RH: Wow. God bless her. I remember her house. I still remember it. JJ: And the leaves on the furniture. RH: The furniture. JJ: With leaves. RH: With leaves. I never seen sofas with leaves in my life, and it was a sectional. It was a weird sofa. It had the table already or something on there. JJ: In the middle, yeah. RH: In the middle. It had it in the middle -- JJ: [I remember that?]. RH: -- or something. It was -- JJ: (inaudible). RH: I know we would jump from -- we would go like this on our [00:56:00] arms, like jump, you know, like, twist our legs around. We were little, and I know we would hit it, and turn around, and hit the other -- we would do that, me and Daisy, and your mom used to be yelling, “(Spanish) [00:56:12].” And then, Papi’d stick his 34 �head out, and I used to sit down. My Papi’s like, “You better not be jumping,” and I -- “We’re not jumping,” and Daisy’d go, “We’re not jumping. We’re playing.” And so, growing up, once we got to junior high, which was Arnold, sixth, seventh, and eighth -- when I came out of Newberry, it was only fifth grade, and I came into Newberry at third grade because I was at Lincoln School from kindergarten ’til that summer we moved to Armitage and Orchard from Lincoln Avenue, and we went to Newberry, and I went in third grade. [00:57:00] And, from third grade, we went up to fifth. My brother went first to Arnold. I [was still in?] fifth grade. I was the last one [to stay?] that year, but I walked down Orchard Street, straight down, and my brother went to Arnold. Then, when I went, sixth grade, to Arnold, my brother was already in seventh or eighth grade, and I did sixth grade, and I was very quiet in school. I was very quiet. I did all my work. I had good grades. My father said I had good grades, but, when I got to Arnold, I started getting a little funny, you know, tell jokes and stories, and I felt -- I was a friendly person. I didn’t look trouble for nobody. [00:58:00] I wasn’t a bully. I wasn’t scared of bullies. I wasn’t scared of anybody because I had a grandfather that talked to us, a father that warned us, and I had a brother that was there for me, even though I didn’t need nobody beat up. I was friends with everybody. I had no enemies. The only enemies I had was how I lived with my stepmother, and it wasn’t an enemy. It was a thing that she went through, and I endured it, but I overcame that myself. I started reading very young. We all started reading very young. We read everything. We were taught everything in the school. We paid 35 �attention. We never ditched school. It was impossible to ditch school, [00:59:00] to play hooky, because we lived right there, in the neighborhood. JJ: You lived right in front of the school. RH: I lived across the street. My [friends were like?], “Come on. Let’s ditch school.” I’m like, “[Girl, are you?] crazy? I live across the street. My father’s a cab driver. My grandfather’s out there. My uncle. I’ll be dead by the time --” JJ: (inaudible). RH: We could not ditch school. JJ: The teacher wouldn’t catch you. Your father would catch you in the cab. RH: Everybody. Even if somebody in the neighborhood said, “(Spanish) [00:59:31], Ramón, I saw your daughter.” He goes, “Oh, my God.” JJ: So, the neighborhood kinda watched out for everybody. RH: Everybody, yeah. JJ: Everybody’s kids. RH: Mm-hmm, and the girls, my friends, they had, like, six, seven brothers. I met my brothers when I was 12. I had, like, five. I found out I had more brothers with my last name, my sister and my three brothers, and I was [01:00:00] jubilant. I had brothers. So, their brothers became my brothers, so, altogether, I had 11 brothers. JJ: Big family. (inaudible). RH: So, I used to say, “I’m gonna bring my brother.” But everybody, you know -- so, I think it was -- when I came into Arnold, eighth grade, I changed my name. Rosa was gone. She was dead. I was like, “I hate that name.” [My father’s like?], 36 �“That’s your name. That’s the name you’re gonna stay with. That’s the name that’s gonna go on your tombstone.” And, “I hate that name.” Rosa, ’cause everybody used to say, “Rosa posa, Rosa posa,” and I remember, third grade in Lincoln School, before second grade, when I started reading about Rosa, the little Mexican girl in the potato sack dress, everybody would make fun [01:01:00] of me because of that book, and do you know, José, that I still have that book? I stole it. I said, “Ain’t nobody’s gonna read this book ever again,” and I still have it, and it’s a book that said “Rosa.” The book is Rosa, and it’s the little Mexican girl in a potato sack dress, and I hated that book, and everybody’s like, “Oh, Rosa, Rosa,” and I’m like, “Oh, why --” So, one day, I stole that book. I took it with me, and I still have it. I still have that book. I said, “Nobody’s gonna ever read this book again, ever again.” So, when I got into Arnold, I took my sister’s name. I met my sister, [Linda?], so I said, “You know what? I like Rosalind Russell. I like that name, so I’m gonna put myself Rosalind.” [01:02:00] And, every time I would put my homework or my (inaudible), my teachers would scratch it out with a red pen, and I still would write it, and still would write it, and still would write it until, legally, I kept it. So, now, it’s my alias now. I can’t use it, like, in a bank account or sign checks, but I went to school under that name, so that’s what’s -- Rosalind Hernández. And so, when I came back from eighth grade, when I went to eighth grade, I was Rosalind, and Rosa was gone. She was gone. People’d say, “Do you have a sister named Rosa?” I’m like, “Yeah. I’m her sister, Rosalind.” People thought I was two people ’cause we had imaginary -- we were [full?]. We had imaginations and stuff. So, the 37 �neighborhood, like you said, started getting really [01:03:00] [caution?]. We started going into high school and that, junior high and high school. The neighborhood was getting -- it wasn’t falling apart, but it was getting kind of -things you hear, you know. Things you hear. JJ: So, there was more crime, or --? RH: It was starting to get more crime. JJ: So, in the beginning, it wasn’t that -- there weren’t that many gangs? RH: You could walk anywhere. Anywhere. You could walk anywhere, but -- JJ: And this was when there were a lot of Latinos there. RH: A lot of Latinos. JJ: Like, you could walk anywhere. RH: And, mainly, it wasn’t that bad because, like I said, most of the friends that I had, they had a lot of brothers. So, when I would go to see my friend on Fremont Street to pick her up for school, [Olga?], Olga [Santos?], she had, like, four brothers, or Nieves, [01:04:00] they had, like, eight brothers. So, everywhere you walked, they would go, “Hey, what are you doin’ over here?” And we used to say, “None of your business.” And they’d go, “Hey, don’t talk to me like that, you little shrimp.” They used to call us shrimps. “You little shrimps.” And I’m like, “I don’t care. You’re not my brother. You’re not my brother.” And then, their sister, I had to be nice to them because they wouldn’t want me hanging with their sister. So, the brothers were protective of all the girls, of their friends, their sisters. So, you know -- JJ: So, there was just a common respect at that time -- 38 �RH: A respect, yes. JJ: -- for -- RH: Like, we didn’t get in nobody’s car we didn’t know. We didn’t do that. JJ: And everybody knew each other. RH: We all knew each other, but my father was a person that raised us on our guard. JJ: So, when did it start going down? About what year? Do you [remember?]? RH: Excuse me? JJ: About what year did it start going down? RH: [01:05:00] 1976, ’77. JJ: Around that time is when it down completely, the neighborhood? RH: People started movin’ out of the neighborhood. They wanted to take their -- I don’t know. They all moved west. I lived on Sheffield and Armitage until 1978. JJ: ’78? RH: 1978. By then, I had three children. I had them in a youth center. Across the street, there was a Chicago Youth Center on Sheffield. 1930. I lived 1930 North Sheffield, and there was a youth center across the street, so I had my kids in the youth center, and I went to DePaul. I took the train, and then I’d go to school, and then I’d come back. JJ: So, you went to school at DePaul. RH: I went to Truman [01:06:00] in 1978, and then I went to DePaul in 1979. JJ: This is the college, DePaul University? RH: Yes, right there. DePaul University. Lincoln Park campus. JJ: Now, did you --? 39 �RH: I had one class in the Lewis and Clark. JJ: Oh, the Lewis and Clark. RH: Yeah. JJ: [But then?] you graduated? RH: No, I was an undergraduate. JJ: An undergraduate. RH: I just went for liberal arts, and I went for -- I took undergraduate. I was starting already to go -- but I was accepted into DePaul University, and, even though I came out with Cs, but I tried because I had three kids, and I didn’t have a nursery for them at the time, until I did move on Sheffield at the end. But, you know, I got (inaudible) said you get your credits together. You do something, and you stop, and I went back, and I got all my stuff, what I needed. [I just have?], like, four and a half credits. That’s all, but it was just a term [01:07:00] that I went. I went the winter and spring. I went two terms. JJ: Okay, two terms. RH: I went two terms, which was 1,100 dollars apiece. And then, I had my books. I still have my books. I got my books still. I went liberal arts [skills?]. Liberal arts, I went to [skills, behavior skills?]. I took philosophy and religion, and I had Psychology 101. No, I had it in Truman, Psychology 101. I was taking Psychology 102 at DePaul. That was to help me raise my kids. I didn’t raise my kids beating my children. Well, they said I was Hitler, but, you know, I was like -I did the same rearing my father did on me. There was no [01:08:00] beating. My kids didn’t suffer. My girls, I raised my kids because of the rearing -- the 40 �neighborhood that I come from. I get insulted when people tell me, “Oh, you’re from Humboldt Park.” I get upset. I’m not from Humboldt Park. “Oh, but you’re Puerto Rican. You don’t have the Puerto Rican [flag?].” I’m like, “No, no, no, no, no. I’m not from Humboldt Park. I come from the Lincoln Park area.” It’s different, you know. We have a difference. I can tell by the manners, the way they speak. See, we don’t speak like that. We don’t speak like that. You see how I speak? You see, there’s no division, culture, in me because I can tell, the way they were educated, that area. I speak -- [01:09:00] that’s how we all speak. JJ: Okay. [Community type?] at that time. Yeah, that community came later. Humboldt Park came later. RH: Yeah. The neighborhood wasn’t bad at all because, like I said, we had the Young Lords. Then, later on, we had the Kings. I was sent to a boarding school, you see, ’cause my father didn’t want me falling in the hands -- the wrong places. My father saw I was a little exploring thing. I just smoke. I never drank. I didn’t drink ’til I was 24. I didn’t take drugs, but I had something in me that I was just not -- I wanted a freedom. And so, I was sent to a boarding [01:10:00] school in Omaha, Nebraska for almost two years. When I graduated from eighth grade, I left that same weekend. I came back. I started junior high. I started junior high. I lived with this lady that -- I befriended her because I did a lot of babysitting and walking dogs, and she became like my foster mother, so I lived with her on Burling, right in front of Arnold, and she did a lot of community too. Her name was [Mamie Govilla?]. You remember Mamie Govilla? JJ: I don’t (inaudible). 41 �RH: She worked for [Danny O’Brian?]. She was his secretary. JJ: (inaudible). RH: The alderman. I lived with her. And, there, I learned antiques. She was an antique collector, [01:11:00] and I wrote a lot of stuff. I did a lot of stuff in Waller that -- you know, I used to go down and smoke cigarettes with Mr. [Cusack?] and Mr. [Tamika?] ’cause they were good friends. JJ: I remember them. I remember them, yeah. RH: Me and Mr. Tamika. On a break, I used to go see Mr. Tamika, and we used to smoke cigarettes, puffing. Then, we quit. We tried everything. Me and Mr. Tamika, you know. We tried everything to quit. It was so funny. I went down from Tareytons, to Viceroys, to [True Blue?]. Those were my cigarettes, True Blue, the ones you couldn’t smoke nothing. You think you’re smoking, and you don’t smoke nothing. Well, yeah. I was a smoker. I was a (inaudible) girl. I didn’t fight. I didn’t like nobody touching me. [01:12:00] I grew up a little promiscuous. I started being a little promiscuous at the age of, you know, 15, but that was my first love, [Nick Reyes?], and I ended up having a daughter by him. He went in the Army, 1973. That was it. That’s what happened to me. But, you know -- JJ: Any last thoughts that -- you know, so we can kind of -- RH: Yeah. JJ: What about the community? How did you feel that it’s changed completely? I mean -- 42 �RH: It has changed, but, coming from that neighborhood, going down the streets, if [01:13:00] you have a memory instilled in your mind, and you can still close your eyes and remember how it looked before. That’s the way I see it. I could never go there when I had my kids because I didn’t really talk too much about my kids, how I grew up. I only talked about my brother and my dad. There was no little sister. I excluded them, and there was no stepmother. I left her out. So, as my kids were growing up, I would go in the neighborhood, and, right when we turned on from Clybourn into Racine into Armitage, I used to feel like a pit in my stomach, like I was gonna be so emotional [01:14:00] just driving on the bus or driving down the street and looking at every story in the neighborhood. At first, I was very emotional going down there, but, now, my daughter’s lived in that neighborhood, so, now, I’ve -- since she was 20, my daughter. She lived on Larrabee and Armitage, and she loved the neighborhood. She comes from that neighborhood, and I got used to it. When [Lolly?], my granddaughter, started Newberry school and I had to go pick her up, I was a mess in the school because I still pictured Ms. [Peterson?] banging somebody against the locker, someone throwing up in the hall, and they put that [01:15:00] [pieces in there?], whatever that was. That made it even more disgusting. And I can still see myself walking in the hallway in Newberry, and my granddaughter would say, “That’s okay, Grandma. You’ll be okay.” I’m like, “Sorry. I just can’t go in there. I just can’t. You don’t know. It’s very emotional for me.” She goes, “I know, Grandma.” And, when she graduated, I was in the hall, see, because my granddaughter’s Alderman Robert Shaw’s granddaughter [with?] the alderman. Robert Shaw’s. 43 �That’s my son-in-law, [John?], (Spanish) [01:15:44] in the South Side 13 years ago. JJ: He’s pretty well known, Robert Shaw, in Chicago. RH: Robert, yeah. That’s my granddaughter’s grandfather. So, we went to graduation, and they said, “Can someone stand up from [01:16:00] those -- do we have any Newberry alumnis?” And my daughter and my grand-- looked at me, and I’m like -- I felt so proud. But, yeah, it was kinda funny because I’d go pick up Lolly, and, “I just can’t go in there. Just come out.” [And, sometimes?], it’d be cold, or they’re in the assembly, or something, and, “Oh, I have to go in there.” Because I would come out overwhelmed. “Oh, my God. I can’t believe it. Look it, Lolly. This was the assembly that I used to sing in the choir,” ’cause I was in the Newberry Choir. I was -- original Newberry Choir. “Yes, I know, Grandma. I know. You told me that, Grandma.” (inaudible). The gymnasium was our [01:17:00] lunch room, but we never ate lunch, so we had to go home. And that’s when things started happening, around that time. Kids would get hit by cars. We had some girl get abducted one time from that neighborhood. I know the Young Lords were looking for her too, and I remember that, and the time that Martin Luther King -- we were in school. I was in Newberry. ’68, I was in Newberry School, and, when Martin Luther King got shot, it was gettin’ really smoky. I remember it was very smoky. JJ: [I think it ran out?]. RH: But -- JJ: (inaudible). 44 �RH: Did I talk too much? JJ: No, no, no, no. You did fine, but I think it’s -- I was supposed to stop anyway. RH: Okay. JJ: (inaudible). RH: But, no, you want to talk more, [01:18:00] I got more stuff. It’s just, like I said, you know, I have -- JJ: For sure, we got to get the -- END OF VIDEO FILE 45 � https://digitalcollections.library.gvsu.edu/files/original/9da818a4fef9dde24258818d62b48e43.mp4 e500520bf8a0826da54f5f08386816ba 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 Rosa Meria Hernández vídeo entrevista y biografía Sujetos Spanish language Subject terms Young Lords (Organización) Puertorriqueños--Estados Unidos Derechos civiles--Estados Unidos--Historia Lincoln Park (Chicago, Ill.) Puertorriqueños--Relatos personales Justicia social Activistas comunitarios--Illinois--Chicago Puertorriqueños--Illinois--Chicago--Vida social y costumbres 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_Hernandez_Rosa Title A name given to the resource Rosa Meria Hernández video interview and transcript Creator An entity primarily responsible for making the resource Hernández, Rosa Description An account of the resource Rosa M. Hernández grew up on Orchard Street in Chicago. Like many of the Puerto Rican women of that era, she grew up sheltered while boys were free to stay out late and roam the streets. Ms. Hernández was the neighborhood store errand girl, it was a way to be free and visit with her friends and neighbors. Down the street at Burling and Armitage, the Black Eagles, Paragons, Flaming Arrows, Imperial Aces, Continentals, Trojans and Young Lords would hang out daily until the early hours of the morning, drinking and talking. Ms. Hernández knew everyone of importance in the neighborhood from youth to adults. She recalls how everyone in the neighborhood watched out for each other and that even the alleged gangs were polite and courteous to their neighbors. Her oral history provides much insight into everyday life in Lincoln Park during that significant era in the early to mid-1960s for the Puerto Rican community. 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.) Puerto Ricans--Personal narratives Social justice Community activists--Illinois--Chicago Puerto Ricans--Illinois--Chicago--Social life and customs 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 2012-03-28 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/6790048dd74c5194e09b2024e755038e.jpg 05e8d9344718cef3e71f144be79392bf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Concert & Event Posters Subject The topic of the resource Posters Events Michigan Universities & colleges--Michigan Description An account of the resource Division of Student Services provides programs, services, and environments that enhance the personal, social, and intellectual growth of undergraduate and graduate students at the University. Events including concerts were managed by the office of Student Life. Posters for music, speakers, poetry readings and other campuswide events are included. Creator An entity primarily responsible for making the resource Grand Valley State University. Division of Student Services Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/106">Student Services concerts, events, and posters files, (GV028-06)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-07-17 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context GV028-06 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1963 – 1981 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV028-06_sorrels Title A name given to the resource Rosalie Sorrels concert poster Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities & colleges--Michigan Events Posters Description An account of the resource Rosalie Sorrels, country folk singer. TJC classroom concert in the Grand Valley State Colleges Copeland House, May 14 Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/106">Student Services concerts, events, and posters files, (GV028-06)</a> Type The nature or genre of the resource Image Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/677c9e1817dcace32f038f939685f98f.mp4 e74500420d99c3e1c92a46c7b1bd5f53 https://digitalcollections.library.gvsu.edu/files/original/d11816b0abb639e0c794f61355f3ee4b.pdf feeb4b08152ac2bf5ddb9759a0ddeaac PDF Text Text William James College Interviews GV016-16 Interviewer: Barbara Roos Interviewee: Rosalyn Muskovitz Date: 1984 Part: 1 of 2 [Barbara] Why don't you talk about why you came here? [Rosalyn] Okay, I'll start. Let me think. Wait a minute, let me start. I think I should start by saying that I was one of the people who did not come from academia and I didn't I come from a teaching background. My teaching experience was limited. I'd been at Kendall Teaching and Design School. Though I was committed to teaching, I found that it was sorely lacking as an educational experience. Both for me and for the students. And so, I was looking for something else. When I found out about a new college, that had just started the year before, that was interdisciplinary in nature--and I consider myself an interdisciplinary person because I'm interested in a wide variety of things. And the college was interested in having a design component in its curriculum, and I thought that since I had such a wide variety of background interests, of things I was interested in, I would give it a shot. Because it was sort of a new college, and it had sort of altruistic ideas, I guess. And high expectations for educational excellence. I was sort of caught up in the whole idea of being able to build something from its very beginnings, that I applied and came the second year--in the second year the school existed. [Barbara] Stop for a moment. I want to suggest… if I may direct you? That you now talk a little bit… and we have changed the shot. Now you talk a little bit about how that changed. Remember? 'Because when you're doing it spontaneously to me you said, "But that changed." [Rosalyn] That's right. [Barbara] [Inaudible] [Rosalyn] That's right. [Barbara] Okay. And then we'll start again, and the next point can be the part about the students being involved. Give me a second. See what I'm doing? I'm dividing it up more in a more linear way. [Rosalyn] Okay. Clearly, that's why you're the editor. Okay... [Barbara] Well, it will just be easier. �[Rosalyn] Okay. [Barbara] You're going to have to answer that again. [Rosalyn] I can't remember what I said. [Barbara] You look perfect. [Rosalyn] Huh? [Barbara] I'll do it again. I ask it again. [Barbara] Can you hang on a second? [Rosalyn] Yeah. Is this coming out alright? I don’t know. [Barbara] Yeah, it is. It's reversed from… the polarity is reversed. So, it tapes backwards. [Rosalyn] Oh, wonderful. [Barbara] You’ve got to keep pointing to the window as much as you can because looks it very attractive. [Rosalyn] Okay. [Barbara] The question I asked you was if you had to say what one… in hindsight, what one problem of the school was. [Rosalyn] Okay, with hindsight there were lots of problems. But I think one of the fundamental problems that we had was that we had an absolute commitment to equality; as far as decision making and the educational process between the faculty and the students. That we tried very hard to give the students to equal voice and equal weight in the decision making. What happened was that the students – just because they were students and were much younger in general – they didn't have the background or the information to make those decisions. And so, in a sense, they had much more power in the decision-making process than they should have had by virtue of the fact that they had far less experience and did not necessarily know the where right decisions were as far as around education was concerned. So, I think we made a mistake, in that we gave that much… too much weight at the time. I think it was important that they have some weight, but not as much as we tried to give them at the time. And also, the early students, I think, had a major commitment to alternative education. And the early students challenged the faculty, and push the faculty to do greater projects, larger amounts of work. I mean we were doing graduate level type theses on �some of these projects at that time. That changed over a period of time. [Rosalyn] Because as the idea of alternative education changed somewhat, and the students, I think, changed somewhat in that… what happened was, that there was less push to do these major projects, and I think some of that was because students who came afterwards decided this might be an easier way to get an education. That it might be-- You could do things by sort of sliding through. There wasn't as much push to do really in-depth kinds of things. And I think the faculty somewhat got caught up in that. I think we lost track of what we were doing, as far as-- let's see. As far as some of the, you know, some of the courses we taught and some the work that was going on here. [Barbara] Why don't you stop for a minute and think? Brief answer, tell me about strengths. [Rosalyn] Okay. The major strength of James in the beginning was the absolute dedication the faculty. The faculty was dedicated to excellence in education. To building something here that would sort of stand for education at its highest level. And as a result, because we had that commitment, we worked enormous long hours to fulfill our goals. I think our goals were somewhat unrealistic in the beginning because nobody could do everything, and since we were committed to interdisciplinary education, everybody really had an interest in what everybody else was doing. And even though they were very damn different fields--and so we spend a lot of time talking about other things and learning about other things different than our own field. And as a result, I think what happened was that there just wasn't enough time, and nobody had enough energy to do everything. What we didn't do is we didn't delegate responsibility, because everybody was interested in being involved in everything. And we miscalculated, I think, as a group. We just attempted to do too much. A result of this was, I think, that was in three or four years we had massive burnout. People were just exhausted; and were not really able to meet their somewhat, you know, unrealistic goals that they set for themselves in the beginning. [Barbara] Tell me Ros, do you find it… don't talk till I get in here. Do you find it harder to teach now that we've switched the systems? Is it harder to teach? Wait till I focus here. Make sure it's clear. Okay. Does it make a difference? [Rosalyn] It's very different, but I can't really say if it's easier or harder. I feel that a lot of the joy of teaching that existed by being able to interact with people in different fields and on an ongoing basis is gone. Some of the really satisfying, you know, the things that satisfy your soul are not there anymore. Is it easier to teach? Well to begin with I, for one, have far fewer preparations. Because in a tiny school where we taught such a wide variety of things there were times we had nine preparations a year. They didn't teach any of those courses the second year. �[Rosalyn] So now, with the new organization, I tend to teach a course and teach again the following year. I am able to spend more time developing my current curriculum in my individual coursework because I get to repeated so often. However, the tradeoff is that it isn't the same. It's become much more static. I'm able to teach things like techniques more because, you know, the nitty-gritty of it but I'm not able to teach the philosophy and theory kinds of things that I did before because I can't bring in those… the other kinds of things and other people from other areas. It's much more rigid. So, in a sense what's happening is my students are becoming much more proficient as technicians, and they're not as good as far as thinking, problem-solving, human beings. I think the first students we turned out had a unique quality that came in. Now that I look back and I think that the technical things that they had to learn, they're learning right now working in the field. And that the things that we gave them are things they can never get out in industry. What we're giving them now, interestingly enough, are the kinds of things that they could learn in industry; but unfortunately, they're not getting the really joyous things that they came in. A lot of those have to do with values, and just thinking, and problem-solving. And being caring kinds of human beings. I think those early students had a wonderful experience. Now, it may very well be that we are a small microcosm of the times. And that, in fact, in the beginning of the nineteen seventies -- I came in seventy-two -- there was a lot of feeling of people towards each other, and that we were reaching out towards each other more as a society than we are now. Right now, everybody's concerned about the bottom line; about a job, about how many dollars are going to make for their first job. I have students want me to tell them, at the beginning design course, how much they're going to earn when they graduate. How do I know? I don't even know if the job they're training for is going to be there when they graduate. But they don't understand that. Yet, in nineteen seventy-two when I talk to students about them and told them that they had to understand about design, and they had to be flexible, and be able to go with the change and they understood that. And they were willing to except that. Different student today. So, I don't know if it's because of William James. I really don't so. William James may, in fact, have been a reflection of what was happening in in the greater community; and it's gone because those values have changed in the greater society. [Barbara] Great answer. That was really good. You're all informed warmed up now. [Laughs] Um, I need to ask you if you were going to summarize what James' form of alternative education was? As briefly as possible, try to summarize in two sentences the key to what James was. What was it? [Rosalyn] I don't know if you'd call us the key to what it was, but what we tried to do was we tried to have students, not to teach students to solve problems, but to teach students to recognize the problem. [Rosalyn] And then, the solution would come after it. It was not a question of working out �the solution, it was a question of defining the problem (whatever the problem was) and I think that was part of the--That-that was the essence of it. [Barbara] Would you care-- [Rosalyn] Does that make sense? [Barbara] Yeah, it does, it means you don't get hung up on specific solutions. You get to the general problem. [Rosalyn] Yeah. Yeah. Which is really what I think that what we were doing. Part of that was that we didn't have time to do anymore. [Barbara] Would you care to venture your guess of why we don't exist anymore? [Rosalyn] I think we don't exist anymore because I think the times are different. I think we live in a very conservative time. I think we are we live in a time where we're more concerned with ourselves. We're far more isolationist than we were fourteen/fifteen years ago. I think we don't exist because I think that society does not want us to exist at this point. [Barbara] Why? Why doesn't society still want students that are trained to spot problems? Isn't that important to the society? Why would the society want to change its educational system to turn out technicians? Just technicians? [Rosalyn] Well because I think we are entering a very repressive era. I think that where we have people who are… well, I just I think that we are in a more repressive area or era at this time. That we are not willing to tolerate each other's foibles, whatever they are. I think we're far more narrow… it might be an economic thing, that there is less resources. Even though we live in wealthy environment; there are many, many more people who don't really have access to that wealth. I'm not really sure. The problem is that when you are so close to it, it's so hard to tell what it is. And maybe ten years from now we could look back and say that, you know, it didn't work at that time because of this reason, or that reason. It's so difficult to know when you're sort of right there at that moment to be able to analyze it. At least it's difficult for me. [Barbara] If you had to do anything differently about the way things ran here, aside of the one thing you mentioned, which is not give quite so much power to students, what would that be? [Rosalyn] The other thing would have been to delegate responsibility to each other, and to accept each other's decision making. Because I think that would've helped us to prevent this absolute fatigue that overwhelmed us. I think I would've change that. �[Barbara] I am out of questions. Anything else you want to say? [Rosalyn] I don't know. [Barbara] You're very good at this. This was fun. [Rosalyn] What else would I say? [Barbara] Do you think alternative education is going to come around again? [Rosalyn] If, you know, history teaches us anything; it teaches us that there's never anything new. And that, in fact, you know, everything is a circle. And that I believe that, once we get through this sort of conservative situation that we are in, that we will come full circle again. And that, in fact, I don't know if it will be alternative education as we knew it fifteen years ago. But it might be alternative education in some other mode. And I would fully expect that we would make, you know, we--it would come around again, because we tend to go in waves. Assuming that we're all here, you know. We all survive long enough for it to happen. I think it will. [Barbara] There isn't much tape left, but let me ask you this: when you came to James, you chose alternative, what is there in your background that made you interested in this kind of environment? In other words, why did you feel comfortable with alternative? [Rosalyn] Because I don't have a traditional academic background, in a particular academic field. I've done a whole variety of things, and I have… my life has changed over the years. I think that one of the main reasons was that I was that I was older. I think if I had been twenty-two/twenty-three years old, just out of school, I would not have been as well suited to this particular thing as I was when I came. When I was in my late-thirties, almost forty years-old. Because I'd had a variety of experiences in my life. [Barbara] Like what? [Rosalyn] I had been a professional designer. I had taught. [Rosalyn] I had been, you know, I had made the choices between being a working mother, or a mother that stayed at home. I'd raised a family. I did a lot of traveling. I had a wide interest in many things. I was interested in things besides art and design. I was interested in sociology. I had a deep interest in history. I was interested in cooking and the whole variety of kinds of things. And I think that this allows me to do it. �[Barbara] I'm out of questions and tape now. [Rosalyn] What do you think? [Barbara] I think it's wonderful. � 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 William James College Interviews Description An account of the resource Videotaped interviews of William James College faculty, students and administrators by Barbara Roos. William James College opened in 1971 as the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. Curriculum was organized around three concentrations that were meant to be interdisciplinary career preparation offerings: Social Relations, Administration and Information Management, and Environmental Studies. The college was discontinued in 1983 during a reorganization of Grand Valley. Date A point or period of time associated with an event in the lifecycle of the resource 1984 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education 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 Roos, Barbara (Interviewer) Identifier An unambiguous reference to the resource within a given context GV016-16 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng 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 GV016-16_GVSU_04_Muskovitz Creator An entity primarily responsible for making the resource Muskovitz, Rosalyn Date A point or period of time associated with an event in the lifecycle of the resource 1984 Title A name given to the resource Rosalyn Muskovitz interview (1 of 2, video and transcript) Description An account of the resource Interview with Rosalyn Muskovitz by Barbara Roos, documenting the history of Grand Valley State's William James College. William James College was the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. The college opened in 1971 and was discontinued in 1983 during a reorganization of Grand Valley State. Rosalyn Muskovitz was a faculty member of William James College and in this interview she discusses her background prior to coming to GVSC, the interdisciplinary appeal of this new college, and the strengths and weaknesses of WJC. This interview is part 1 of 2 for Rosalyn Muskovitz. Contributor An entity responsible for making contributions to the resource Roos, Barbara (Interviewer) Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng 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/0fded001eb7cab0ad7f0269aed889c07.mp4 d770c08f6adec0895500448beed93642 https://digitalcollections.library.gvsu.edu/files/original/7c1875e79c164549f23b7d7aad10bcab.pdf 4425c61f1f3b25373e1c7ec8155b2cfb PDF Text Text William James College Interviews GV016-16 Interviewer: Barbara Roos Interviewee: Rosalyn Muskovitz Date: 1984 Part: 2 of 2 [Rosalyn] --about. [Barbara] We were just talking about the evolution of this place. [Rosalyn] Okay. Okay. The evol-- The directions this college was somewhat a result of chance. Chance in that the specific interest of the individual faculty members that happen to come here. I think in initial planning they knew there were going to be some forms of social studies, and some sort of management, or business component, and there would be some art component. But what nobody knew was what direction it would take. They didn't know whether they'd get a faculty member who was a potter, or a painter, or a filmmaker. Actually, what they did is that they initially got me. My background was in graphic design and in interiors. I'm sure that the initial planners of the college never envisioned a program an interior design or graphic design. And yet what happened in the evolution the college is the graphic component, as part of the arts and media component, became the longest-lived program that was here. It had the greatest number of students. And in the reorganization, what has happened is, that number has carried through into the reorganization so that the design students, who are now part of the art department, are the largest component in that department. And there was no way of knowing that in nineteen seventy-two when we were starting out because there was no way to predict what area… which direction we would go. So, there is an element of chance, I think, not so much in… not a general element of chance, but in the specific interest and the specific background of the individual faculty that came here initially. [Barbara] So, what does that say about the planning? Does it say that it was just sloppy planning? Is this a negative or positive? Are you criticizing, or are you saying it’s a good thing? [Rosalyn] I think it's a positive thing. I think that, you know, when you look at Russia with their five-year plans everything is planned down to the… almost to the individual person. And it's always found wanting. That sometimes there is such a thing as natural growth, and that you can plan in general, but you may not necessarily do as well – if planning specifically – as if you would allow them to be sort of natural growth. So that, you know, things could take the direction in which they are supposed to take. They are sort of an evolutionary element that I think was good. I think that this is a positive thing. �[Barbara] So, what did they advertise for when they got you? [Rosalyn] I'm not really sure now that I think about it. They were looking for someone in… Someone, you know, I don't really remember. [Barbara] Okay. [Rosalyn] I don't really remember. [Barbara] So… [Rosalyn] I do remember. [Barbara] Alright. [Rosalyn] One of my friend’s husband was teaching here, and he knew about the college. He wasn't teaching for the college, but he knew about the college. And he knew that they were considering looking at the possibility of having somebody in arts and media, and maybe somebody from industry. But they really weren't sure what they wanted. So, in fact, what happened is I applied for the job before was ever advertised for, that's what happened. And so, in a sense, by applying for the job, and telling them, telling the people the kinds of things that I was interested in, what I wanted to do, what was remarkable is that I came to them and that they were able to recognize this as a good thing. Even though the people who interviewed me, not a single one of them was in anyway related to art, at all, and yet they were able to recognize the kinds of things that I was talking about and the kinds of things that I wanted to do. And they were able to recognize the validity of it. It turned out to be the first step in very successful program that we had here. [Barbara] But, Ros. I came much later. So, you were hired as the first arts and media person. [Roslyn] Right. [Barbara] So how did the arts and media program grow? [Rosalyn] Okay. [Barbara] I don't understand how it evolved. I don't know. [Rosalyn] So, what happened was… I was the design person. Then we had a person here initially, who came the same time I did, whose background was in American �Studies, and yet who was interested in video. Video as a means of documenting American scenes in American Studies. That was Bob Conrow. We sort of came at the same time, and we sort of help each other. [Rosalyn] I think from that we added photography, we added another design person (because we had to have more courses in that), we hooked up with channel thirty-five and graphics for television, because we did that internally as a curriculum. That lead will to animation. I taught the first animation class on this campus. Even though my background is not in animation; but I'm interested… it's one of the things I'm interested in. And that led to an expanded video and film program. That's how that happened. That was the nucleus of it. [Barbara] Fine, thank you. [Rosalyn] Does that help? � 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 William James College Interviews Description An account of the resource Videotaped interviews of William James College faculty, students and administrators by Barbara Roos. William James College opened in 1971 as the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. Curriculum was organized around three concentrations that were meant to be interdisciplinary career preparation offerings: Social Relations, Administration and Information Management, and Environmental Studies. The college was discontinued in 1983 during a reorganization of Grand Valley. Date A point or period of time associated with an event in the lifecycle of the resource 1984 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education 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 Roos, Barbara (Interviewer) Identifier An unambiguous reference to the resource within a given context GV016-16 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng 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 GV016-16_GVSU_05_Muskovitz Creator An entity primarily responsible for making the resource Muskovitz, Rosalyn Date A point or period of time associated with an event in the lifecycle of the resource 1984 Title A name given to the resource Rosalyn Muskovitz interview (2 of 2, video and transcript) Description An account of the resource Interview with Rosalyn Muskovitz by Barbara Roos, documenting the history of Grand Valley State's William James College. William James College was the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. The college opened in 1971 and was discontinued in 1983 during a reorganization of Grand Valley State. Rosalyn Muskovitz was a faculty member of William James College and in this interview she discusses the evolution of WJC, being hired as the first faculty for Arts and Media, and the growth of that program over time. This interview is part 2 of 2 for Rosalyn Muskovitz. Contributor An entity responsible for making contributions to the resource Roos, Barbara (Interviewer) Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Art Study and teaching Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng 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/da1669ea889312fcf1fe5c030770b279.jpg cb9681c3eaa0171f1ebbcdb93d819f1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Seidman Rare Books. PS2779.S43 R6 1898 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0344 Title A name given to the resource Rose … Charlitte Description An account of the resource Binding of Rose …ÿCharlitte, by Marshall Saunders, published by L.C. Page & Company, 1898. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1898 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/779e7ae0d9527187030e8b009c6d9eab.jpg 11224140e1ae4f6901d717affd9b2b59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Seidman Rare Books. PS1732 .R6 1896 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0151 Title A name given to the resource Rose of Dutcher's Coolly Description An account of the resource Binding of Rose of Dutcher's Coolly, by Hamlin Garland, published by Stone & Kimball, 1896. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1896 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/4a6d593c630fe11a494b948230ea3917.mp4 0779bf81f0f2c6f2e93ae65db9ded30d https://digitalcollections.library.gvsu.edu/files/original/ad32fb631019cf7c9fa77b24cd44db4d.pdf ab931513183ee456c0c53b40fc89f256 PDF Text Text William James College Interviews GV016-16 Interviewer: Barbara Roos Interviewee: Rosemary Willey Date: 1984 Part: 1 of 3 [Barbara] Go on. [Camera operator] Rolling. [Barbara] Just talk. You don't have to worry about it. [Rosemary] He has himself… he has some kind of idea that… there's all this talk about how we had a philosophy, and we had this, and we that going for us. I don't know. He was saying some things about how little of that was really, you know, commonly understood. It was interesting, like he was kind of fed up with everyone talking about, you know, the philosophy of education, and stuff. I just think it was interesting to talk to him. [Barbara] Okay, we'll do some more of that. I would like you to, first of all, start talking about… in a sentence, say who you are, when you went to James, and what you're doing now. [Rosemary] I am Rosemary Willey, and I went to William James from seventy-seven to eighty-two, little time off, and I'm living in New York, and working with filmmaker Leo Hurwitz. And his-- and research for his next script in film. [Barbara] How did you get that job, Rose? [Rosemary] I was studying script writing and very interested in writing for media, and I set up an internship with Leo. Was encouraged to get out and do something in my field, which is what the internship program is all about, and I had met Leo Hurwitz. He was a Synoptic Lecturer at William James, so I met him through the college. And I wrote to him myself. We talked over with the internship program was all about, the kind of thing I'd like to do. And, you know, of course the first it depended on where he was in his work, but I was very persistent. We kept in touch, and it worked out very well. That I could come out, do research, and be involved in the script writing process with him. When my internship was over, I stayed in New York and continued to work with him. [Barbara] Didn't you write a poem that you sent to him, or something? �[Rosemary] That's right, my initial meeting with Hurwitz was that he brought a film to William James. It was a film that I don't believe has been shown in the United States at all. It was his new film called "Dialogue with A Woman Departed." I'd never seen anything like it, and I was very excited by the film and by Leo. He asked for responses to film, and I wrote him a poem I spent a little time on it and got to him before he left. So, we had a very tremendous encounter. Where he enjoyed my poem very much, and I spoke about his film. And we kept in touch ever since then, so... [Barbara] People are not going to know what you mean by a Synoptic Lecturer. [Rosemary] Okay. [Barbara] What does it mean? [Rosemary] Right… the Synaptic Lecturer program at William James was a situation where students could be involved with up with the personality, author, filmmaker, a poet. People that they brought onto campus to spend time with the students to lecture and visit the classes. Leo was a Synoptic Lecturer. He brought his films and spent time in classes. Spent time meeting students, answering students’ questions. And it was a very wonderful opportunity to not only see someone's work, but really get to know them and let them have you know real responses to the work. [Barbara] People at a more traditional college environment might say: "Isn't that an easy credit?" I mean how would you respond to this whole notion that this stuff is so vague and amorphic that there's not really any learning going on, or something like that, you know? [Rosemary] Right. I think that because William James college had no grades, no tests – these kinds of things that create a measure or formula for learning – people assume that it must've been something that you could slide right through, and there was nobody checking up on you or this kind of thing. But it was quite the opposite experience, really. Because they were small classes. You got to know your advisor, and your professors quite well. And they got to know how well, you know, they got you know you're writing, what you are capable of, they have certain expectations of you that came out you know rather soon in the whole college experience. They got you know what you were interested in, you know, how your writing was excelling, whatever. So, there was no way to really slide through something it was, you know, you couldn't hide from the real responsibilities, or from the expectations people had of you. You really had to be involved. And you know, of course, I enjoyed very much being involved. I found it to be very difficult at times, but not difficult in a negative way. But a kind of challenge, very challenging. �[Barbara] In other words, the notion that “it has to be suffering, to be learning” is sort of beside the point. In other words, you're saying that you worked hard, but being hard doesn't cover it. [Rosemary] Right. Right, well the whole idea of students being active and responsible for their own educations made the, I think, effort that you put into your work much greater. [Rosemary] But the rewards were much greater. You really could get involved in things. You took great pride in turning in something that had real substance. That you'd really thought about, and if what you wanted to turn in, that was substantial and important to you, was going to take you three weeks more. You could just let your professor know, this is what you're doing and I'm going to take this much time and things could work out that way. So that essential things really to come through. [Barbara] Do you remember when you came to James? You came out of high school, right? [Rosemary] Yeah. [Barbara] Okay, do you remember that you had to have some transition into this philosophy? [Inaudible] Or something? [Rosemary] No, it was a very stimulating place when I first came to William James College. I remember being in classes that, you know, were no comparison to high school. And as a freshman you worry if you're going to be able to kind of take on these college classes. But, at William James College, you could sense there was something going on. It was intimidating at first, but you came to realize that your experiences, and things that you think about, and you know, experiences you've had in your life are relevant, are important you don't have to be an expert on something to have something to say in a class. People were interested in finding out about you. So, you know, with a little bit of confusion from the transition from high school to something so really sophisticated and involving. There was a little transition in there, because in high school we were spoon-fed graded… your goals were really quite defined. At William James College, people didn't really define things for you. You could kind of see, you know, you made your own decisions about what you were interested in and then there was sort of encouragement. This whole, you know, these kind of adult issues, and adult educational concerns where your concerns from the start. I mean there was guidance and conversations, but it came quite clear to you that, you know, the philosophy, so to speak, that was going on here was really to your advantage. And something that you could really work with and become a part of. You know, �it took me a few classes. I remember a class I took with Inge Lafleur. Um, no. Aimee(?) Bijkerk (?). Her name was Aimee(?) Bijkerk(?) My instructor in Jungian psychology, and it was my first year William James and I was very much interested in Carl Jung. So, I took a course specifically about him, that was tremendously rewarding. You'd spend a lot of time reading Jung, talking about Jung, and getting a handle on how these things related to art, symbols, and it was a wonderfully stimulating class. When it was over, I had a tutorial was Aimee (?) where I asked her: "What I am supposed to do this class--with this Jungian psychology?" [Rosemary] I was interested in therapy at the time, and I asked her: "How does a therapist work with all this information?" And she explained to me, which I understand more and more as I get older, I guess, that what you can do with this kind of information is that it helps you develop an attitude. That there isn't just one way to think through an idea. There isn't just one way of handling a problem. There are many ways, and there are many ways that are related to each other. There are things… there are ways in which schools of thought can overlap, and by diving into something in particular like Jung, you can work on… it sort of develops a sensitivity to the many ideas that there are in the world. Now, this to me later became an explanation for William James College as a whole. Because I have really developed an attitude, a way of thinking that where I feel capable of taking many things into account because of the integration of ideas. And I found this sensitivity added to approach to learning and to living that was very well rounded and took a variety of things and brought them together. Was what was happening at the college. [Barbara] One question on this tape. Then we'll probably change tapes and get you something to drink. [Rosemary] That would be great. [Barbara] Can you remember a class early on, or later on that – and this is not to gossip – but the experience where it just didn't work where you needed it to? [Rosemary] God, I might want to talk about that. Let me see… [Barbara] Because, it wasn't... [Inaudible] [Rosemary] Yeah. I had a class that I think was kind of an experiment. An experiment for everyone involved. This kind of thing was allowed to happen at William James, you know. Someone had an idea for great class, and they pulled in some students that were really interested with a real hook. Course title, you know, "Something in the Modern World" or whatever. So, I took a class, and I was a freshman then, that turned out to be very nebulous, and it was at a time in my �education where I needed to see how things fit together quite directly. I was dealing with some very metaphysical ideas and I didn't, you know, I wasn't told not to take this class. But anyways, I took it. Had to write papers about something I had no confidence writing about – this was psychology. It was the history of psychology. It was pulling together many schools of thought in a way that had no glue. And people were very… there were some very intellectual things going on there that were working for some people, and not for everyone in the class. I wasn't alone, but I found the whole experience very stifling. [Rosemary] You know, we went through six to eight weeks before, you know, there'd be a break where I might say to someone: "Gee, this isn't sinking in." And they say: "Oh, I don't get it either!" You know, so we had… but, interestingly I did get some papers out. What I wrote about was my problems with the class. I expressed why I was having problems, and this broke down some barrier of silence I was having. The instructors paid attention to my complaints. We talked about them. We talked about them in the tutorial. I still feel like I didn't learn very much, but I struck up some real conversations with people as to why. And I met a lot of people who were going through similar experience. There was still a community, you know, a forum for some real communication. Which was going on all the time. So, you don't really regret experiences like that. But it was unusual. [Barbara] Would you like to stop for a minute? [Rosemary] Yeah. [Barbara] It's going very well. [Rosemary] Yeah. Juice! [Barbara] Okay. Something that's really important to talk about is what happened when you went on the East Coast in terms of your education? [Rosemary] Right. Well, I went out to New York… [Camera operator] [Rosemary] Fine. [Camera operator] [Barbara] Wait a minute, let me stop this here. Because we are almost out of tape here. It would be lousy to stop. � 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 William James College Interviews Description An account of the resource Videotaped interviews of William James College faculty, students and administrators by Barbara Roos. William James College opened in 1971 as the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. Curriculum was organized around three concentrations that were meant to be interdisciplinary career preparation offerings: Social Relations, Administration and Information Management, and Environmental Studies. The college was discontinued in 1983 during a reorganization of Grand Valley. Date A point or period of time associated with an event in the lifecycle of the resource 1984 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education 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 Roos, Barbara (Interviewer) Identifier An unambiguous reference to the resource within a given context GV016-16 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng 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 GV016-16_GVSU_01_Willey Creator An entity primarily responsible for making the resource Willey, Rosemary Date A point or period of time associated with an event in the lifecycle of the resource 1984 Title A name given to the resource Rosemary Willey interview (1 of 3, video and transcript) Description An account of the resource Interview with Rosemary Willey by Barbara Roos, documenting the history of Grand Valley State's William James College. William James College was the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. The college opened in 1971 and was discontinued in 1983 during a reorganization of Grand Valley State. Rosemary Willey was a student of William James College from 1977 to 1982. In this interview, Rosemary discusses her time being a part of the William James community, in addition to her internship and work with documentary filmmaker, Leo Hurwitz. This interview is part 1 of 3 for Rosemary Willey. Contributor An entity responsible for making contributions to the resource Roos, Barbara (Interviewer) Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Hurwitz, Leo T., 1909-1991 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng 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/ddacd65d640d0e5e4659ef22872a448f.mp4 937d8c0f1f6807e1254873b38b633a7e https://digitalcollections.library.gvsu.edu/files/original/bf347b2333b2213a9bc8561d69c9a8a0.pdf 8a5d68be44357294e25e5c47c2ff92de PDF Text Text William James College Interviews GV016-16 Interviewer: Barbara Roos Interviewee: Rosemary Willey Date: 1984 Part: 2 of 3 [Barbara] Just keep talking. [Rosemary] I started to feel like people asking me how much money I can make as a research assistant to an independent filmmaker. I started to feel like-- "Hey! That's a real personal question." And I started to kind of take offense, and maybe it's partially because, you know, I'm not making any money. But it was also because, you know, I don't care how much money you make. But there was really a, you know, it's just a sort of wrapped package. You graduate, get a degree to be something, and you're going to make so much money depending on what you've picked. This all adds up to, you know, what you've amounted to. Now, people have asked me how much money I make, I kind of banter about it. But… [Barbara] What’s the matter? Oh shit, you were perfect, Rose! You were so good! [Rosemary] [In a fake southern twang] Okay, we'll try it again. I'm so glitch. I'm so glad you noticed that we'd run the whole tape. [Laughs] [Rosemary] Let's see, yeah. I started taking offense at people asking me how much money I could possibly make working with the independent filmmaker. I started to feel like that's a really personal question. Happened many, many times. It happened in the hallway, in my building, people, you know, just after a few questions. “Well, what do you do? Where are you from? Well, gee, how much money do you make?” I started to feel, of course, like that's not anybody's business. Maybe, partially, because I'm not making much money. But then as I got to get enough of this attitude among young, newly graduated, out in the world types. That it was important to let people know I'm not out in the world to turn a buck. That I'm, you know, that I'm out for experiences, that I feel like I have something to say. I mean there…I've met many people who have, I'm going to have to stumble with this for some reason. I'm drawing a blank. [Barbara] Okay. That's because you already said it. So, it's hard for you to do it again. So, the point is that their education has been [inaudible] at the very limit, and your education was something different. �[Rosemary] Yeah. Well, I went out east. Moving out east where there's a lot of young professionals in New York, who have acquired a certain status that has to do with where they have been to school, and what they studied. And you run into these people frequently at parties or whatever. Gatherings where young people want to know where you went to school, and what you studied. Their education is that -most commonly I find that these people have gone to college to be somebody, to be something, to be a particular thing. And, if that hasn't added up in terms of their salary, or whatever, I think that people feel pretty bad about where they're at now. [Rosemary] So, at first it was kind of difficult for me when I confronted this attitude about what you do is what you, who you are, and what you've amounted to, and I had no simple answer for what I do and what I wanted to continue to do, and where I'd been. And having William James College close has made it difficult, in that I can't go on about this college that is this real happening place where people go to really learn something and where there was an attitude, there was a real concern, that even though they were concerned that people got out and could find work and have careers and skills and stuff, but a real well-rounded education that involved a lot of other things, thinking and writing, you know, that it wasn't strictly career-oriented, that it was really kind of learning-oriented. And so, it has really put me in a space that has, that I have found is quite unusual, where, you know, being professional and being involved in something and having a career means something entirely different. Well, it certainly doesn't mean how much money you make. I think it means kind of loving what you do and being good at what you do. You take pride in different things. [Rosemary] And so I stumbled with these young people and cocktail parties or whatever that wanted to peg me, wanted to take me from some Ivy League school and that I that I've been to law school or whatever. And then it didn't take very long before I decided, what I have done, and what I am doing, and what I will do, and my reasons for it, can really blow people away. Because it is unusual. And it's I think it's a lot more dynamic approach to being a graduate and most people I've come across, I mean, it's made me feel like an odd duck out in New York. But I've come to take certain amount of pride in that. And I take a tremendous amount of pride that I went to William James College and have felt a little bitter sometimes that it wasn't sitting out there in West Michigan and still turning out people who had an approach to their careers that was more like my own. Now I sort of feel like stopping the tape. Okay. [Barbara] Why don’t you just talk about Walter? [Rosemary] Yeah, well, Walter Wright was an example of something I felt was really going on there, was kind of a symbol of something to me as a student. Because I had the unusual experience of being there when it was really a very dynamic, powerful, �functioning place and then in my later years, I graduated just as it was folding, and there was a lot of involvement of students and faculty and we really were unified in a kind of “save our college” movement. And so, I experienced the pitfalls and the hard realizations about where the support was coming from was, you know, from within ourselves or really not within the administration, it was in the world at large. We pretty much were up against it. So, people began to realize this and there were a lot of very sad emotional times going on between student and professors. And, you know, what an education that was, that in and of itself, to be involved in this changing times. Feeling not only that we were changing but we had promoted ourselves as a college that was going to equip its young people to handle change, to be survivors, to get out in the world and make change. So here was a real experience for us and I think it made a tremendous impression on those last graduates. And you know, even though it was a very sorry thing, I think we did end up feeling very well equipped to take on the conservative world and to do the things we wanted to do. [Rosemary] Walter Wright, when I first came to William James was kind of, you know, the happening professor. He was really very exciting for students. He really was a great advocate of individualism and I think many students who didn't feel like they had a niche in the world definitely could find it with Walter. And they were doing amazing things, there was always all kinds of amazing film and video things going on for people. And I think personally they were some of the most interesting students at William James were the students that gave Walter a lot of support and vice versa. And as William James started to undergo this sort of cracking away at the foundation, the changing ideas, Walter was a person who never really changed. He still handled his classes and the way that he felt was, you know, was right on and he still… [Barbara] Like what? [Rosemary] Well, one thing that comes to mind is that he was a great advocate for play. That learning was playful and that whatever you did, it was going to be fun and expressive and yours. And for example, my very first super eight film, because I didn't handle my camera right or something… I still don’t, I'm not sure because it never happened again. But I came up with a three-minute roll of black film. I had a completely black film. So, Walter said we're going to show your film, it’s a black film, and we'll get around to what happened. But he told me I could take this film and cut it into things where I wanted a black spot, that was interesting, that I could scratch it, that I could make, that I could work with film and it wasn't hopeless and I was devastated. And here Walter really wanted me to feel like it's all part of it, you know. And so, it was all right, you know, it was all right. And then I went on to not be intimidated by the camera, to not be afraid to make a black film again. But he was just, you know, a very magical kind of instructor for me, someone that I certainly had a lot of confidence to work with him, and to try new �things. [Barbara] And then what happened? [Rosemary] Right, well what I wanted to… Okay, so, Walter was very important to me, to the whole kind of philosophy and openness that made the college a very involved place and he… I think as the college started to suffer some changes and structuring, some things that were imposed upon us, Walter couldn’t maintain his approach to classes and to students. He never really started to structure his classes in a way that would've been quite different. Sso he kind of went from being you know very much a part of what the college is all about to, I think, a sort of exceptional person. He was kind of a dying breed, someone who became very unusual. And Walter was always Walter, I mean he handled that very well, but I always felt kind of sorry that he began to appear to be, more and more, the exception rather than… [Barbara] Do you know why he left? [Rosemary] … a facet. I'm not exactly sure why. [Barbara] Because he was told he would not get tenure, that’s why he looked for another job. It’s nothing that even he was unpopular, it’s that Walter had to go. [Rosemary] Well, yeah, he was driven. Students were allowed to be on faculty review committees, which were these committees that were, you know, inside the college that sat down and reviewed the progress and the, you know, how a particular professor was doing, and how the students were feeling, and how they were feeling. And I mean it was really a very good thing, but I sat on some of those review committees, and I think that in Walter's case in particular, I really did learn a lot about how he was kind of being forced into this exceptional, unusual role rather than supported. Rather than supported, and rather than looked at as an incredible asset he started to be, I think the attitude started to be “What are we going to do with this guy that won't write a syllabus?” You know, and so I got to see which was also another very unusual thing about William James, I got to see the kind of internal attitudes and the real clashes and the things that made you feel very helpless as to why, you know, why the foundation was crumbling. � 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 William James College Interviews Description An account of the resource Videotaped interviews of William James College faculty, students and administrators by Barbara Roos. William James College opened in 1971 as the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. Curriculum was organized around three concentrations that were meant to be interdisciplinary career preparation offerings: Social Relations, Administration and Information Management, and Environmental Studies. The college was discontinued in 1983 during a reorganization of Grand Valley. Date A point or period of time associated with an event in the lifecycle of the resource 1984 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Interdisciplinary approach in education 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 Roos, Barbara (Interviewer) Identifier An unambiguous reference to the resource within a given context GV016-16 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng 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 GV016-16_GVSU_02_Willey Creator An entity primarily responsible for making the resource Willey, Rosemary Date A point or period of time associated with an event in the lifecycle of the resource 1984 Title A name given to the resource Rosemary Willey interview (2 of 3, video and transcript) Description An account of the resource Interview with Rosemary Willey by Barbara Roos, documenting the history of Grand Valley State's William James College. William James College was the third baccalaureate degree granting college for Grand Valley. It was originally designed to be an interdisciplinary, non-departmentalized college consisting of concentration programs, rather than majors. The college opened in 1971 and was discontinued in 1983 during a reorganization of Grand Valley State. Rosemary Willey was a student of William James College from 1977 to 1982. In this interview, Rosemary discusses the career-oriented attitudes of young professionals in New York City in comparison with the learning-oriented education she received at William James College, in addition to her experience learning from professor Walter Wright. This interview is part 2 of 3 for Rosemary Willey. Contributor An entity responsible for making contributions to the resource Roos, Barbara (Interviewer) Subject The topic of the resource Grand Valley State University Michigan Universities and colleges Oral histories Alternative education Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/69">William James College faculty and student interviews (GV016-16)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives