902 24 26018 https://digitalcollections.library.gvsu.edu/files/original/0ced328f5b7a03516b57e6cb2a5e2a22.m4v 9c8ee447de87e7bc8cf3a8e6a9e6f11a https://digitalcollections.library.gvsu.edu/files/original/954d1a973ea1dd0d1f845fd7d28f717d.pdf d624c6685a9fa9595f15c7086788c85d PDF Text Text Grand Valley State University Veterans’ History Project Lee Stevens World War II (Civilian); Cold War 1 hour 2 minutes 21 seconds (00:00:16) Early Life -Born in Manila, Philippines, on August 21, 1930 -Father was in the Army and stationed in the Philippines -Grandfather owned a business in the Philippines -His grandfather was a close friend to General Douglas MacArthur -Lee’s father wasn’t under MacArthur’s command -General MacArthur was Lee’s godfather -Grew up in the Philippines -Mother died when he was born -Father remarried to a Spanish woman -Attended Catholic schools -After the 2nd grade, boys and girls were segregated -Learned to speak Spanish and Tagalog -English and Tagalog were more prevalent in schools, though (00:04:20) Start of the War -Had no idea there would be a war with Japan -Didn’t pay attention to Japan’s aggression in Asia -He was 11 years old when the Japanese attacked the Philippines on December 8, 1941 -Father got a call early in the morning and told the family America was at war -Still didn’t register to Lee what that meant (00:05:27) The Fall of the Philippines -Near the end of December, American forces retreated to the Bataan Peninsula -General MacArthur declared Manila an “open city” -This meant all military personnel had left the city and closed the bases -Intention was to spare the city from Japanese bombing, but they bombed anyway -When the Japanese took over Manila, they didn’t initially target Americans -Started with rounding up American adult men, then the women -His grandfather was detained -Given two hours to pack any belongings he wanted to bring in suitcases -His maternal grandparents and maternal aunt were detained -All adults were being sent to the concentration camp at the University of Santo Tomas -Eventually, children as young as 11 and 12 years old were being detained too -His mother and half-brother were unaffected by the initial detainment order -They were allowed to visit Lee in the camp -American and Filipino forces surrendered in early May 1942 �-American prisoners-of-war were paraded through Manila in front of civilians -Forced to watch the prisoners marched through the city -Someone whistled, and it sounded like the way his father whistled -His uncle told him not to indicate that he knew his father if he saw him -When his father passed, he dropped his captain insignia on the road -Waited for the parade to end and he picked up the insignia (00:10:28) Interned at University of Santo Tomas -Quartered with his grandfather at the University of Santo Tomas -Women and younger children were placed in administrative buildings -Men and pre-teen boys were placed in the gymnasium -Given chances to see his mother and half-brother -Japanese got arrogant about winning the war and allowed detainees a little freedom -Cracked down when they started losing territory in the Pacific -Death rate was high in the camp -Didn’t pay attention to the deaths when they happened -Deaths were caused by disease and abuse at the hands of the Japanese -Forced to bow to Japanese guards -Didn’t want to bow and planned on resisting -Adults convinced him to obey, because the Japanese would’ve killed him -Told him the Japanese could control his body, but not his mind -Most of the guards followed Japanese custom and returned the bow -Treated better because they were civilians -Later heard stories about the extreme torture and deprivation of prisoners-of-war -Civilians prisoners were subjected to a “milder” form of abuse and deprivation -Three men tried to escape and they were caught -Japanese held a mock trial, forced them to dig their own graves, and shot them (00:17:46) Contact with Filipinos -Filipinos were allowed to visit the camp, along with his mother and half-brother -Allowed to build shacks near the gym -Filipinos helped Lee and his grandfather build a shack -Not a good place to be in a typhoon (00:18:55) Food & Living Conditions at Santo Tomas -They were served pre-prepared food from the Japanese by other prisoners -Prisoners were allowed to share food with each other -Subject to inspection by Japanese guards -Looking for anti-Japanese notes, or any food they wanted to take -Allowed a sum of money to give to Filipinos to buy groceries as per international law -The guards then took the good food and left the scraps to the prisoners -Rice ration dwindled as the Japanese continued to lose the war -Canned food ran out after a while -Rationed four sheets of toilet paper per day, per prisoner -The men gave their toilet paper to the women and used newspaper -Received Red Cross packages containing food, and luxury items like cigarettes �-The packs of Old Gold cigarettes had a poem about freedom on the packages -The Japanese discovered this and forbade the distribution of Red Cross packages (00:22:38) Disease at Santo Tomas -He contracted a form of dysentery during his time at Santo Tomas -Received treatment for it on the return voyage to the United States -Gained a lot of weight -Doctors in the camp had very little to work with to treat diseases -Had medications from the Red Cross, but the guards took it if they needed it -Managed to avoid contracting malaria, but it was rampant in the camp (00:24:15) Guards at Santo Tomas -The original guards were sent to the frontline as the war deteriorated for the Japanese -Treatment varied with each commandant -Guards were allowed to slap prisoners if they felt they deserved it -Prisoners played baseball against the Japanese soldiers -Never won a game against them to avoid antagonizing them -Never confronted the guards about anything (00:26:15) Abuse of Prisoners -His grandfather was taken to a police station and tortured because they thought he was a spy -Ripped out his toenails and beat him -Discharged him and told him he had to walk the three miles back to camp -A Filipino with a horse-drawn taxi brought him back to Santo Tomas (00:27:47) The Fate of His Father -On January 31, 1945, U.S. Rangers and Filipino resistance liberated POW camp Cabanatuan -On January 27, Lee’s father had been taken from Cabanatuan to go to Japan as slave labor -He was placed in New Bilibid Prison in Manila -Lee was allowed to go see his father through a prison window -From New Bilibid he was placed on a ship bound for Japan -Because the ship was unmarked, it was accidentally sunk by the Americans -His father survived the sinking and was placed back in captivity -He was placed on a “Hell ship” which was accidentally sunk by the Americans -He didn’t survive the sinking -Lee didn’t learn about his father’s death until after the war -His grandfather brought him to the United States to attend military school -His mother stayed behind in the Philippines -Lee received a letter from her saying that she had remarried -He knew then that his father had not survived the war (00:31:00) Liberation -On October 20, 1944, U.S. forces landed on Leyte beginning the liberation of the Philippines -American forces moved on to Luzon in January 1945 -On February 3, 1945, Lee heard shooting at the front gates of Santo Tomas -He feared they were all going to be executed by the retreating Japanese -U.S. tanks and troops flooded into the camp -People jumped and screamed for joy knowing their liberation had come �-Some of the guards took women and children hostage in one of the education buildings -Threatened to kill them if they weren’t allowed to walk free -A deal was negotiated and the hostages were released -On that day, fried Spam, dehydrated potatoes, and canned peas became his favorite meal -Served to him by soldiers of the 1st Cavalry Division -Allowed to join his mother as the Japanese were pushed from Manila -There were still Japanese soldiers in the city and his mother got shot in the shoulder -She was standing in front of him, and he would’ve died without her (00:36:36) Coming to America Pt. 1 -He left the Philippines on August 27, 1945, shortly after turning 15 -Came to the United States aboard a troop transport -Escorted by a convoy until they reached Hawaii -Fears that rogue Japanese submarines would still attack American ships -Spoiled by the soldiers coming home on the ship -Gave him and the other children candy -There was a former teacher that gave him and the other children lessons on the ship -He had had some education in the camp, but it was censored (00:38:49) Manila Post-Liberation -By the time Manila had been liberated, all five bridges in the city had been destroyed -The Army used pontoon bridges to replace the originals -Walked through the rubble of Manila and found a Japanese corpse -Kicked it out of frustration -Saw the old walled-city of Manila (original Spanish city) -Everything but the churches had been laid to waste by American bombers -Final Japanese stronghold of the Battle for Manila (00:40:49) Coming to America Pt. 2 -Landed at San Francisco -Grandfather arranged for him to attend a military school in San Rafael, California -Putting him on track to study at West Point Army Academy -Prioritized because his father had been an officer and recipient of the Silver Star -Sent to Pentwater, Michigan, to stay with a cousin -He completed his education in Pentwater and decided not to pursue West Point -Went to Western Michigan University in 1949 and studied education (00:43:27) Getting Drafted -He received a draft notice after graduating from college -Excused from service because he had been a prisoner during World War II -Returned to college to pursue a graduate degree -Received another draft notice at 23 years old (00:44:25) Basic Training -Sent to Camp Chaffee, Arkansas, for basic training -Passed barracks inspection every time because he had grown up in a military household -Knew what to expect from basic training because of his father and the military school -He was the oldest recruit in his training unit �-Received extra responsibility because of his age and assisted the master sergeant -Did his basic training in 1954 -By then, the Korean War was over -Still expected to go to South Korea for occupation duty (00:48:20) Assignment to Third Army Headquarters -He was initially assigned to the 82nd Airborne Division -Lee’s wife got pregnant, and his grandfather pulled some strings to get Lee reassigned -Transferred to Third Army Headquarters at Fort McPherson, Georgia (00:49:05) Intelligence Training & Intelligence Duties Pt. 1 -Before his assignment to Fort McPherson, he received intelligence training -Sent to Fort Holabird, Maryland, for intelligence training -Learned how to keep classified information out of enemy hands -Learned how to gather information from enemy sources and report on it -Received training with a wide variety of handguns -Dealt with counterintelligence -Investigating possible spies and persons of questionable loyalty -He handled classified documents and needed special security clearance -At Fort Holabird, he was questioned about his cousin’s husband -He had been a postmaster and was caught for embezzling -Meant Lee’s intelligence duties were questioned (00:52:04) General MacArthur’s Removal -In April 1951, President Truman relieved General MacArthur of command -This was due to irreconcilable differences between the two men -Despite his removal from command, MacArthur still had power due to his reputation -Lee understood and agreed with Truman’s action, but found it a little drastic (00:53:29) Intelligence Duties Pt. 2 -Being in intelligence made the other enlisted men and officers nervous around him -Knew that if he was around, someone was getting investigated -Made every effort not to allow anyone to know about his powerful connections (00:56:04) Life after Service -Discharged in 1956 -Returned to college, completed his master’s degree, and pursued a doctorate -Go a job in a school system in northern Michigan near a ski resort -Daughters enjoyed going skiing -He started as a principal at the school -Worked in an administrative capacity for a while, then returned to principal work -Didn’t like being distant from the students in administration (00:57:50) Reflections -His experiences in Manila shaped his experience in the Army -Deeply thankful to the soldiers that liberated his camp -Never got the chance to thank his liberators from the 1st Cavalry Division -Has never met anyone that was present for the liberation for Santo Tomas -Feels that his time in the Army made him a better man �-Carried his Army experience with him as a principal -Insured that all young men could meet the physical demands of military service � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-27_StevensL2093V Title A name given to the resource Stevens, Lee (Interview outline and video), 2017 Date A point or period of time associated with an event in the lifecycle of the resource 2016-01-16 Description An account of the resource Lee Stevens was born in Manila, Philippines, on August 21, 1930. He was 11 years old when the Japanese attacked the Philippines on December 8, 1941, and witnessed the invasion and occupation of the Philippines by the Japanese. His father, a captain in the U.S. Army, was taken prisoner and interned at Cabanatuan prisoner-of-war camp until his death aboard a "hell ship" in late January (or early February) 1945. Lee was interned with his grandfather at the University of Santo Tomas in Manila for the duration of the occupation, but his Spanish stepmother and his half-brother were allowed to be free due to not being American. On February 3, 1945, troops from the 1st Cavalry Division liberated Santo Tomas and on August 27, 1945, he and his grandfather left the Philippines. After completing college, he was drafted into the Army in 1954 and received his basic training at Camp Chaffee, Arkansas. He received Intelligence Training at Fort Holabird, Maryland, and was initially assigned to the 82nd Airborne Division. Due to being the godson of General Douglas MacArthur and his grandfather maintaining contact with the general, Lee was reassigned to Third Army Headquarters at Fort McPherson, Georgia. He was discharged in 1956. Creator An entity primarily responsible for making the resource Stevens, Lee Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American United States. Army. Type The nature or genre of the resource Moving Image Text Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project collection, (RHC-27)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Relation A related resource Veterans History Project (U.S.) Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Format The file format, physical medium, or dimensions of the resource video/x-m4v application/pdf https://digitalcollections.library.gvsu.edu/files/original/746e90103525506d9addde930e24f34e.m4v a05b76cf1f886a9891f0fa73ad8b22ad https://digitalcollections.library.gvsu.edu/files/original/1173e9a8169c4a0b0c562cd7db651a76.pdf dabe6d8795ce1346ac2e513491746740 PDF Text Text Grand Valley State University All American Girls Professional Baseball League Veterans History Project Interviewee’s Name: Rosemary Stevenson Length of Interview (00:41:40) Interviewed by: Frank Boring Transcribed by: Joan Raymer, August 30, 2008 Interviewer: “Can we begin with your name and where and when were you born?” My name is Rosemary Stevenson; I was born on July 2, 1936 in a little town called Stalwart, Michigan, in the Upper Peninsula. Interviewer: “What was your early childhood like?” I grew up on a farm and was the oldest of seven. A life I wouldn’t change, growing up on a farm was neat because, I don’t know, you have your own built in playground with the animals and even the chores. You grow up with a good work ethic also. 1:21 Interviewer: “Were you athletically inclined at an early age?” Yes, the neighbor kids had twelve and we had seven so, almost every night after our chores, we had a ball game going on in the field. Interviewer: “So you were playing baseball very early on?” Right. Interviewer: “And what position did you favor when you were a young kid?” I don’t know, we just played wherever there was a spot. We chose up teams and the leader pointed you out and you played there, just played. Interviewer: “What kind of equipment did you have?” Probably a flat old glove back then and whatever bat was lying around. 2:03 Interviewer: “What was your schooling like?” I grew up going to a one-room schoolhouse and I started there in the kinder grade and I went through the seventh grade and I skipped the eighth grade and went into high school in the little town of Pickford, Michigan. I graduated from there in 1954 and when I graduated on a Thursday night, on Friday my coach brought me to Grand Rapids and on Saturday I was playing my first professional baseball game. 2:42 Interviewer: “Oh my goodness, you jumped into this.” I jumped in, oh yeah. 1 �Interviewer: “Let’s back up a bit then. By 1950—you said you joined in 1954? The league had almost ended, and since 1943 there was already a league going. Did you know anything about the women’s professional baseball league?” I did not know about it until the spring of 1954. Interviewer: “How come? It was a pretty big phenomenon, wasn’t it?” Well, think maybe because I was in the Upper Peninsula and no scouts ever came up there. I accidentally was reading a softball rulebook and in the back it said, “Women’s Professional Baseball” and it gave a name and an address in Fort Wayne, Indiana so, I wrote to them. 3:41 Interviewer: “Hold on a second. I know this is going to sound like a very stupid question, but why were you interested?” I was always interested in playing ball, but it just interested me all the more when I found out there was women’s baseball. At that point I had been playing organized softball since I was eleven. Interviewer: “By organized softball, it’s similar to what we have today, just neighborhood teams playing against other towns and things like that?” Yes. Interviewer: “But there was no real—the organized leagues, were they part of your school or just community type teams, the softball?” They were community, each little community had their own girl’s softball team and they traveled around, usually on a Sunday afternoon and played one another. 4:47 I played in a league that was the team that I played with was the Sault Lockettes out of Sault Ste. Marie, Michigan and we played in a league with the Canadian teams, which was a much faster fast pitch league and we call, “Across the river”. 5:07 Interviewer: “Did you have any—you knew that men had professional baseball? You also knew that women couldn’t play in men’s baseball? Was there any sense of, ”Gee, I wish that I could play professional baseball”?” There might have been, in my heart, but it wasn’t brought forward until I read about that there was a league. Interviewer: “I guess you wouldn’t think about it because there was no chance of it?” Right. 2 �Interviewer: “So, you found this book and you read in the back of this book that there actually was a professional league so, before you jump into it, what happened after you saw that?” Well, I wrote to the gentleman’s name and address, and I don’t remember his name now, in Fort Wayne, Indiana and they sent me a letter back and said, “We are having a try out camp in Battle Creek, Michigan”, and I believe it was the 13th, 14th and 15th of May of 1954 and, “If you are interested come on down, and if you make a team we will pay all of your expenses”. So, I went there. 6:23 Interviewer: “How did you get there?” By my coach, he took me down there—this gentleman was a real neat guy, he was a fullblooded Chippewa Indian and loved helping kids and fortunately he was my coach. He took me down there and there was a tryout from Friday, Saturday and Sunday and we did everything: run, throw, catch. Interviewer: “I want to back up before you get into that. He brings you by car?” Yes. Interviewer: “Give me a visual of—I remember from the movie, ‘A league of Their Own”, when Geena Davis and her sister walk on and she suddenly sees the big baseball league, what was your experience like when you arrive with your coach, try to give me an idea, the visual of what you saw?” What I saw was a lot of girls out there to try out for teams. There were a hundred and six of us from the Midwest that had come there to try out to see if we could make a team. Like I said, we went through all the routines, we ran, we batted, we slid, everything so they could see how we could perform and then on Sunday they said they would post our names. On Sunday, six of us made it. 8:00 Interviewer: “While you were there doing the tryouts, were you in any kind of a uniform or did you wear regular clothes or what were you wearing?” Blue Jeans and T-shirt. Interviewer: “Most of the women were just in clothes that they could slide into base or hit the ball or anything like that?” Right. Interviewer: “Did it seem to you that it was very well organized?” Yes, it was, very much so and there were a lot of coaches and managers around there watching all the time. They were just, I assume, like the big league was, watching for the best talent. 8:43 Interviewer: “What did you feel that you excelled at?” 3 �My coach said, the thing that I excelled there at, was my arm. He said that when I—there were two balls from the outfield that they hit out there and when I hit the perfect strike to home plate, that sealed it. Interviewer: “He drove you back?” Yes. Interviewer: “What was the conversation in the car like?” Well, he was excited. They had told me right there that I was accepted by the “Grand Rapids Chicks” and I would be getting a contract in the mail for my parents to sign. Interviewer: “Why for your parents to sign?” Because I was a minor. Interviewer: “Ah, how old were you?” Seventeen and so he was excited that I had gotten that far and was chosen to play professional baseball. 9:31 Interviewer: “Did he know very much about the league?” He didn’t know any more than I did. Interviewer: ‘Ok, how did your parents react to this?” Well, my dad was never one to really speak out about anything I did really so, he never really said too much. My mom had pride and she came back down when my coach brought me down to Grand Rapids, she came along, but my dad never saw me play professional baseball. 10:05 Interviewer: “He was a farmer?” Yea, a farmer and he worked off of the farm also. Interviewer “So, the contract came in the mail finally?” Yes. Interviewer: “And how much were you paid?” I was paid fifty dollars a week, plus expenses. Interviewer: “So, give me an idea of the process of getting into the “Grand Rapids, Chicks? You went to the tryouts, you made the cut of six out of 120—“ It was a hundred and six. Interviewer: “That’s pretty amazing, you’ve got the contract, you’ve signed it, alright, where did you go and what was the first stage of your becoming a professional baseball player?” 10:47 4 �OK, I got the contract, my folks signed it and we sent it back and we got a letter saying to report, it was like the Friday after I graduated, I graduated on a Thursday night in May of 1954, and I don’t remember the date, but it was like the latter part of May so, Friday we left the Upper Peninsula, my coach, my mom and I and they had a place already set up for us. We stayed with families that would rent us a room for five bucks, and so we went there and first we checked into the office, the business office, and they gave us some details etc. about what I was supposed to do, which was—I would get a uniform, come back and pick up the uniform and then check with this address because that’s where in on Prospect St. in Grand Rapids. Then when I had the uniform, I was to be in uniform on Saturday morning for warm-ups and the game would be Saturday night and it would be up to Woody English, the manager, to put me in the line-up. 12:09 Interviewer: “Now, some of these questions are going to sound stupid, but I’m trying to get to as much detail as possible. There is already an existing “Grand Rapids Chicks” team and they have a pitcher and a catcher and fielders and all that, How many women were actually on the team, I know how many actually play at a given game, but how many were actually on the team that you can recall?” I say there were maybe fifteen on the roster. 12:33 Interviewer: “So, not everybody could play in a given game?” Right. Interviewer: “You’re the new kid on the block. What was your first game like? Let me go through it, first you got the uniform? Where did you get that?” From the business office. Interviewer: “Ok, Did it fit?” Yup, they ask you the size. Interviewer: “Describe in detail the uniform. What did it look like?” It was the—home uniforms were white with blue trim, our away uniforms were gray with blue trim and they carried them with them, they took care of them and laundered them so I didn’t have to take care of them as far as laundry or anything like that, but we had two uniforms to wear. You had your cap and you had what they called your little blue bloomers that you wore underneath. No sliding pads. 13:41 Interviewer: “You were wearing skirts.” We were wearing skirts and they were—it was embarrassing to wear as I grew up as a farm girl and was used to wearing blue jeans. When you put a skirt on that’s probably knee length, you feel like you’re undressed. 5 �Interviewer: “Well, in those days—this is before the mini skirts, this is before women wore skirts that short and here you are parading out in front of thousands of people, I can imagine it must have been—what about the shoes, the socks, did they come up to the knee?” Right, they came up mid-calf and the shoes were our regular baseball spikes that we had. 14:20 Interviewer: “Were they cleats?” Yes. Interviewer: “Ok. So, you now have your uniform and how did you get to, because I assume your coach is now back home, how did you get to the baseball diamond?” I was close enough to walk. I would walk to the baseball diamond. Interviewer: “Had you met any of the other girls yet?” Not until the first day that I got in the ballpark. Interviewer: That’s what I want to get at now. You’re the new kid on the block, you’re from the Upper Peninsula, a farm girl, what was the reaction of these professional baseball players to you when you first got there?” When I first got there I was introduced by the chaperone to all the girls and vice versa, and you know, you seem to be accepted, again you’re the new kid on the block, but through the course of that summer you were not really accepted by the pros so to speak because the rookies always felt that they had the feeling that we were going to take their job away from them. If there was a party or a get together or something, you were never invited with them, so you were kind of a loner. 15:42 Interviewer: “Were you with other rookies?” There was one more rookie. Interviewer: “Did you start a relationship with that person?” Not really, not really, I started—I actually started a relationship with—there were five girls that had graduated that same year from local schools in Grand Rapids that came to the games and we started kind of started jelling together. They kind of took me around town, you know. 16:13 Interviewer: “You mentioned a chaperone, now I know what it is, but for the record, what was the chaperone?” 6 �Dolly Hunter was out chaperone, she was a real neat lady, I mean she was like a surrogate mother for one thing, and she also made sure that we represented the league well in our dress, our actions and our voice, how we talked. 16:41 Interviewer: “Did you have clothing requirements, because you made mention earlier that you felt comfortable in blue jeans and a t-shirt, were you allowed to go out in public that way?” No. If you were not around the ballpark, you could because nobody knew who you were, but if you were, say for instance, an example would be if we were traveling, we traveled by leased station wagons, Orson Coe leased them to us, if you had to stop to go to the restroom and you were wearing shorts, you had to have a wrap around skirt or something to put on to go out of the van or the station wagon to go to the bathroom. You couldn’t be seen smoking in public, but you had to be dressed like a lady. You know the same thing, if you came out of—after a game and you came out of the clubhouse, then you better have a skirt and blouse on. You didn’t come out of there in slacks or blue jeans. 17:47 Interviewer: “What happened if you did?” You probably would have been suspended from the games or something. Interviewer: “So, there were penalties, and that was made clear to you?” Yes, and how strict the penalty was—we can jump back to the—in the tryout camp we had, there was one young lady from Wisconsin was super good, she would have made a team anyplace, but she broke the rules, she went out on the fire escape and had a cigarette and the next day she was on the bus home. 18:18 The rules were very strict. Interviewer: “Did you have to go through—because I know that, in the research that I have done, that you had a kind of a charm school?” No, that was gone by the time I came. Interviewer: “But, they did instruct you in terms of your behavior and made it clear that you had to dress a certain way and you couldn’t smoke and all those sort of things?” Yes. Interviewer: “Let’s go right to your first day, your first actual game, do you remember whom it was against?” I think it was Kalamazoo. Interviewer: “What was that experience like? You got to the ballpark, you say you walked there, you got there—“ 7 �Well, the first game, my coach and mom were still here so, I got a ride with them and they got to see the first game I played in. We went to the park, which was South Field, and got dressed in the clubhouse and the manager said, “I’m going to put you in the lineup tonight, your mom and coach are here and I’m going to put you in the lineup”. I played right field so, I honestly don’t remember if I got a hit or not. 19:34 Interviewer: “But, you must have been excited, you coach was out there and your mom was out there and it was your first professional—you’re getting played to play baseball?” Yes, yes, it was exciting. A dream like you never thought was going to happen. Interviewer: “What was the next game like? It doesn’t have to be the very next one, but early on as you’re starting to play the first few times. You played in seasons right?” Yes, we played every night of the week and double headers on Sunday and at that time there were only five teams and you would have an open day once in a while. As I got more comfortable with the league and with the team, I dealt and I did pretty well. I don’t know if I’m jumping ahead of your story, but I batted 223, I had three home runs for a rookie, I don’t remember how many runs batted in or anything like that, but it seems like it was seven I’m not exactly sure, but I felt a little more comfortable of getting to the plate, of playing positions, mainly I was a utility outfielder and I usually played either right or left. 20:54 Interviewer: “How good were the other teams?” Very good, it always seemed like when we went against Fort Wayne it was a chore because they had good players and Rockford was the same thing. Interviewer: “That’s the “Rockford Peaches”?” Right. Interviewer: “They were probably the most famous.” Right, but Fort Wayne had some real good hitters and they had some good pitchers too. So, it was—they were all, I think, evenly balanced, so the games were good. Interviewer: “What kind of crowds were you drawing?” When I first got there, in the first part of the season, the crowds were really not good. I mean—I’m guessing maybe a thousand people some times—it depends who you were playing, but I do remember towards the end of the season, standing in the outfield in Rockford and counting a hundred and twenty five in the stands. So, you knew something was going on, but you didn’t know what. 21:54 8 �Interviewer: “What was the reaction of the crowds, from your own personal perspective, not what you have read about, but from your personal perspective, what was the reaction of the crowds to your team and the teams that you were playing? They came there to see women’s baseball, were there hecklers? Were people laughing?” No, by the time that I got there, they were behind the teams, I mean they were shouting for them, there were certain players that they were really shouting for and it was neat. There was no heckling, no carrying on or anything like that and the kids would come there and they would want you to sign their arm or a baseball or something so, it was neat. 22:39 Interviewer: “Were there a lot of younger kids?” Yes there was and there were a lot of people who would follow, if we were playing say Kalamazoo, or maybe South Bend or any of those, they would follow the team and be right there when we played that night. Interviewer: “How far did you have to travel to play games? Were you basically within a certain tri-state area?” Midwest, just the Midwest area and I think the furthest one that I traveled to, when I was playing, was Rockford, Illinois. We had South Bend, Rockford, Illinois, Kalamazoo, Grand Rapids and Fort Wayne, at that time, that were still in the leagues. 23:27 Interviewer: “Did you get a chance, when you traveled to other towns, did you get a chance so socialize with the other teams or go out and see what the town looked like, or were you pretty much driven there, play a game, go to your hotel and come back home?” It all depends if we got there late at night. You might be bushed, so you want to go to bed and didn’t feel like doing anything. I liked to get out and walk around the towns and back then you could walk around the towns. I did meet different people there and they weren’t the ball players, it was usually local people. 24:03 Interviewer: “Did you let them know you were a baseball player?” Yes. Interviewer: “And what was their reaction?” Kind of surprised and yet some were—“Oh yeah, we know about the ball team here in town.” It was just nice to meet and talk to the local folks. Interviewer: ‘Was there much media coverage, from your experience playing the games, did you see cameras, did you see people with movie cameras, Movietone news for example was the thing of the day, you would go to the movies and there 9 �would be Movietone News and I’ve seen of course, a lot of this film footage of yours, “There’s the diamond gals, can you hit the ball?” A kind of condescending kind of attitude, did you ever see any of the media there?” I never saw any. Interviewer: “Were you interviewed by the newspapers at that time?” Yes. Quite a few articles were written up in the newspapers and then radio—went on radio different times. Probably three times I was interviewed in the Upper Peninsula at the radio stations there and the local papers up there, plus the local papers here. 25:10 Interviewer: “What were some of your memorable games?” I guess the one that really sticks out in my mind is when we were playing Fort Wayne and I was playing center field at that time and one of the Foss girls, actually all of the Foss girls were really big farm girls and when they hit that ball you might as well stand next to the fence because it was going to go out. This one she hit one to the center field, actually the right center, and I remember going up the wall to get it and saved a home run. 25:42 That to me stood out in my career. Interviewer: “did you get a big reaction from the crowd?” Oh yes, It was oohs and ahs, and she didn’t get the home run. Interviewer: “Your time out in the outfield you spent of course, fly balls are coming out there, you’ve got balls that hit out into there. What were the most difficult ones to field? Pop ups are obviously easy to catch, what were some of the ones that you found—you were saying to yourself—oh, oh, there’s one of those coming at me?” Well, sometimes it would be if it was like a line drive that missed the infield, got by the infield, that was—it hits the ground and you don’t know where it’s going to go so, you’re trying to out judge the ball. That would be the ones or the ones that you would lose in the sun. 26:41 Interviewer: “Now you had a good arm so, from the outfield you could actually hit home plate?” I could hit home plate or I could hit it on a bounce, depending on the distance. Interviewer: “You had mentioned earlier, since you were the rookie, there was this sense the pros a little bit reluctant to be involved with you because you were there to take their job or they just weren’t friendly, did that change at all during the course of your time with the “Chicks”?” 10 �I think it changed after the league folded. I became good friends with some of the old timers, formers and I think it has you know, it has changed somewhat now that we come together as a group and the group is getting smaller, unfortunately and with our reunions that we have every year, you got to know the other players a little bit better, because you’re in the—for a week-end you’re in a hotel someplace, and you’re getting together at mealtime and just sitting around talking. You get to know them a little bit better and I think after the league folded, I think, at least myself, I got to know the players better. 28:04 Interviewer: “Did you actually get to talk to that Foss girl that hit that, what she was a home run, and you caught it?” Oh, I’m sure I did, but I don’t remember. Interviewer: “What was your coach like?” He was a good coach, yes. Being my first year I learned a lot from him. Interviewer: “You know the movie, the Tom Hanks movie, the Penny Marshall movie and I know it was an exaggeration, I know it was a movie, there was a sense of a male coach having to coach female baseball players. Did you feel anything like that with your coach? What was his background for example?” 28:43 He played for the Cubs, he was a shortstop for the Cubs and I didn’t feel anything like what they portrayed in the movie, like Tom Hanks. You know, he would scream at us once in a while, but he probably had a right to, but I never saw him go through the shenanigans like Tom Hanks did. 29:12 Interviewer: “At the conclusion of a baseball game, at least when I was playing baseball in little league, each of the teams would line up and you would shake their hand, did that same thing happen to you?” The same thing, yes. Interviewer: “So you got a chance to see eye to eye, some of the people you played and were up against? But again, there was no socializing afterwards though?” They didn’t encourage socializing and going out afterwards. That again, was against the rules. 29:48 Interviewer: “Did you ever break any of those rules?” No, I don’t recall ever doing that. Interviewer: “So you guys never went out for a beer party or anything like that?” No, I’m not a beer party person. Interviewer: “How many seasons did you play?” The last year. 11 �Interviewer: “And that was how many months?” It was May through September. Interviewer: “So, now you’re getting towards the end of September, what were you told in terms of, the season is over with and since 1943 there has been a new season and a new season, were you told that there was going to be a new season?” No, we had no idea that the league was going to fold other than what I said about Rockford, less fans in the stands, there were just different things that were kind of going on, but nobody told us anything. In December we got a letter stating that the league had folded and there would be no more baseball for women. 30:52 Interviewer: “What were—before we get to that letter, it’s September, the season is now over with, what were you planning to do? Go home?” Well, I had already gone home. We were playing in the tournaments at the end of the season and we were playing against Fort Wayne and Fort Wayne loaded their lineup. We played one game against them and we had to play another game and Woody didn’t like it when he found out they were stacking the line up and he pulled us out and he brought us home, so we walked out on the tournament, so I packed up and I went back home to the Upper Peninsula, got a job with the idea that I would be back playing ball for somebody until I got that letter in December. 31:51 Interviewer: “What was your reaction?” Broken hearted, I was thinking, “One year and the dream bubble’s broken so, where do you go from there”. Interviewer: “Were you, and I realize that you were very young, were you anticipating a career, a full blown career as a professional baseball player?” I guess I just thought I would play as long as—I hoped the league would be there a long time so I guess the idea was yes, I did have that dream. 32:33 Interviewer: “Did you have alternative plans?” No, no. Interviewer: “At seventeen you very rarely do. So, you’re thinking that you’re going to be playing professional baseball for the conceivable future, into you twenties or whatever you can, and then you get the letter telling you it is over completely. Did you ever try to find out why or what happened, or did you just accept that it was over with?” Well I did, this one young lady that I was good friends with in Grand Rapids, her father was on the board and so through her I did find out the league just didn’t have any financing. 33:10 They couldn’t afford to pay the salaries anymore so therefore, they 12 �disbanded, again the men came back from being in the war, television, people were buying television sets and watching that instead of coming out to the ball games, and the gas was not rationed anymore. That was another issue that we had, that it was rationed and you only got so many gallons and so, people were getting out and doing other things instead of going to the ball parks. And so, it just—the era had died, which is unfortunate it happened. 33:50 Interviewer: “What did you end up doing then as a job, you’re only eighteen years old or something, what did you decide to do for a living?” Well, when I went back to the Upper Peninsula, I got a job in a restaurant and I decided I wasn’t going to do that the rest of my life. So, I came back to Grand Rapids and again through this friend and her family, I got a job at Keeler Brass and I worked there for probably three or four months and I was allergic to the oil on the drill presses, and one of the girls that I was playing softball with, here in Grand Rapids, said, “We got some openings at the telephone company”, and I said, “Well, I don’t want to be a telephone operator”, and she said, “No, you don’t have to be—I work in the office and connect the wires in there that supply dial tone and that’s the kind of work I do”, and she said I should go and apply so, I went down and applied and the next day I’m working at the telephone company. 34:49 I worked there for thirty four and a half years and I retired from there. Interviewer: “You mentioned softball so, you went right back into playing again?” Yes. Interviewer: “This time for a Grand Rapids area team?” I played for Grand Rapids Bissell and I played for Michigan Bell. I coached both teams, I coached and played softball for fifty-two years and I played a lot of my softball in Zeeland, Michigan, the Zeeland league out there. 35:25 Interviewer: “So, baseball still, even though you couldn’t play professional baseball, it’s still a major part of your life.” It is, yes. Interviewer: “What was the appeal?” I don’t know. Interviewer: “I know this is a funny question, but to devote your life to a particular sport—I understand that you’re athletic and you enjoy athletics and all, but what is it about baseball?” 35:49 I don’t know, just the sport. You know it’s funny because the class prophesy, you know they write it up in the year book, I was supposed to be playing basketball for the “Redheads” out west and I never played basketball in my life, but my dad was an umpire for baseball and we went around every Saturday afternoon where he was umpiring and he 13 �actually coached baseball teams, the men’s baseball teams. I had two uncles that were pitchers so, it’s in the family you know, and my siblings are the same way, they have all played in the sport. I love working with young kids when it comes to softball and I was varsity softball coach for Muskegon Catholic Central for two years and I don’t know, it’s just there. 36:40 Interviewer: “I think you answered it. How do you think your experience, even though it was very short, how did that experience change your life, or did it change your life or have some kind of an effect on your life? You obviously went back into baseball again and you‘ve tried to instill in young people your love for the game, but that one season, did it have any effect on you in terms of your life?” Well, probably coming from a small community, it probably allowed me to reach out and broaden my circle of friends. 37:24 Interviewer: “So, being from a smaller community, you went out into the world so to speak. Were you very shy as a child?” No. Interviewer: “So, you didn’t have any problem getting into that?” No. Interviewer: “What do you say to young girls today about your experience? I imagine a lot of these girls playing ball may not even know—I’m amazed at the number of college students that I talk to that had no idea there was women’s professional baseball. Do you find that there’s—the younger people you talk to, are they aware of what you did and the fact that there was a professional league?” A lot of them are not. I go around with a friend of mine who played pro ball with Kalamazoo, we go around and talk to schools and quite often the teacher will have them watch the movie, “A League of Their Own”, so they can ask us questions and they’re in awe as much as their parent because their parents haven’t seen it and they didn’t know there was women’s baseball. So, there are still people out there who are not aware that we’re even around. People say, “Why didn’t you ever talk about it before?” But, nobody listened because they thought we were playing softball. 38:53 Interviewer: “Well, The Library of Congress is interested so, as of this particular interview and the ones we’re going to do with your fellow ball players, I think it’s an important part of American history and I am very, very pleased that we got a chance to sit down and talk. 39:10 I have a couple more questions for you though, This is kind of a difficult one to answer because it’s going to require you to really give some thought to—do you think the experience of women’s professional baseball had an effect on the way that women today, and even right after you, the opportunities that were opened up as people saw a woman get up and hit a home run or to slide into a base and have a crowd go nuts, just like a men’s team. Do you 14 �think that the women’s professional baseball league had any affect on the progression, if you will, of the opportunity for women?” 40:02 I think we did. I do believe that we opened the door for women in sports. We didn’t know it at the time, but I honestly think that was the beginning. Interviewer: ‘What about things like women having more opportunity to go beyond being a nurse, being a teacher, being a homemaker, do you think the fact that they saw baseball, and you maybe didn’t even think about it at the time, I’m asking you to think about it now, the fact that people saw women doing something that a man could do might of opened up some opportunities for—somebody might say the don’t want to be a baseball player, maybe I’ll be a basketball player, or maybe I’ll be this or I’ll be that?” 40:47 I believe it also opened the door for them, it allowed the young ladies follow their dreams, whatever their dream was. Interviewer: “I couldn’t have asked for a better ending right there. That’s just wonderful, just wonderful. Are there any other things that you can think of that you would like to say—something that happened in a game or just a commentary that you have before we close?” I just thank god that I had the ability and the opportunity to play professional baseball. Interviewer: “Rosemary, it’s been a real delight, thank you so much.” 41:26 Thank you. 15 �16 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource All-American Girls Professional Baseball League Interviews Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The All-American Girls Professional Baseball League was started by Philip Wrigley, owner of the Chicago Cubs, during World War II to fill the void left by the departure of most of the best male baseball players for military service. Players were recruited from across the country, and the league was successful enough to be able to continue on after the war. The league had teams based in Wisconsin, Illinois, Indiana and Michigan, and operated between 1943 and 1954. The 1954 season ended with only the Fort Wayne, South Bend, Grand Rapids, Kalamazoo, and Rockford teams remaining. The League gave over 600 women athletes the opportunity to play professional baseball. Many of the players went on to successful careers, and the league itself provided an important precedent for later efforts to promote women's sports. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/484">All-American Girls Professional Baseball League Collection, (RHC-58)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Sports for women World War, 1939-1945--Personal narratives, American All-American Girls Professional Baseball League--Personal narratives Oral history Baseball players--Minnesota Baseball players--Indiana Baseball players--Wisconsin Baseball players--Michigan Baseball players--Illinois Baseball for women--United States Publisher An entity responsible for making the resource available Grand Valley State University Libraries, Special Collections and University Archives, 1 Campus Drive, Allendale, MI, 49401 Identifier An unambiguous reference to the resource within a given context RHC-58 Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Type The nature or genre of the resource Moving Image Text Language A language of the resource eng Date A point or period of time associated with an event in the lifecycle of the resource 2017-10-02 Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-58_RStevenson Title A name given to the resource Stevenson, Rosemary (Interview transcript and video), 2008 Creator An entity primarily responsible for making the resource Stevenson, Rosemary Description An account of the resource Rosemary Stevenson was born on July 2, 1936 in Stalwart in Michigan's Upper Peninsula. Growing up she loved to play baseball with the neighborhood kids. Before entering the All American Girls Professional Baseball League she played for the Sault Lockettes. She first heard about the All American Girls from a baseball scouting book and then tried out in Battle Creek in summer 1954. After tryouts she signed with the Grand Rapids Chicks and played both left and right field. One of her career highlights during the 1954 season was saving a home run against Fort Wayne Daisies. Contributor An entity responsible for making contributions to the resource Boring, Frank (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) Video recordings All-American Girls Professional Baseball League--Personal narratives Baseball for women--United States Baseball Sports for women World War, 1939-1945 Baseball players--Michigan Women 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 2008-06-10 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/484">All-American Girls Professional Baseball League Collection, (RHC-55)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/6d44f306bd9a0412c6b4192db5db038d.jpg e3adc59a236684d71da6fb5d2a372ff3 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 StewartCrystal_Photo01 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stewart, Crystal Description An account of the resource Crystal Stewart, Public Health and Nursing 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/6034954ddf9f73cf8dd2c87aafb478dd.jpg 82f90e3984987a39603b9d14509d43cf 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 StewartCrystal_Photo02 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stewart, Crystal Description An account of the resource Crystal Stewart, Public Health and Nursing 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/fcaaf0a8be74b822ac15a0228b9ca034.jpg 388004e2f2c17e498af1ccf86c0d7e07 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 StewartJosephM_Photo02 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stewart, Joseph M Description An account of the resource Joseph M. Stewart, Board of Trustees 1991-1998 Subject The topic of the resource Grand Valley State University – History College administrators 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/23fa8a0bf87666645f24b214612fbfeb.jpg eda38733ee4776203852c1bcd9443f03 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 StewartJosephM_Photo01 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stewart, Joseph M. Description An account of the resource Joseph M. Stewart, Board of Trustees 1991-1998 Subject The topic of the resource Grand Valley State University – History College administrators 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/50bcc6c0e8696c2130dce6deb98b0fc0.jpg 4aa149d47637ef9523e750a12999ba07 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 StewartThomasP Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stewart, Thomas P Description An account of the resource Thomas P Stewart, Director of Golf Subject The topic of the resource Grand Valley State University – History 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/b45a934a98ce1e084f89463b47db027e.jpg e69b86fa9ba97be576486edfe2a6da8c 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_C123-0003 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior view of Stiles' beach house in Holland, Michigan. In the photograph, a midcentury modern sunroom and living room featuring a telescope overlooking Lake Michigan and Holland's "Big Red" lighthouse. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Lake Michigan Cottages Interior architecture Telescopes 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/f7dccd1a66c9d685dcbadab5b781d17c.jpg c46c8e8caf6a44a6e31f017963d68523 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_C123-0005 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior dining room view of Stiles' beach house in Holland, Michigan. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Interior architecture 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/19bd1cc7a150cb4fd297162300935d39.jpg a28a544a8fcf6cb0e2589888194bed0c 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_C123-0009 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior view of Stiles' beach house in Holland, Michigan. In the photograph, a midcentury modern living room and loft bedroom are featured from the Lake Michigan cottage. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Interior architecture 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/28f82711dc3892fca3927c27a8ef1ffc.jpg b0ff96fe2904f2da6c75eb23b9badcb2 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_C123-0010 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior cottage kitchen view of Stiles' beach house in Holland, Michigan. In the photograph, a woman is seen pouring hot water from a kettle while standing next to the kitchen sink. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Interior architecture 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/35acc1d559117241bba2547312b601c5.jpg 756a48d0026865e30108c29d0b727a0a 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_C123-0017 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior bedroom view of Stiles' beach house in Holland, Michigan. In the photograph, a bedroom for children can be seen with bunkbeds, a nightstand, and a sign on the wall that reads, "Army Navy Game." Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Interior architecture 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/2179de7c96752c28879416c6fa99e720.jpg b9d22d3251243fcfbc87b22c0d567fff 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_C123-0030 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an exterior view of Stiles' beach house in Holland, Michigan. In the photograph, the beach house's backyard view toward Lake Michigan and the lighthouse can be seen, along with the cottage's floral window boxes and the telescope framed through one of the windows. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Telescopes 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/0ee0c3502f1f3a3d448687fd9397cf4e.jpg 25bb4a3888613df8f56db692e045ed21 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_C124-0004 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior view of people gathered inside Stiles' beach house overlooking Lake Michigan in Holland, Michigan. In the photograph, two women can be seen seated on midcentury modern chairs in the living room, with large windows located behind them and a young child playing outside on the sandy shore. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Lake Michigan Cottages Interior architecture 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/6a5f1b542f74c62fb4617bc7ec7b9351.jpg 25bb4a3888613df8f56db692e045ed21 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_C124-0004 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an interior view of people gathered inside Stiles' beach house overlooking Lake Michigan in Holland, Michigan. In the photograph, two women can be seen seated on midcentury modern chairs in the living room, with large windows located behind them and a young child playing outside on the sandy shore. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Cottages Interior architecture 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/710a5e0c685ce8e292f5ff0dff1a02c7.jpg a5b55045454621f344d503e5b8cca70c 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_C124-0008 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an exterior view of Stiles' beach house in Holland, Michigan. In the photograph, the beach house can be seen located along the sandy shore of Lake Michigan. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Lake Michigan Cottages 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/c13cd2e2c6620cff9bc3fcd2239e1e42.jpg 45a2394ab5844d38010ed78b47a0e249 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_C124-0013 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 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an exterior view of Stiles' beach house in Holland, Michigan. In the photograph, the beach house can be seen located along the sandy shore of Lake Michigan, with children playing outside next to a volleyball net. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Lake Michigan Cottages 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/49273d806299bb9b16166a6a3260d88d.jpg dc4f21d54f1e96d2d86cb6f9518d695e 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_C125-0016 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1962-07-18 Title A name given to the resource Stiles' beach house in Holland, MI Description An account of the resource Black and white photograph of an exterior view of Stiles' beach house in Holland, Michigan. In the photograph, the beach house can be seen located along the sandy shore of Lake Michigan, with a series of large windows overlooking the water and the surrounding beachfront. Scanned from the negative. Subject The topic of the resource Holland (Mich.) Lake Michigan Cottages 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/3677632459837cde67b6aec68e4af13f.mp3 72cfe66f9e79d468659c45c320523d88 https://digitalcollections.library.gvsu.edu/files/original/544fc4d429c74315a24e5147864d471b.pdf ab516aea6965835a714cee54383358b8 PDF Text Text Still the Light Shines Giving New Vision Epiphany I Scripture: Acts 26:19-32; Matthew 2:1-12 Text: Acts 26:19; Matthew 2:9 Richard A. Rhem Christ Community Church Spring Lake, Michigan January 7, 2001 Transcription of the spoken sermon It is the season of Epiphany and it has become a favorite time of mine. Epiphany is not really a season, although we have often spoken of it as a season here. Epiphany is a festival day, January 6, which of course, was yesterday. In the ancient Church tradition, we are now in that time which is not really a season in the church year. This is the first Sunday after Epiphany and next week will be the second Sunday after Epiphany, and if you want to be technically correct, on the Church calendar, we are in Ordinary days. But, for me, the Festival of Epiphany has become one of my favorite celebrations, I think because of the focus and the theme. The symbol, of course, is the star; the central idea is that of light, the light that has dawned upon us. The doctrinal or theological emphasis is on revelation. I like the word manifestation - God manifest in our midst, God present to us so that we become aware of that presence in the midst of our lives, in the midst of our world. Epiphany is from the Greek language and it means, literally, manifestation, and, of course, it reflects back on that season which is just concluded, the twelve days of Christmas and the celebration of Christmas itself, which is the celebration of the Incarnation, the embodiment of God in the midst of our human history, in the human flesh of Jesus. There is great wisdom in the celebration of the Christian Year. Over the years I have come to appreciate it more and more because it takes me back every year in that annual cycle beginning in the Advent waiting and then the celebration of the birth which is the embodiment of God in our midst. Then we move into those weeks between Epiphany and Lent in which the focus of the Church is on the life and the ministry of Jesus. If I followed the lectionary readings, which large portions of the Church use, every Sunday having assigned scripture passages, today's passage would be the baptism of Jesus, Jesus now on the threshold of his ministry. In these weeks between the celebration of Epiphany and the beginning of Lent, the focus is on Jesus and his life and his teaching and that which came to expression in him, what was experienced in his human journey in the midst of © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 2 our human history. So, it is a good season because it focuses our attention on that which is the center of our faith understanding, that which came to expression in Jesus, the manifestation of God in the life of Jesus Christ. In the older, traditional conception of things, the tradition of the Church, the orthodoxies of the Catholic Church and the Protestant Church, this idea of revelation is very much a past reference. Now, the Church, at its best, knew better, but for all practical purposes, if you have grown up in the Church, if you've listened to sermons world without end, then you know that the emphasis has been on that revelation of God that appeared in Israel and in Jesus, that is told in the words of scripture, so that revelation becomes in our minds, popularly, something that happened in the past of which we have a record, to which we continue to return. Now, the Church, at its best, for example, John Calvin at the time of the Reformation, understood that God continues to reveal God's self, and Karl Barth, in our own century, reached back to Calvin to speak of the three forms of the word: the word in flesh, Jesus, the center; the word in scripture, the word written which in Israel anticipated him and in the New Testament reflected back on him; and then, a third form of the word was the word preached. The Church at its best understood that there was an ongoing revealing of God, an ongoing manifestation of God's truth and light, even as the word was preached in the present, the very dynamic conception of preaching, the very high estimate of preaching. But, for all practical purposes once again, if you have just grown up in an ordinary way in an ordinary church, an ordinary Christian experience, you have probably tended to think about revelation as something that happened in the past. In fact, in the old conception of things, God sent God's son like the divine intruder from another world, another realm into our world, there to be experienced, only then to leave again and return to that place from which he came. That is an old cosmology. That is an old conception of the structure of reality. Let me give you another image. Try this out. I can remember as a kid my mother used to bake bread and I can remember taking the yeast and kneading it into that dough and putting it in a bowl, and putting a towel over it and then setting it on a chair in front of the register so, with the heat, the yeast could do its work and the dough would rise. Let me suggest to you what for me has become a fascinating and exciting new conception of God's manifestation, of God's revealing. Rather than seeing God as dipping into our history, coming in and leaving again, it seems to me what we know about the nature of reality, the nature of the whole cosmic process, the nature of the unfolding of history, that one might better see the manifestation of God as the working of the yeast in the dough, not a light from another realm, but that light that enlightens the totality of things, not from outside, but from within itself, so that manifestation is simply the coming to luminosity of that which is always present within, but here and there comes to © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 3 striking, startling manifestation, so that we look and we say, "Ah! I see! I See!" That is an epiphany experience. It is the sudden grasping or the calm, quiet coming to realization of that which is true, that which is true about the nature of reality, about the nature of God, about the nature of human existence. Epiphany is the celebration of the manifestation of God, and I want to suggest, not a God "out there" somewhere, but a God present with us. The incarnation, the experience of Christmas, the truth of Christmas,is the embodiment of God in the human. It is the presence of God with us, and, for Epiphany 2001, let me suggest to you that we open our eyes to the light that still shines. The word still in the title of the message has the message in one word - still, the light shines. Still, God is manifest, being manifest, present, progressive tense. That's my Epiphany message to you today, and that, for me, is a critical and crucial movement from where once I was and where most of the Church, frankly, still remains and, if there is one thing that I wish I could send you out of here with today, it is that new and fresh awareness of the still shining light and the ongoing manifestation of God in the midst of our human experience, in the midst of our world history, in the midst of the unfolding, cosmic drama of which we are a part of billions and billions of years, an amazing evolving and emerging. Still, the light shines. Still, God is being manifest to those who have eyes to see and ears to hear. Still, the Spirit illumines and gives us fresh insight and helps us to bring into perspective the explosion of knowledge all about us in the modern world, so that we live as people on the way, as people on a journey, with the confidence that as we move into the future, the light will shine as it shines now and has shined in our past. You see, that is the very nature of human existence. That is what it means to be people who are caught up in the stream of history. It is not that in the scripture we do not have ancient truth and insight. The scripture is a record of the witness of those who have said, "Aha! I see!" and they recorded that, and it continues to be instructive and informative to us. We still read the Hebrew prophets of the eighth century before the Common Era with great profit. We still go back to the Greek philosophers who address the ultimate questions of life with profundity. Someone has said that the whole of Western philosophy is nothing but a series of footnotes to Plato and Aristotle. We still go back to the Gospels and we study the life of Jesus and the teaching of Jesus, and we gain insight and understanding, wisdom. But, the eighth-century prophets of the Hebrews or even Jesus in the time of Caesar Augustus, or Augustine in the fifth century, or Thomas Aquinas in the 13th century, or John Calvin in the 16th century, or the orthodox formulations of Reformed faith, for example, in the 17th century, simply could not give to us what we need today in order to live with understanding, with freedom and with joy because, within the movement of history, there are no absolutes. That is heresy in the Christian Church! Did you hear me? Within the stream of history, there are no absolutes. The Church has claimed all through the centuries that © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 4 this is absolute truth, that absolute truth dawned in Jesus, and I am saying to you, "No! The wonder of Epiphany is that, in the movement of history that defies absolutes and final answers, the light still shines!" It is not that we are without insight. It is not that we are without revelation. It is simply that, in the very nature of historical reality, it is absolutely essential that the light still shines so that our new circumstances are illumined by that same light that came to expression in special luminosity in Jesus, that same light that informed the Hebrew prophets and the Apostles. It is a present experience of the manifestation of God, or it is nothing. That is the nature of our human, historical existence. That is scary. Scary, because we so much want certitude. It is scary because life is frail and fragile, perilous and pocked with pitfalls, and it is so deeply human to want a final solution, an absolute truth, an unalterable prescription for life. And the Church has been happy to accommodate. The Church has exploited the fears of people. It has promised absolute truth and the final answer, but it is a false promise that cannot deliver. For all of the light that has shined through the ages and all of the light that has been concentrated in the face of Jesus Christ, history continues to evolve and new situations call for new application of that truth. You cannot go into the scripture and find the ending or the proposed ending of slavery, for example. It took centuries of the ferment of the Gospel to bring people finally to the conviction that a human being was an end in him or herself, not to be used, enslaved. Oh, the Church has struggled with the Bible, claiming it to be inerrant and infallible, and it is not. And how can it be, for example, when the Church struggles with the position of women in leadership? You can't solve that biblically because it is an ancient book out of an ancient culture with all kinds of different sensitivities and understanding. How can you settle the question of the ordination of women in the Church, for example, by reference to the Bible? Sexual orientation? Why, it's not even in the purview of the scripture. And yet, you hear time and again claims, biblical claims, about sexual orientation, about which the Bible knew nothing. All it knew about was actual sexual practice which could be destructive and abusive. How can you settle that issue by reference to the Bible? You can't. And, unfortunately, the Church has not faced up to that and been honest with the fact that light still shines, that knowledge still breaks forth, that history is movement, that new times demand new answers and new understandings and broader perspectives as the horizon spreads out before us. Scary. Because we'd like to have it clear, simple, and over with, not having to think about it anymore. It is scary. But, it is also liberating. Now, if I can once get that monkey off my back of one final, absolute revelation in the past, then I can engage in my historical journey with confidence and with joy. I can lean into the future knowing that, still, the light shines, that new knowledge brings new information and new perspective, and that the manifestation of God in the midst of this marvelous, fascinating, © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 5 mysterious cosmic journey of which we're a part continues to dawn upon us, and that is really my Epiphany message today. Still, the light shines. That is wonderful, good news. We just went through a beautiful Christmas season here. We have the remnants of it, so to speak, and someone was here on the 24th at all three services, in the morning that marvelous cantata and pageant, the thrilling music and the Christmas story, the quieter candlelight Eucharist service at 9:00 in the evening, and then the traditional Lessons and Carols, the late service. This person, one of the core volunteers of this place then came here on Wednesday (the church had been closed on Monday, Christmas Day and the day following), and this place which had been so regal in its splendor and had reverberated with marvelous music and the mystery of the celebration, now lay in shambles, candlewax all over the pews and the carpets, poinsettia leaves scattered throughout, shepherds’ costumes draped here and there, used candles lying every place, and she came into the office to say, "You know, I was at all three services on Sunday. What a place this is! Each one of the services so different; each one of them so moving, so beautifully executed, seemingly without effort and without a hitch. Then I come in and I see the shambles afterwards and I realize what it takes to do that. Nobody knows how many people put forth how much effort to make that possible," and I said, "Well, that's true. There are a few people that know, however." A few people also said to me, "What are you going to do next year," realizing that this is the last Christmas of John Gregory Bryson, who is so integral to all of that, and with stiff upper lip, I said, "Well, we're going to retire his number and then we're going to do just fine." We're going to do just fine, just as we are after I preach my last Epiphany service. This place is going to be just fine, because we live in the conviction that still the light shines and we don't come to an absolute place, a final word, a resting place that is frozen forever, but we are a people in movement and the thing about this place is that we have learned that, and we are free, and we believe that the best is yet to be, because still the light shines, giving new vision. I ran into my old compatriot, Gord VanHoeven, in Bill's Barber Shop this week, and the two of us got to reminiscing a bit. It's a sign of our age, I think, two old men talking about the past, getting almost sentimental if not senile, and we talked about Gord's 18 years here that he shared with me. We spoke about what a good place this is and has been. A year ago this month the Team gathered with a counselor to think about the transitions that are underway here. This congregation is in transition and it doesn't take a rocket scientist to figure that out. One look at the hoary head and visage of your preacher is enough to indicate that there is going to be a change one of these days. As we gathered with the Team a year ago, we started to look at the whole pattern, and within the next three or four months everything unraveled © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 6 and changed. Ron Zoet couldn't get blood out of a turnip, so he thought he'd go after living blood with the American Red Cross. We all began to be pressed about what our timeline was. Peter discovered he was a year younger than he thought he was, found out the year he was really born. Colette decided it was better for her to concentrate on Worship Center and preaching and teaching, and Bob is, of course, in the midst of his internship for a Master's of Social Work, and how will that all work out? And Mr. Bryson, recognizing the many years of service, wanting to have a little more freedom, tells of his imminent departure. Well, in the midst of it all this summer, realizing how much continuity we had, what gifted and dedicated and loyal people we've had, recognizing that we are in this period of transition, one day I looked at Peter and Cynthia Moll with whom I have been working for The Center of Religion and Life, and I said, "Why don't you two come and run the church?" And in September they began and I realize in retrospect that was really the first step of transition, and the governance boards have stepped forward and have owned that process. On Friday of this week the Board of Trustees will go to the Center for Innovation. Don't you love that name? The Center for Innovation where there is a consultant for business and corporations who is going to sit with them and who has agreed as a gift to us to lead us through a discussion of the future. On the 10th of February, all the governance groups will meet with him in an all-day retreat as we look at the whole pattern and the whole picture. I tell you this because you ought to know what's going on in this congregation, the fact that we are in a period of transition. You want to ask me for a date, I'll say two years, five years, seven years, ten years. I don't know. I have no date set. I am determined I am going to make this bear dance one more time, whatever it takes. But, I share this with you because I can do it in an Epiphany celebration in the realization that, still, the light shines and that the future of this place is better than anything we have ever dreamed of, and it is because we have paid a price and struggled and wrestled and have emerged with a kind of freedom and joy that enables us, having faced up to so much that ties traditional Christianity in knots, freeing us to move into the future in creative ways of which we have not even conceived. You see, still the light shines, and we will shape the future rather than just lollygagging along, being shaped by what comes our way. Montgomery Wards is out of business. They tried to reorganize over the last couple of years, the CEO came on the television to say the soft retail market made it impossible. They have to close. I say, "Soft retail market! What you're telling me, sir, is that you were unable to negotiate a world of Wal-Marts and Lowe's and all the rest." The Church is no different. If we're all tied up with some absolute word that happened in the past, nailing us to the mores, insights, sensitivities and knowledge of an ancient culture, we are in trouble, indeed. But, if we have learned that still the light shines, giving vision, then we can believe that the future holds for us wonders, mysteries, and celebrations that we've not yet dreamed of. © Grand Valley State University �Still the Light Shines Giving New Vision Richard A. Rhem Page 7 This is no ordinary place. There are ordinary congregations all over the country. This is no ordinary place. You are here because you choose to be here. You are here because of what this place stands for, requires and affirms, and this remnant people, liberated and set free, has the conviction that the future is unfolding in marvelous ways. I can say with Paul, I was not disobedient to the heavenly vision. In his defense before a Roman governor and a Jewish king, he gave the account of his own story. Don't you realize that Paul saw a light that knocked him off his horse and turned him around 180 degrees? Don't you realize that Paul had to look at everything for which his life's passion was beating and say, "My God! I was wrong!" Don't you see that the quest of the Magi is the symbolic story of that yearning of the human heart for God, that yearning of the human heart for light and for truth, and in that beautiful Christmas story of those wise ones we have the symbol of that which lies deep within us, but we have come to realize that it is not a matter of getting some absolute word or light that dawned in the past, but it is the coming to ourselves of an inward conviction, a deep, deep human intuition so that I can say, "I believe!" That is what is different about this place, and that is why the future is good. Ah! What a place! What a future! What a possibility! God's final word has yet to be spoken. Still, the light shines. Plaster it on your refrigerator. Write it on your cupboards. Sing your children to sleep with it nights. Still, the light shines giving new vision! That's Epiphany and you can say, "Ah, I see! I See!” © 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 Epiphany I Scripture Text Acts 26:19, Matthew 2:9 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-0-20010107 Date A point or period of time associated with an event in the lifecycle of the resource 2001-01-07 Title A name given to the resource Still the Light Shines Giving New Vision 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 January 7, 2001 entitled "Still the Light Shines Giving New Vision", on the occasion of Epiphany I, at Christ Community Church, Spring Lake, MI. Scripture references: Acts 26:19, Matthew 2:9. Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Epiphany Immanence Revelation of the Divine https://digitalcollections.library.gvsu.edu/files/original/ddd269efe295d0efaf5475fd66a06c18.jpg 374145ab39ab6e77eb136e1bfbff8a0f 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. 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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. 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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. 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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. 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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 StilleLeon_Photo05 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Stille, Leon Description An account of the resource Leon Stille, State Senator, Friend of Grand Valley State Subject The topic of the resource Grand Valley State University – History 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. 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