18 10 181 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 Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jennifer Fabbi Interviewee The person(s) being interviewed Joel Rafael OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=RafaelJoel_FabbiJennifer_2025_10_21.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Woody Guthrie OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Rafael Joel. Interview, October 21, 2025. SC027-088 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Woody Guthrie Joan Baez Joel Rafael Band Woody Guthrie Folk Festival Okemah, Oklahoma Laura Nelson Joel Rafael Jennifer Fabbi moving image RafaelJoel_FabbiJennifer_2025_10_21.mp4 0 https://archivesoralhistories.csusm.edu/files/original/b2892396c100240bc8d1a92ba1e46a1c.mp4 Other video English 0 Introduction 0 108 Highlights of the Joel Rafael Band Rafael highlights two activities of the Joel Rafael Band including performing as the opening act for Joan Baez' tour of the southwest United States. Joan Baez ; Joel Rafael Band ; John Steinbeck ; The Grapes of Wrath ; Skirball Cultural Center ; Way Over Yonder in the Minor Key ; Salinas, California ; Los Angeles, California ; Woody Guthrie ; Jamaica Rafael ; Carl Johnson ; Hopper ; Austin, Texas ; Doc Martens 0 926 Dissolution of the Joel Rafael Band Rafael discusses the breakup of the Joel Rafael Band and reflects on the definition of success. Joel Rafael Band ; songwriters ; success 0 1125 Developing knowledge of Woody Guthrie Rafael speaks about his growing knowledge of Woody Guthrie's life and music and the various sources he used to gain that knowledge. Woody Guthrie ; Pete Seeger ; This Land Is Your Land ; Billy Bragg ; American communist movement ; Merchant Marines ; Bob Dylan ; Songs to Grow On ; Santa Monica, California ; Alan Lomax ; Will Geer ; Library of Congress recordings ; Nora Guthrie ; Dance a Little Longer 0 2270 The Woody Guthrie Folk Festival Rafael discusses the beginnings of the Woody Guthrie Free Folk Festival in Okemah, OK, and how he became involved with it. Rafael played the Festival twenty-seven times. Woody Guthrie Free Folk Festival ; Bound for Glory ; Okemah, Oklahoma ; Huntington's Disease ; Woody Guthrie: A Life ; Joe Klein 0 2914 The lynching of Laura Nelson Rafael tells the story of the lynching of Laura Nelson and her son in Okemah, OK. Woody Guthrie's song, Don't Kill My Baby and My Son, is based on this story. Joel searched for several years for the location of the lynching and finally found it. Laura Nelson ; lynching ; bridge ; Woody Guthrie ; Pretty Boy Floyd ; 1913 Massacre ; Hard-Hitting Songs for Hard-Hit People ; Don't Kill My Baby and My Son ; Ku Klux Klan ; Tulsa Race Riot A Report ; Boley, Oklahoma ; sharecroppers 0 4495 Woody Guthrie review show Rafael discusses his role in the Woody Guthrie review show, The Ribbon Highway, Endless Skyway. Jimmy LaFave ; New York City ; The Ribbon Highway, Endless Skyway ; narrator 0 Oral history Joel Rafael is an American singer-songwriter and folk musician from San Diego County, California. Joel has been making music with his band and solo for over fifty years. He is well known for his writing and performance in the style of Woody Guthrie. In this part three interview, Rafael discusses the activities and dissolution of the Joel Rafael Band and his twenty-seven years performing at the Woody Guthrie Folk Festival. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:21.984 Hello, this is Jennifer Fabbi, and today I'm interviewing Joel Rafael for the California State University San Marcos University Library Oral History Program. Today is October 21, 2025. This interview is taking place at Joel Rafael's studio at his home in Escondido, California. Joel, thank you for interviewing with me today. 00:00:21.984 --> 00:00:23.824 Of course. Thank you. 00:00:23.824 --> 00:00:38.274 So, at our last interview, we left off with the Joel Rafael Band. So could you tell me a little bit more about the band, what you were working on, and what happened with the dissolution of the band? 00:00:38.274 --> 00:14:19.763 Well, I just say that it's pretty difficult, I think, to keep any band or musical group together for an extended period of time unless there are things that happen that inspire people to want to keep going 'cause it's a lot of work. And so, I would say the duration of the Joel Rafael Band was just under ten years that we worked together, and we had some really interesting tours. We played a lot of festivals. Eventually--probably around turn of the century going into the first few years of the two thousands--people in the band, other members of the band besides myself started to develop some other interests and started to work towards some personal projects. And it just made it more difficult ultimately to keep the continuity of a group 'cause people were just off on their own, on their own projects. But there's a couple things that we did that I'd like to highlight before we sort of end the chapter on the Joel Rafael Band. And one of those things was in about 2002, somebody, the guy who was the director, and I can't remember his name right now, we can probably research that 'cause he's not the director anymore. But he was, at the time, the director of the Steinbeck Center in Salinas, California. And they were approaching the centennial year of John Steinbeck's birth. And so they were doing some special events and programs. And one of the things they were gonna' be doing is presenting The Grapes of Wrath, the Frank Galati adaptation for theater, of The Grapes of Wrath, as a radio play in Los Angeles at the Skirball Theater (Skirball Cultural Center), which is right next to the Getty Museum. And they have a beautiful theater there. And they asked me if I would--he had heard some of the Woody Guthrie tunes that I had recorded, even though my album, first album of Woody Guthrie Tunes wasn't out yet. He'd heard one of the songs, which was the Billy Bragg-Woody Guthrie co-write, Way Over Yonder in the Minor Key on, I think it's on Hopper is where he heard the song, which came out around 2000. And they really liked it and liked my approach to the Guthrie music. And they asked me if I would write original music for the centennial performance of The Grapes of Wrath at the Skirball by the L.A. Theater Works. And so, got together with the cast, which starred Shirley Knight, the late Shirley Knight. She was an amazing, amazing person. Just a sidebar, after she had passed away, I found out that another big influence on my art and my creativity, a guy named John Cooper--a painter that I met when I was living in Washington--he's probably like fourteen years older than me. And he's passed away now, too. But I was telling him about The Grapes of Wrath program. I was gonna' send him a copy of it. And I mentioned that Shirley Knight had starred it. And he told me that, Oh, she was my girlfriend when we were in college. So I thought that was kind of a good side note. But anyway, she was a wonderful person, wonderful to work with. And what we did is we did seven radio play performances of the play at the Skirball Theater. And they recorded the audio for all seven performances along with the music that we played throughout the performance. And then they took those seven performances and edited that into one performance that was then released with, in a program called The Theater's the Thing (the Play's the Thing), which is a syndicated radio program that the L.A. Theater Works puts on. They do a number of plays throughout the year, and then they present these radio plays that then air it on like PBS stations. That kind of thing. And so, we were really proud to do the music for that. That was basically myself, my daughter, Jamaica Rafael, and Carl Johnson, my guitar player. So it was the three of us that did those shows. And then the other really cool thing that we did with the Joel Rafael Band, right towards the end, was we had put out our first recording of all Woody Guthrie songs called Woodeye. And it's kind of an interesting story, so I'm gonna' go ahead and tell it. I had finished the album, and we'd had it pressed. It wasn't distributed. We just had like a thousand copies of this album, Woodeye, and Joan Baez was playing in San Diego at Humphreys. And so, we got a couple tickets to go to the show, my wife and I, and we went to the show, and I took a copy of Woodeye along just on the chance that I might be able to see Joan and give her a copy of my Woody Guthrie record. That didn't happen. But while we were sitting in the audience--and we were, had really good seats, we were like a third or fourth row--I was sitting next to a little girl. She was probably ten years old, maybe nine or ten years old, and her father was next to her. And somehow, I don't know how, we got onto the conversation, but I asked her at a certain point if she knew who Woody Guthrie was. And she did because she and her dad were Joan Baez fans. They had come down from Los Angeles to see Joan play. And so, when she made it clear that she knew who Woody Guthrie was, she's only nine years old, I thought, well, I'm just gonna' give her the CD. So I gave her the CD, and her and her dad listened to it on their way home. So the next day, I got a call from this guy, the father, his name's Larry Shapiro, and he called me up--got my number somehow 'cause I don't think it was on the record, but somehow, maybe my, my website was on the record, somehow he got my number. Maybe he wrote me an email. It's a long time ago now. So, he contacted me the next day and said that they'd listened to the recording on the way home, and that they loved the recording, and he wanted to know if it was distributed, and I told him no, it wasn't distributed, that we were self-distributed. So we were basically putting it in places on consignment, that kind of thing. And he said, Well, my best friend is the president of ADA record distribution, which is like ADA global (Worldwide). It's the biggest distributor, you know. And so, he said that he had a small label, and he would--it was like a boutique label called Nine Yards Records. And he said, We'd like to put your record out. So I put him in contact with my manager, and initially, before Inside Recordings put out my double set of Woody albums, Larry Shapiro and Nine Yards Records put out the initial release of Woodeye, the first album. And as part of that--I don't know how he did it--but somehow he arranged for us to be the opening act for Joan Baez, who was going out on a southwest tour of the U.S. So she was gonna' be playing like California, Arizona, New Mexico, and Texas. And so, we ended up getting that opening act, and we had--our first show was at UCLA, and then from there we went to, I think it was like Scottsdale (Phoenix), and played the Celebrity Theater with Joan Baez. And then from there we went to New Mexico, and we played in Albuquerque and Santa Fe. And then we went from there to Austin and played Austin, Texas. So we rented a van, like a conversion van with a camper in it. And the four of us set off on tour, kind of tagging with Joan Baez. They were in their bus. And so, they had a bus driver and everything, and we were self-driven. But anyways, we followed them along on the tour. And that was probably about the biggest performances that the Joel Rafael Band did during the time that we were together as a group, was with Joan Baez. And a couple little anecdotes about Joan, 'cause I just think they're kind of fun and interesting because she's just a really interesting--kind of an enigma--but a very interesting person. First off, they always ask you when you go on tour what you'd like to have on your rider, which means when you get to the show, it's like, any kind of food or any kind of comfort you might want to have there. The promoter will ask you to submit a rider, which we did. But as an opening act, we never got anything that was on our rider. It's like we would get to the shows, to the venues, and there wouldn't be anything for us except the dressing room, you know? So right off the bat, Joan's management and Joan basically told us, Look, we have a really good rider. And when we get to the theater, there's always--not the meal, but a snack. Like, there'll usually be a tureen of soup, china dishes, cloth napkins, and silverware (laughter), and some snacks to eat before soundcheck. And they just wanted to let us know that we were completely welcome to their area when we got to the theater, knowing that anything on our rider was never gonna' be fulfilled (laughter). So they were very generous. She was very generous in that respect. I had a pair of shoes that I was wearing for that tour. They were Doc Martens, but they weren't the regular black Doc Martens, they were kind of like these special custom Doc Martens. They were like wingtips, and they were two colors. They were like red and green, sort of candy apple red and then sort of this Kelly green with a what do you call it? I'm trying to think what the name of those shoes are. Wingtip. So they had the wingtip designs on them, and Joan noticed them right away (laughter). And she said, I really like your shoes. She said, I'm really into shoes, and where did you get those? And I said, Oh, they're Doc Martens. And she said, I really like those. Well, then the next day I passed her backstage at the next theater, and she said, I love those shoes. I wear size seven- and-a-half (laughter). I don't know if I told you this story yet or not. Anyways, I made a note of it. Okay. Oh, cool. She wears size seven-and-a-half. Okay. And then the other thing about her is that every night, every show that we played--and I think we did five shows with her--when we were sound checking, she would show up at the monitor board over on the side of the stage. All of a sudden, we noticed Joan was standing there by the monitor guy listening to us play our songs. Well, I backtrack. She'd be in the theater for our sound checks, like the theater's empty, and all of a sudden, one person comes walking in the theater, and it's Joan Baez. And she sits down in the theater and listens to us play our songs during our sound check and then claps (laughter)--one person in the theater. So she made a made a point of letting us know how welcome we were and that she liked us, you know? Then when we would actually do our show, our opening act, our first and second song. We would look over, and Joan would be standing with the monitor guy at the monitor board listening to our first two songs. And then right after the first two songs, she would leave to go get ready for her show. But every night she came out and listened to our first two songs and would stand there and applaud for us from the side of the stage. So she was just really, really a treasure to work with, such an icon and an early influence of mine. So in a way, I've been fortunate, not just with Joan Baez, but I've been fortunate enough to meet some of my biggest influences and share the stage with some of my musical heroes. So when we got back from the tour, I went and I found a pair of those shoes for Joan Baez and I sent them to her-- 00:14:19.763 --> 00:14:20.458 Nice, nice. 00:14:20.458 --> 00:14:43.865 So that's my Joan Baez story. And then the other thing we did was the Steinbeck thing. Those are two really great things we did with the Joel Rafael Band. And that kind of ended our run was--right around 2003 were probably the very last shows that we played together. 00:14:43.865 --> 00:14:49.007 So, let me ask, your daughter, Jamaica, was part of the Joel Rafael Band-- 00:14:49.007 --> 00:14:51.065 She was-- 00:14:51.065 --> 00:14:56.000 --how was that to work with your daughter and for her to work with you during that time? 00:14:56.000 --> 00:18:27.000 Honestly, it was really rewarding, but really difficult. I don't think you can ever transcend the relationships--like you're the parent and she's the child. I mean, even though she's an adult--I'm not sure why that is. But we had a really good run as a band because she was a great player. Actually, everybody in my band--in that band--was, the three people playing with me were just all extremely excellent musicians, natural players that just had a sense about how to dress up a song. They're all songwriters. And that's probably part of the reason that eventually everybody went their own ways because they wanted to express their own art. They don't wanna' just be backing me up all the time. And I understand that even though it was a tough breakup, because we worked really hard at being successful, which, it's an elusive term. And success, I think, in general, can be elusive because it's hard to define. What is success? Is it financial? Is it notoriety or visibility? Or is it just the satisfaction with doing something--being able to pull off doing something that you want to do and that you love to do? And in my case, I'd say, all three of those came into play at one time or another. I think when you're younger, you have these visions of where you want to go with something that's artistic, like a band, or as a painter or an artist. Success is sort of synonymous with visibility or fame, but they're really, completely have nothing to do with each other. Success, I don't think should ever be measured by monetary success. That's just one aspect of what you could call success especially in the art world. So it was about a ten-year run, and we played a lot of great music. My daughter--we still play music together. We had a long break because of some complications in her life. But we still play music together, and we still have all the same issues we had when we were both younger due to our relationship with each other. But the music is great. And I think that it's a real reward to be able to be involved with any endeavor with your children if it could happen. Sometimes I think relationships make that more difficult. So I guess that's how I'd characterize it, is just to say that you can't really transcend relationships, but you can make really good art together. 00:18:27.000 --> 00:18:45.000 Thank you. So, moving to the kind of next topic is can you tell me more about your deep connection to Woody Guthrie and especially the Woody Guthrie Folk Festival that you've played at for twenty-seven years? 00:18:45.000 --> 00:24:44.000 Well, I knew quite a bit about Woody Guthrie before the Festival started. I might have covered this a little bit earlier, but one thing I've always said is that when I first started to play the guitar, a number of songs that came along or that I came across to play happened to have been written by a guy named Woody Guthrie. You know, you don't forget that name (laughter). It's just Woody Guthrie. It just sounds almost like a caricature or a cartoon character out of the past. People that are younger than me, like the people in my band, for instance, that were younger than me, when they thought about Woody Guthrie, they pictured him as some person out of distant history. But Woody Guthrie only lived to be fifty-five years old, and he died in 1967, which was the year I graduated from high school. So he was relevant and active during my lifetime, and when I was a kid. I think some of the younger folks that think of him as being a sort of a historical figure, part of that is because Pete Seeger made sure that every kid in the country learned This Land Is Your Land when they went to school (laughter). He went around to schools and did programs, and he made sure that everybody knew that song. And I can go up to almost anybody and ask them if they know who Woody Guthrie is. And usually they don't. But if I say, This Land Is Your Land, then they know that song. And then I can tell them, Well, Woody Guthrie wrote that song. But then what I always like to add to that is something that's the description that Billy Bragg uses. Billy Bragg from England, he's a musician from there. His description of Woody Guthrie is Woody's the guy who wrote This Land is Your Land. In the United States, he's the guy who wrote this Land is Your Land. In the rest of the world, he's the guy with a sign on his guitar that says, This machine kills fascists. And that's how the rest of the world knows Woody. He did two--what do you call it? Two deployments with the Merchant Marines, because when World War II started and the Allies joined--or I should say the U.S. joined the Allies to fight the fascist Nazis in Europe? At that time, there was an American Communist movement in the States that a lot of people were supportive of. It wasn't the communism of Russia or Stalin, but it was the communism in pure philosophy, or which is basically a communal sharing of resources in a country. It never turns out that way, as it turns out, in other countries. At least it hasn't. There was a movement at that time in the late thirties going into the early forties. It was an American communist movement, and a lot of the people in the folk movement and a lot of artists were involved with that movement because they saw it as maybe an antidote to the harsher sides or harsher parts of capitalism. So when the war started and America joined the Allies, a lot of these artists saw the writing on the wall that it wasn't gonna' play out to be supportive of communism anymore in America. But they didn't wanna' fight. They were basically pacifists in philosophy. And so, some of them became conscientious objectors. Others joined other areas of the service where they didn't have to fight but could be supportive of the U.S. and Allied efforts. And so, Woody joined the Merchant Marines, along with Cisco Houston and some other friends of his. And they were involved with helping transport troops and munitions to Europe. Woody Guthrie famously wrote the song, The Good Ship Reuben James (The Sinking of the Reuben James). And actually there's a story, an anecdotal story, about being on a ship transporting troops and weapons to Europe that was being hit by depth charges. And so the whole crew was down in the hull hiding out. And the crew--not the crew--but the troops were down in the hull hiding out. And the crew, of course, was still manning the ship. And at a certain point, Woody said--grabbed his guitar and his harmonica and started to head down into the hull. And his friend Cisco Houston said, Where are you going? And he said, I'm going down to play some songs for the troops. And they said they didn't wanna' go down there. That's the worst place to be when you're being hit with depth charges is in the hull of a ship. And so, the three of them (Woody, Cisco, and Jimmy Longhi) went down there and sang songs until the tragedy was over and calmed the troops down. And that was just kind of the way Woody was, you know? 00:24:44.000 --> 00:37:50.000 So I knew a few Woody Guthrie songs when I first started out. And then as I became a young adult, I became aware of the fact that Woody had been a big influence on, well, actually a lot of people, but Bob Dylan in particular. And I was pretty hugely into Bob Dylan at the time. And so, I decided to kind of go back a little further and see what was it about Woody that attracted Bob, you know? And so, I started to look for Woody Guthrie materials, and this was probably about 1973, 74, into the mid-seventies. And there wasn't much there to find. If you were lucky, you could find a copy of Bound for Glory at a used bookstore. But Woody's recordings were pretty much out of print. There were a couple things I did find. I found a collection of cowboy songs sung by Woody Guthrie, along with Cisco Houston singing harmonies. A real treasure. And then I also found Songs to Grow On, which was the songs that Woody and his wife, Marjorie, wrote for their kids. And they were unique as children's songs because--we had children's records 'cause I had young kids. But a lot of the children's music that we encountered, a lot of it was just kinda' silly, you know? And occasionally you'd find some songs that did, could really impart some educational values and some meaning within the lyrics to the kids that were young. And the thing that I loved about Woody Guthrie's children's songs were that they were about real stuff. About real things. About being angry, about playing with your toys, about washing your face and brushing your teeth, just sort of the practical life stuff was really covered in Woody Guthrie's children's songs. And so, we got copies of those on cassettes at a store we found up in Santa Monica that carried a lot of this kind of alternative stuff. And my kids grew up on those songs, listening to those songs in our car and singing along with those songs. So we sort of got educated about Woody's material together. Turns out that Woody wrote like over 3000 songs and only recorded about 80 tracks. So there's a lot of uncovered material there. A couple times I tried to put together programs about Woody Guthrie with the songs that I'd learned off the Cisco Houston album. I came across the Library of Congress tapes that were recorded by Alan Lomax. He was the son of John Lomax. And they were both musical, I guess you'd say they were ethnomusicologists. But they uncovered a lot of music from the deep South, sung by Black people, slave songs, field songs. And these were basically unknown artists that they would find, and they would go to where these artists lived and make field recordings of their songs and their music so they could provide a historical reference for some of this music that had influenced so much other music that maybe we had heard of. But we hadn't heard of the stuff that had influenced this music. And so the Lomaxes were real musical historians. I think that Woody was probably introduced to the Lomaxes by Will Geer, the actor. And I don't know if you know who Will Geer was. Okay, well, not by name, but if you've ever seen the show, the Waltons, Will Geer was the grandpa on the Waltons. Okay. And he was one of Woody Guthrie's best friends. You didn't see Will Geer in a lot of movies or a lot of shows until The Waltons because he was blacklisted during the McCarthy Era, during the McCarthy hearings. So his career was pretty much put on hold. And he was a Broadway actor. He was the star of the Broadway show, Tobacco Road. And I guess probably it was in the thirties or forties. And when Woody got to New York, that's one of the people he met was Will Geer. And Will Geer, as far as I can tell from what I've read, introduced Woody to many, if not almost all of the I important people that Woody met, like the Seegers, the Lomaxes. I'm not sure who all, but I mean, when Woody got to New York, he was just like this folk singer from Oklahoma. And he kind of got taken under wing by Pete Seeger and Will Geer and put on some programs where people realized the folk movement was pretty vital at that time in the forties. But a lot of it were performers that had learned songs of the people that had kind of created this music. And when Woody got to New York he was perceived and seen as an authentic. He had actually lived in Oklahoma and through the Dust Bowl and traveled across the country with the Dust Bowl migration and sang the songs of the people. And so, he was like, wow. When he got to New York, people were just like, Wow, this guy's really special. And so, he recorded a number of songs with Moe (Moses) Asch, who had a recording studio and was recording folk musicians in New York. And then he recorded the Library of Congress interviews with Alan Lomax. And I think that the, it might be like two or three hours of interviews, just Woody and a guitar, with Alan Lomax asking him questions about growing up in Oklahoma and about the Dust Bowl migration, the country life that he led, his traveling across the country and different people he met. And that's all preserved in the Library of Congress. Those are just wonderful recordings. If you ever get a chance to hear those. They're just called the Library of Congress Recordings by Woody Guthrie and Alan Lomax. So when I found those recordings, I learned a lot about Woody Guthrie and him telling his own story, and at one point, I decided, well, I could, I know a lot of these songs, and I'm learning some other ones from these Library of Congress recordings and then Woody talking about his life and songs. I was a pretty good, I was a quick study for copying musicians, emulating music I had heard. And I think that most artists go through that process. They emulate what they love, and eventually what they're emulating, the distillation of all of the things they're emulating becomes another more unique original thing that becomes your own. I've always told artists that have asked me--I've used the "fake it 'til you make it" method. You know, you start copying things you like because you decide you want to do this. And if you've got an knack for it, you can keep going. And then what happens? It's almost like a learning to skate, like learning to ice skate, you know, you're really wobbly and you're falling down all the time, but then all of a sudden one day you're just doing it, you know, wow, I'm skating, you know? Well, with the musical influences, it's sort of like that. That's kind of the analogy I make for that, because all of a sudden, you're doing it on your own. You don't sound like somebody else anymore. But you're still using all those resources that you've learned, but it's been distilled into your own unique voice. I think that that's at least one road to becoming an artist. And when people ask me, that's what I always tell 'em. For me, it was the "fake it 'til you make it" method. So at one point, I had these songs and I was listening to these interviews, and I thought, well, I could put together a program and take it around to my kids' elementary school or middle school and do an educational program about the Dust Bowl, about Woody Guthrie and about the folk music of that era. And so, I decided to work on some of that. And I started to put together some ideas and make a list of songs and figure out which of the interview pieces I was gonna' try to learn so that I could do this program, and I wanted endorsement for it. And I knew that Harold Leventhal was Woody Guthrie's manager, was looking after his estate. Woody had died in '67, this was probably like in the seventies, mid-seventies to late seventies. So I found a number for Harold Leventhal in New York City. He was listed, and I called him up and he answered the phone. And I expressed my idea about how I wanted to do this Woody Guthrie program. He heard me out, and then he said, You cannot do this. You cannot even play any Woody Guthrie songs publicly because we are in the process of doing a Woody Guthrie program right now called Woody Guthrie's American Song--it was a play they had put together. I guess probably in the seventies, late seventies. And he said all of those songs and all of those interviews and recordings are all spoken for and protected, and you can't use any of it, so just forget it (laughter). And I thought like, wow, man, that wasn't very nice. I got off the phone with him, and he pretty much gave me a nope (laughter). And so, I let that idea kinda' slide, and I kind of thought, well, Harold Leventhal, he's kind of an edgy guy. So many years later after I started playing on the Woody Guthrie Festival, and I'll backtrack onto that a little bit, but I was given the first Woody Guthrie lyric by Nora Guthrie, Woody's daughter. A song called, Dance a Little Longer. And we put it to music, and it was on the first collection of Woody Guthrie songs. And when Harold Leventhal heard it, it turns out he loved it. Now he didn't connect that I was the same person that had called him twenty years earlier to ask permission to do this program. And it had been turned down. And so, turned out I was on my way home from the Woody Guthrie Festival the year that I had finished that first album. And all of a sudden, my cell phone rang, and I answered it, and it was Harold Leventhal, and he'd gotten my number. He called my manager and gotten my number, and he called me just to tell me how thrilled he was with the song Dance a Little Longer, and that he was thanking me for keeping Woody's legacy alive. And I just always thought it was really ironic. He never knew that I was the person who had called him that he had so harshly turned down twenty years earlier. And here now he was calling me and thanking me for writing music to a set of Woody Guthrie lyrics. So it was kind of cathartic. And kind of full circle in a way. 00:37:50.000 --> 00:48:34.014 But anyways, the Woody Guthrie Festival started in 1998. And I had a lot of background in Woody at that point. I had learned a lot of Woody Guthrie songs on my own. I had found my used copy of Bound for Glory and read it. And right around that time, there were a couple other books that came out that were biographical, biographies of Woody. They call Bound for Glory an autobiography, but it's really not. It's autobiographical, for sure. But he took a lot of license, and as I understand it, the original text of that book was like maybe 700 pages and just completely outta' chronology. And it took a really good editor, and I should find out the names, so I can tell you the name of the woman that did the editing for Bound for Glory, but she was able to take all of Woody's writings at that time and organize them and edit them into a novel that is autobiographical that Woody wrote. It's probably, well, it was on the bestseller list for a time. And I think it probably was an influence of writers like Jack Kerouac and Neal Cassady, Gary Snyder, some of those beat writers were probably influenced by Woody's writing because Kerouac's book, On the Road is not dissimilar from Bound for Glory in its cadence. And it's just the way the story's told, traveling around the country, hitchhiking, riding freight trains, and stuff. So I guess it was probably the end of 1997, maybe early 1998, I got a postcard from another artist, whose mailing list I was on--a guy named Ray Wylie Hubbard, Oklahoma, Texas guy. And he had actually written one hit song. He's a really great songwriter, but the one hit song that made it was called, Up Against the Wall, Redneck Mother (laughter). I don't know if you remember that title (laughter), but it was not what he usually wrote, but that's the song that made it. Anyways, so I had met Ray Wylie Hubbard, and I was on his mailing list, and I got this postcard listing his shows and listed in July, he was gonna' be playing the first annual Woody Guthrie Free Folk Festival in Okemah, Oklahoma, Woody's hometown. And I knew the history--that town, Woody Guthrie's hometown, had mixed feelings about Woody. Historically, half the town had hated Woody because of his, what they perceived as his political views. They thought he was a communist. They thought he was a leftist. And Okemah, Oklahoma, if you look on a map, is pretty much dead center in the middle of the United States, and it's about 70 miles east of Oklahoma City--a very small town. I think it's still population about three or four thousand. And they had decided to do this festival. They had tried to do things for Woody previously in the town, but it never panned out. You know, something had always gone wrong or just never happened. But in the nineties, there was actually a woman and her husband that we met, became really good friends with once the festival got going, Sharon and Dee Jones. That were residents of Okemah, Oklahoma. And Sharon Jones had a cousin from San Francisco, and they got together in Oklahoma, probably in, I don't know, late nineties for a family reunion. And the liberal cousin from San Francisco said to Sharon, You live in Okemah, Oklahoma, and this town doesn't do anything for Woody Guthrie. That's shameful. You know, just kinda' shamed her about it (laughter). And so, she decided, we need to do something for Woody Guthrie. And so, turns out Woody's little sister lived right nearby in a town called Seminole. And so, Sharon had met her before 'cause Mary Jo Edgmon Guthrie, Woody's little sister, had spent a lot of her adult life going around to school classrooms to tell the kids about her brother, Woody Guthrie, who wrote, This Land Is Your Land. You know, sort of like Pete Seeger had done, but in her way. Telling her story about her big brother. And so, they knew of her. And so, they (phone interruption). Sorry about that. Just gotta' get rid of this call. So they knew about her, and so they contacted her and presented the idea of doing a Woody Guthrie Festival. And she said, Well, Woody's son, my nephew, is gonna' be coming through town in a couple months. I'm not sure exactly whether it was a couple months or sooner. Let's get together and tell him about your idea and see what he thinks. So they got together, and this is the story Sharon and Dee told me, so it's secondhand, but this is as I heard it. They got together with Mary Jo and Arlo Guthrie and Sharon and Dee and had a dinner and presented this idea of this Woody Guthrie festival. And Arlo said, Well, this town has never been that appreciative of my dad. So I don't know how successful something like this would be, but what I would suggest is that if we do it, we make it free. So we could pay artist expenses to get there, but I think it would be best if no artist was paid to play on the festival except for expenses to get there. And if no one had to pay to go see the festival. So we could call it the Woody Guthrie Free Folk Festival. So for the first several years, that was the name of the festival, and it was free. They charged for parking, like $5 a car. So they were able to raise some money that way. And then on Wednesday night, the day before the festival started, the night before the festival started, they had a show in the Crystal Theatre in the town, which is an old theater that was there when Woody was a kid. And he used to go to the movies there. And his mom used to go to the movies there with Mary Jo when she was a baby. In fact, there's a story that one time, because she had Huntington's Disease, which is the disease that Woody died of, when she was showing signs of that, she would just go to the theater and just sit in the theater for hours and watch the movies. And one time she was in the theater, and Mary Jo, who was about three years old, wandered out of the theater into the middle of the street. And somebody picked her up saying, who's got a kid on the loose? So that's when they knew that Nora (Belle) Guthrie, Woody's mom and Mary Jo's mom, was in the throes of Huntington's disease. So they established this festival, and it was 1998. And I heard about it on this postcard that I got from Ray Wylie Hubbard. And I thought, man, it's gonna' be just in like a month or two. It wasn't too far away. And so, I know how these things are booked, and you have to book your shows a good six months in advance, sometimes even a year in advance, to get on some of these venues. And I really thought, man, I should be on this festival 'cause I've been looking for Woody Guthrie for a number of years now and kind of putting that into my performance portfolio and learning his songs and taking ideas from the songs and incorporating them into my own writing. And so, I called my manager and told (her) about this festival and said I'd really like to try to get on this maybe next year, and realizing I probably couldn't get on it in 1998. And so she said, you know what? I just got a letter from the people putting on the festival asking for a quote from one of our other artists, a more famous artist that they managed. And she said, So I can get the quote for them and then send the quote to them and send some of your material and pitch you for the festival. So she did that. And I was just so fortunate to get on that festival, even though it was only a couple months away. So I was one of the opening acts for that festival. I went there by myself the first year. I had just read Joe Klein's book, Woody Guthrie: A Life, by Joe Klein. And it's a voluminous book about Woody Guthrie's life. It doesn't pull any punches. And I just read that book. And there were some things that happened in that book that you don't hear about, just hadn't heard about it. They weren't in Bound for Glory or any other things I'd heard about Woody Guthrie. 00:48:34.014 --> 01:11:06.385 One of the things that I had read about in that book was a lynching that had happened in the town of Okemah, Oklahoma, of a woman named Laura Nelson. And also of her son, her teenage son. Her and her son were lynched from a bridge about six miles outside of town in 1911. Her husband had been accused of stealing a sheep from a white farmer. And so, the sheriff and a deputy went out to arrest the husband, Lawrence Nelson, I believe was his name. And there was a standoff. And during the standoff, their son, who I think was about 14, had grabbed a shotgun and was hiding under the stairs of the house and shot the sheriff and hit him in the leg. And he bled to death in the yard begging for water, which the family wouldn't bring him. And so then the deputies left, they formed a posse and came back out and arrested the whole family. And took them to Okemah, placed the husband in the jail, and then right across the alley from the jail in another building that also had barred windows, they held Laura Nelson and her son and her baby. She had an infant. So the husband in one cell, and then Laura Nelson, the son, and the baby in another building right across the alley waiting for the circuit judge to come through so they could have a trial for the murder of the sheriff and for the lost or the stolen sheep. That didn't happen because before the circuit judge came, a mob was formed, and they broke into the building that had Lauren Nelson and her son and the baby, and they took them about six miles out of town to a bridge and lynched them from that bridge. There's a photograph of that. 'Cause these photographs of lynchings at that time were popular in the South, and they were sold as postcards in in like drugstores. It'd be like these postcards of these various lynchings that had happened. And so, this is one of the photographs from that series of photos is the picture of Laura Nelson hanging and then her son hanging next to her. The baby was left on the shore to die. And anecdotally it's told that that a family adopted the baby. And there's different stories. Some say it was a Black family that picked the baby up. Others say it was a white family that took the baby in, and then later she was actually a privileged Black that could, that had privileges in town that other Blacks didn't have. (Phone buzzes) Lets turn this off. I'm getting a lot of spam calls for some reason today. So I had read this in this Joe Klein book, and I had been invited to come play the festival, which was like a month or two off. And I thought, well, I'm gonna' have to bring a Woody Guthrie song or some Woody Guthrie songs with me. I mean, it just seemed like that's what you had to do. If you're gonna' be on the Woody Guthrie Folk Festival. And I knew a lot of Woody Guthrie songs, but a lot of them were the popular songs, like This Land Is Your Land. This Train (This Train is Bound for Glory), I Ain't Got No Home (I Ain't Got No Home in This World Anymore), 1913 Massacre--maybe not one of the most well-known ones. But I had learned a couple of songs in the early seventies from Jack Elliot, Ramblin' Jack Elliot, from some of his recordings and then seeing him play live when I was about 20, 24 years old. I was on a trip to Colorado and saw Jack Elliot live and got to meet him and John Prine. And John Prine was just starting out. He wasn't famous yet (laughter). So I'd learned these couple of songs from Jack Elliott. I'd learned Pretty Boy Floyd, and I'd learned 1913 Massacre, which--two of Woody's most powerful songs. But I knew that someone would probably be doing those songs, you know? Because there's a lot of people already on the festival. I didn't know most of 'em. I knew a handful of them from other festivals I'd been on and maybe we'd been on shows together, that kind of thing. And so, I had a book called Hard Hitting Songs for Hard-hit People, and it was a compilation book of songs that had been compiled by Alan Lomax and his father, John Lomax, folk music historians. And then the musical notes, or the musical melody line had been transposed from the recordings by Pete Seeger. So he had actually done the musical notation. And then every song in the book--and there's probably a couple hundred songs in the book--but every song in the book had an introduction, just telling about the song, where it came from and what was important about it. And those were all written by Woody Guthrie. Now he only had maybe four songs in the book that he had written, but he did the notes for all the songs. So I was looking for the songs that he'd specifically written, and I found them, there were like four or five songs, and a couple of 'em were songs that were the popular songs that people knew. But there was this one song in there called Don't Kill My Baby and My Son. And it was about the lynching of Laura Nelson just outside the town of Okemah, Oklahoma, which is Woody's hometown. The lynching happened in 1911. Woody was born in 1912. He didn't write the song until about 1940. So it happened before he was born, a year before he was born. He must have heard talk about it, like for his whole childhood. It was a very traumatic event. I mean, even for the people that did it. It wasn't like a party. It was a very horrible, noteworthy event that had happened in that town in 1911. Wasn't soon forgotten. So I know he heard about it. And there were probably other lynchings because when I actually looked for the location there, one person who I had asked about it that was from there, said, Oh, you mean the bridge where they hung the Blacks? Plural. So I think there was more than one lynching there, but the one that was documented was the lynching of Laura Nelson. So I found this song, Don't Kill My Baby and My Son, in the book. And it was notated and had the words. And so, I set about learning it, and I wasn't thinking, you're going to Oklahoma to the town where this happened. Yeah, it was a hundred years earlier almost. But it was still a very intense thing that had been. Most of the people that lived in that town didn't know about it. It had been buried by the time it was like 1998. But I just naively took this song. This is a song that nobody's gonna' do (laughter). Yeah. That's for sure. So I got there, and I told a couple people about it, that this was the song I was gonna' play, the Woody song I brought. Who was it I told--was it Ray Wylie Hubbard? I'm gonna' have to think on that for a second, because I've messed that story up a couple times and got it with the wrong person. But I told somebody, one of the artists at the show, and it will probably come to me here, but I told one of the artists at the show about the song and played it for him. And he said, You're gonna play that here? (Laughter). And he was from that area. And I said, Well, yeah, I was thinking about it. He said, Okay. He said, I'll have the car running out back just in case you have to leave really quick (laughter). So it did shock people. I sang the song, and it shocked people. I wasn't thinking anything of it. I mean, this is how blindly I did this (laughter). I guess if I'd actually taken some time to think about it, I might never have taken that song there. But in retrospect, I'm really glad I did. Because it opened up a conversation that wasn't being had there about this lynching and other lynchings. And the first reactions were from some of the townspeople, like, why would you come and sing a song like that? They thought it was my song. They didn't know it was Woody's song. And I started that year to look around for where it happened 'cause there was a description in the book I'd read that said it was six miles southeast out of town, or I can't remember exactly what the directions were, but there's like four roads, four directions going out of town. So I headed out on one of the roads about six miles, and we looked here and there and everywhere, and we never did find it. And then the next year I looked again, 'cause I was invited back and have been subsequently invited back every year. So for the next few years, I looked for that location of that hanging and got sent by two or three different people to different places. Oh, yeah, I know where that is. Yeah, you just gotta' go out here and turn right, and there's a dirt road and then you follow that dirt road until it hits the river, and then you go down the river a little ways. And it was like this kind of stuff, you know? And also in the description, it had said that it was a railroad bridge that the lynching had occurred from. And of course, we had the picture of the bridge and in that picture, there's not only the picture of the hanging, but on the bridge, the entire bridge, is people standing on the bridge watching, looking down, watching the hanging. And it said that Woody's father was there. That might've been, he might've been in the lynch mob, and he might've been in the Ku Klux Klan. Now there's no documentation that he was. It's believed he probably was. But you know, some people just say, yeah, Woody's father was in the Ku Klux Klan. I never say that because I don't know that that was true. It might've been true. But I never stated it. And my reason for that was because Mary Jo Guthrie, Woody's baby sister, became a really good friend of mine for over twenty years. And I don't think that she believed that her father was in the Ku Klux Klan. And I just didn't see any reason to keep throwing that at her or throwing that out there when it would be in her presence. It just didn't seem necessary to me since there wasn't any proof. Might have been was good enough for me. And it was good enough for her, too. So I always left it there, but there's still people that say, yeah, he was definitely in the Ku Klux Klan, and he may well have been in the mob that took her out there. So anyways, I sang the song and was a pretty intense reaction. And then the next year, I sang the song again, and it kind of became signature to me, and people became aware that it was something that had happened in their town. The second year I got a note that somebody brought backstage to me from a guy that had a booth out in the festival area, in the audience area. He had a book booth, like a used bookstore. And it said, Come out and visit my bookstore booth. I've got something for you. And so I went out there after I played, I walked out there to where his booth was, and he said, I've got something for you. And he gave me a copy of the 1920 race--it was called the 1920 Tulsa Race Riot Report (Tulsa Race Riot A Report). So, you know, it was a massacre, not a race riot, but that's what they called it in this report, which was the official report that had been made to try to understand why the massacre had happened in Tulsa. And in the context of that, they talked about the history of lynchings in that region of the country, Oklahoma, Texas, Kansas, kind of that area. And further in the deep South, as well. And so, that was an eye-opener (laughter) to get that book. So now it was kind of like the whole thing was kind of outed, you know? And then over the next few years, different people would tell me where the location was, and we would go and look for it and we never could find it. And then, I'm gonna' say, what year was that? I don't know exactly what year it was. It was probably like 2015, 2016, somewhere in there. We were at the festival, and my sister-in-law, my wife's sister, who lives in Hawaii and is a anthropology archeology professor with a specialty in, I guess you call it like the South Pacific Islands. But she's just really interested in that, the whole study of that kind of stuff. And she knew we were at the Woody Guthrie Festival. She knew the stories about this lynching and the song I had sung there. I've told all these same stories to her. And she had had a foot injury and was off her feet, couldn't go anywhere. And so she was vicariously following us at the festival, and started to look at some aerial photography of the area. She knew that the lynching had happened six miles out of town. And she started looking on all these, going around on the map, looking at photographs of--I guess on Google Earth or something. And the first thing she told us was, she said, I look at the picture of that lynching, and that's not a railroad bridge. She says that that that bridge would never hold a train. That's what they call a cart bridge because in the time when that bridge was built, they didn't have cars. Everybody traveled by horse cart. But that means that when that bridge was destroyed. It was probably replaced by another bridge on a road, on an existing road. It's not like just a bridge that came from somewhere and went across the river to somewhere else. It was most likely a bridge on a road, because it was a cart bridge, which meant it was a road, and a continuation over the river of a road. And she said, I think it's this location--was six miles out town going I think west outta' town. I get my directions kind of messed up 'cause I'm not there right now. But anyways, there's the one main road that you could take outta' town. It's like the one road up from Broadway, which is the main drag in Okemah, is highway, I think it's 62. And you take that out of town six miles, and you come to a town about four miles out. You come to a town called Boley, which was the first all-Black town in the United States. It was established by a guy named Boley, who owned the railroads. And after the slaves were freed, after the emancipation of the slaves, he was a guy who was of the opinion that that black people could govern themselves. He was a segregationist. So he felt that Blacks and whites should be segregated but that Blacks could have their own towns, kind of crazy idea. But the white town could be over here and Black town could be over here. So they established this area of land that he owned as Boley, and it could be the first Black town. And then they put the word out that freed slaves could come there and establish a life there. And the history of that is pretty brutal 'cause people would come there, like the first year, it's like a couple dozen folks came there and almost all of them were wiped out by the end of the winter either by disease or by wolves. 'Cause there weren't really any dwellings. I mean, they were basically just living in makeshift shelters. Eventually they established the town. The next year more people would come, bunch more people would get wiped out in the wintertime. And progressively, they established a town there, and it's still there. So you drive past this Black town, which is the area where Laura Nelson and her husband's farm was, they were probably sharecroppers, so probably wasn't their farm. And then eventually you come to this bridge over the Canadian River, and we had been to that bridge, and we'd looked, like you stand on the bridge and look up the river. And it looked a lot like the postcard, very similar landscape to the postcard of that lynching. But we couldn't establish that that's where it was. And we couldn't see anything, any evidence of it. And we were looking at this one direction that looked like the background of the picture. If you looked the other way, it didn't really look the same. So we were looking, I think we were looking to the south. Let's see, we were coming this way. Yeah. We were looking to the south. And, our sister-in-law, my sister-in-law, contacted us and said, I think you're looking the wrong way over that bridge. You should go back out to that bridge and look to the north side and look straight down at the bottom of the bridge. She says, I think I see two big footings on each side of the river from an older bridge along, that comes off of a dirt road. It's like just a farm road now. And then the highway with the new bridge. So we went back out and we look, and sure enough, here's these two concrete pilings, what's left of them with a little bit of rebar sticking out of 'em on each side of the river. So we go down to explore, we go down to the river under the bridge, and there's just all kinds of graffiti there. You know, like this is where it happened. Look up Laura Nelson. And then a whole bunch of obscene racist things written on the bridge wall down there. So you--and beer cans everywhere. And you could just tell this has been a off zone party spot for a long time, and this is where it happened. But the old bridge is gone. And that's the reason that the landscape looked the same is because if you had backed up down past where the old bridge was and looked the same direction, there you have that picture. So we did find the location. 01:11:06.385 --> 01:14:55.000 And as you said, I played that Festival, I played it 27 times, which has been a great honor. In the 25th year, they gave me an award, a Woody Guthrie Legacy Artist award, which was a real honor. There were about five of us that had been on the Festival for over twenty years. I think I might have been maybe the only one that had been there for the whole twenty-five. You know, a couple others had been there for twenty-four years. Or one guy had been there for twenty-four years and had been in a helicopter accident before the Festival one of the years. But he showed up anyways, even though he couldn't play, it was on crutches. So they credited him with that Festival as well. So since I started playing that Festival, I've met several Woody Guthrie scholars. I've read at least two other biographies of Woody Guthrie that have come out. They're very comprehensive. One by Ed Cray and the one by Joe Klein. And then there's several other smaller books. There's a couple children's books that tell his story. There's so much material now. Like when I started to look for Woody Guthrie, there was hardly anything. And now there's just a ton of material. In fact, they just released some recordings that Woody did at home, on a home recorder, when he couldn't really travel around that much anymore because he was starting to have the symptoms of Huntington's disease. So Woody Guthrie's been close to my heart. And a couple years after the initial song that I wrote that was a co-write, I was given four more sets of lyrics that did not have music. And so, I have two Woody Guthrie albums with Woody Guthrie songs, and the first one has the one original lyric and then the second one has four more. And then there's a, some other Woody Guthrie songs on there. Some of them are familiar, but there's some other ones on there that were never recorded by Woody but did have musical notation. And I found those because a few years into the Festival, one of the guys that came to the Festival on a regular basis in the early days, his name was Jim Pollard. And he was the president of the Huntington's Disease association in Lowell, Massachusetts. But when the Festival started, he started coming down to Oklahoma every year to do a panel on Huntington's disease. And we pulled in some people from the local chapter in Oklahoma City. And then Mary Jo Guthrie was on that panel with us because she never got Huntington's disease, and we don't know, it supposedly skips. It's every other generation. It's genetic. And they've discovered a lot about Huntington's disease just in the last few years. I know that they've been able to isolate the gene that causes it. And so, they can test people when they're young to see if they have that gene that means that they may be likely to get it. And there are some even gene-altering procedures now that are experimental. They think that eventually they'll be able to cure Huntington's disease. 01:14:55.000 --> 01:23:31.154 I'm trying to think what else can I cover about Woody Guthrie In my experience with the Woody Guthrie Festival. About half of the way into it, one of the other performers, Jimmy LaFave, who died a few years ago, he and I were two of the first people on the Festival, played it every year. And at a certain point, I think it was probably around 2003 or '04, he put together a review show that was his band and himself, and then about four other songwriters. And those would be like a couple of the songwriters were regulars, song regulars on the show. And then the other two or three songwriters would be people that lived in the areas where we were doing the show. So if we were in the northeast or on the west coast or wherever it would, we would fill in those other two or three songwriter spots with people from that area that had an affinity with the Woody Guthrie Festival or with Woody Guthrie in general. And we had a narrator and we would do these readings of Woody's essays and work from Bound for Glory and other things he'd written. And then that would be followed by a song, a Woody Guthrie song by one of the artists on the show backed up by Jimmy's band, and it was called The Ribbon Highway, Endless Skyway, A Tribute to the Songs and Words of Woody Guthrie. And we did that I guess for about three years, all over the country, at venues all over the country. And I was the--at a certain point, the guy who was our narrator who was from Oklahoma City died. And so, I became the narrator. And we had a show in--before he passed away--we had a show in New York City on Governor's Island, which is, you take the ferry out to Governor's Island. And it was like an eleven o'clock, I think. Eleven o'clock show in the morning. And we all flew in to New York City from various places--from Chicago, Oklahoma, California--whoever was in our cast--just coming from Texas, we're kind of flying all these different places to New York City, and it was a lot of weather issues going on. And so, there were a lot of delays and some plane cancellations. My plane was supposed to get into New York City at like nine o'clock at night and then I would take a taxi to downtown to the hotel we were staying at. And then the next morning at like nine o'clock, I was gonna' meet everybody, take a taxi to Battery Park and meet everybody there at the ferry dock. And then we'd all get on the ferry to Governor's Island. And then they had a stage set up for us there as a big outside venue and whole bunch of people. And we'd do the Ribbon Highway show there. So my plane got delayed. We got to New York City, and they didn't have a place for us to land. So we circled and circled and circled, until finally they said we're getting low on gas and they still don't have a place for us to land, so we're gonna' go to Buffalo, and we're gonna' land in Buffalo until they can clear up all these backed up planes and everything in New York City, and then we'll take you back to New York City. So we get to Buffalo, which is like this little nothing airport up in Buffalo, New York. And we got out of the plane, and we were there for probably three hours waiting. Three, three or four hours. There were no concessions or anything to nothing. You couldn't get anything to eat or anything sitting on terminal waiting. Finally, they said, Okay, we're ready to take you back to New York City. So we got back on the plane, they fly us down to New York City, we land, they deboard us, and by the time we get to the baggage area, it's about three in the morning. And my call is at nine at Battery Park. And so (laughter), we get into the luggage area, and the baggage is just piled up against the walls everywhere. I mean, it's just like stacks of bags everywhere. My bags are just coming in, so I was able to get my bags pretty quickly, but these are all from backed up flights. So I go out to get a taxi, and the taxi queue is literally two-and-a-half or three blocks long. I mean, I can see the end of the line, but it's gonna' be a long time before I get a taxi. And by the time I get my bags and I'm out there, it's a quarter of four. And I'm just going like, oh, man. So I'm in line, way in the back of the line and all of a sudden, this guy comes walking by, Jamaican guy, and he's going, anybody going to Midtown? I give you a ride to Midtown. He says, I got a van. I'll give you a ride to Midtown. Nobody says anything, and it's totally against the law. He's not supposed to be there, scabbing rides. And so I go, I'm going downtown. He goes, not going downtown, going Midtown. So he keeps talking, going to Midtown, going down the line. Standing there going, well, I wish he was going downtown, you know, but he's not. So I'm still standing in line. Pretty soon he comes back, he says, you going downtown? I go, yeah. He says, I'll take you downtown. Says, okay. I grabbed my bags, man. I'm not afraid to go with him. (Laughter.) I jump in his van, and he's this Jamaican guy with a Jamaican accent. And we get talking about--this is kind of a funny anecdote--we're talking about pot. We're talking about marijuana, just like, about how he has a brother that grows marijuana in Jamaica, and we're kind of trading these counterculture marijuana stories. And I said, yeah, you know, the trouble is when you're a musician, if you want to find something to smoke, it's really hard. You know, you go to these different places, and you're a stranger in a strange land, and so you can't find anything. And he says, Just remember this, man, wherever you go, it's already there. And (laughter) that turns out to be true. So I just thought that was just really a funny thing that he said. So I've always remembered that. Anyways, he gives me a ride to my hotel in downtown. I get there. I check in. I've got--it's a nice little room, but you know, by now it's like five in the morning. And I've got four hours to get to sleep and then wake up and meet these people to get a taxi to Battery Park to meet the crew. And so we, I get in the thing and turns out this guy, Bob Childers, who was the narrator, his plane got to Chicago from Oklahoma City, but then his flight was canceled going to New York City. So he's stuck in Chicago, so he's not gonna' get there for the show. And I don't know this yet, but I get to the Battery Park and our producer, who kind of coordinates our whole show and everything, she sees me as I get there, and she comes up to me with the script in her hand, and she just hands me the script, and she says, You could do this, right? (Laughter.) And I look at it and I go, what? And she goes, Bob's not gonna' be here. You know, you need to do the narration, you can do it right? And I go, yeah, I can do it. And then, so I did the narration for that show, and then our next show--I guess Bob made one more show, but he was very fragile. And he died about a month after that. And so I became the narrator of the show for the next, I guess we did it for more than three years. We probably did it for about five or six years. And we ended that show up. And that's about, that's probably about all my information on Woody. 01:23:31.154 --> 01:23:39.094 Thank you so much, Joel, for this third installment of your oral history. And you know, we'll be back together soon at some point. 01:23:39.094 --> 01:23:41.414 Yeah. I've got more stories to tell on this. 01:23:41.414 --> 01:23:42.207 Yes, you do. 01:23:42.207 --> 01:23:43.265 Thank you so much. 01:23:43.265 --> 01:23:45.265 All Right. Thank you. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives csusm.edu if you need reproductions made.&#13 ; &#13 ; Please see the related “Preferred Citation note” for language on citing materials from this collection.&#13 ; &#13 ; Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder.&#13 ; &#13 ; The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the library's materials.&#13 ; &#13 ; In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive&#13 ; information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=RafaelJoel_FabbiJennifer_2025_10_21.xml RafaelJoel_FabbiJennifer_2025_10_21.xml https://archivesearch.csusm.edu/repositories/3/resources/19 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 Rafael Joel. Interview, October 21, 2025. Description An account of the resource Joel Rafael is an American singer-songwriter and folk musician from San Diego County, California. Joel has been making music with his band and solo for over fifty years. He is well known for his writing and performance in the style of Woody Guthrie. In this part three interview, Rafael discusses the activities and dissolution of the Joel Rafael Band and his twenty-seven years performing at the Woody Guthrie Folk Festival. Identifier An unambiguous reference to the resource within a given context SC027-088 Date A point or period of time associated with an event in the lifecycle of the resource 2025-10-21 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Joel Rafael Contributor An entity responsible for making contributions to the resource Jennifer Fabbi Subject The topic of the resource Songwriters -- United States Folk music Guthrie, Woody, 1912-1967 Folk music — United States — The Joel Rafael Band Folk music festivals—United States Music festivals—Oklahoma Woody Guthrie Folk Festival Baez, Joan, 1941– Communism—United States United States Merchant Marine Lynching—United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Salinas (Calif.) Los Angeles (Calif.) Austin (Tex.) Santa Monica (Calif.) Okemah (Okla.) Boley (Okla.) New York (N.Y.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en." target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Joel Rafael Art and artists Community history 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 Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jason Beyer Interviewee The person(s) being interviewed Albert F. Toro OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=ToroAlbert_BeyerJason_2024-11-15_access.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Veteran United States Army;Vietnam;Chilean American Veterans;Sergeant OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Toro, Albert F. Interview November 15th, 2024 SC027-073 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Veteran United States Army ; Vietnam ; Chilean American Veterans ; Sergeant Albert F. Toro Jason Beyer Moving Image ToroAlbert_BeyerJason_2024-11-15_access.mp4 0 https://archivesoralhistories.csusm.edu/files/original/149798808a6a331fca4bb254ae05fe7e.mp4 Other video English 0 Interview Introduction 0 62 Military Background and Upbringing Albert F. Toro served in the U.S. Army during the Vietnam War and attained his highest rank of E5 Sergeant. He was born in Santiago, Chile in 1942. U.S. Army ; E5 Sergeant ; Vietnam War ; Santiago (Chile) ; junior college ; draft ; conscription 0 113 Military Conscription Toro was working and attending junior college when he received notice to register for military service. He was presented with the choice to either serve or leave the country. Toro wanted to finish college and build a life for himself in the United States, so he was drafted into the U.S. Army. Around 1967, he was inducted into the Armed Services without the opportunity to defer. U.S. Army ; draft ; conscription ; Vietnam War ; Armed Forces ; college ; deferment ; register ; induction ; physical ; Federal Bureau of Investigation ; U.S. Air Force ; high school 0 340 Military Training and Promotions Toro trained as infantry at Fort Ord. Frequent rain and long walks made training physically challenging. He received on-the-job training as a supplier while in advanced individual training. He recalls how his battalion commander, Captain Cunning, was a kind man who mentored him. Toro became an armorer and was awarded for his outstanding service. infantry ; rain ; meningitis ; battalion ; barracks ; base camp ; training ; post exchange ; platoon ; advanced individual training ; basic training ; on-the-job training ; supplier ; Captain Cunning ; commander ; officer ; armorer ; M14 rifle ; M16 rifle ; Military Operational Standard ; corporal ; sergeant ; Private First Class ; Fort Ord (Calif.) ; Highway 1 (Calif.) ; Monterey Peninsula (Calif.) 0 642 Adapting to the Military Lifestyle Toro describes how difficult it was to sacrifice his independence as he adapted to the military lifestyle. Additionally, it was difficult to become independent again after years of depending on others in the service. military lifestyle ; draft ; Vietnam ; civilian ; Armed Forces ; U.S. Army 0 752 Interactions with People During Stateside Service After his on-the-job-training, Toro became permanent cadre and stayed in Fort Ord for another year, working for the training unit that he was assigned to. Toro describes the camaraderie among cadre at Fort Ord as some of his favorite experiences during stateside military service. on-the-job training ; cadre ; camaraderie ; sergeant ; lieutenant ; Vietnam ; Fort Ord (Calif.) 0 828 Deployment to Vietnam In January of 1968, Toro was deployed to Tan Son Nhut, located near Saigon, Vietnam. He remembers the gigantic base camp, its large barracks, and the mosquito nets that surrounded the buildings. Toro recalls being attacked on his first night in Vietnam, hiding in a concrete bunker. Tan Son Nhut (Vietnam) ; Saigon (Vietnam) ; Expiration Term of Service ; Vietnam ; Vietnam ; base camp ; Armed Forces ; Bearcat ; mosquitoes ; culvert 0 967 Interactions with Local Cultures and People in Vietnam The only frequent interactions Toro had with local Vietnamese people were the kitchen police who served food for American armed forces. After his time at Tan Son Nhut, Toro served for six months at Củ Chi Base Camp as part of the supply unit providing food, weapons, and equipment to the field. kitchen police ; Vietnam ; Củ Chi (Vietnam) ; Saigon (Vietnam) ; 25th Infantry Division ; Viet Cong ; artillery supply ; supplier ; artillery unit ; supply unit ; battery ; service ; sorties ; base camp ; battalion 0 1105 Sleeping Arrangements in Vietnam Toro describes sleeping arrangements in Vietnam and his experience repairing a flooded hooch during a storm. sleeping arrangements ; Củ Chi (Vietnam) ; storm ; hooch ; post exchange 0 1161 Experiences with Wild Animals in Vietnam Fumigation, traps, and mosquito nets helped prevent any negative experiences Toro had with wild animals. However, heavy rain would cause problems for housing. wild animals ; viper ; fumigation ; rats ; mosquito nets ; tents ; rain ; Vietnam 0 1252 Supplying Artillery Units in Vietnam As a Supply NCO, Toro supplied artillery units in combat zones with ammunition and food. combat ; combat service ; combat service support ; supply ; artillery ; ammunition ; food ; battalion ; clerics ; ammo dump ; Howitzers ; sorties ; convoys ; Củ Chi (Vietnam) ; Supply NCO ; Non-Commissioned Officer 0 1347 Recreation in Vietnam Although Toro says there were “no weekends” in Vietnam, he does describe moments of respite, including barbecues and film nights. recreation ; Vietnam ; war ; Non-Commissioned Officer ; barbecue ; cooking ; conexes ; projector ; movies ; The Green Berets ; John Wayne 0 1431 Stories of Camaraderie and Supplying Artillery in Vietnam Toro was mentored by Sergeant Johnson, who took him under his wing as a clerk. While in Cần Thơ as part of his ammunition supply work, he would make trips to get ammunition from the South Vietnamese army. Toro recalls humorous interactions with the South Vietnamese army, specifically what he had to do in order to receive the ammunition. Toro was grateful to supply ammunition because it kept him from being sent to the field. However, he does recall the fear of landmines and seeing exploded civilian buses. Sergeant ; Chile ; Armed Forces ; Non-Commissioned Officer ; ammunition ; clerk ; Vietnamese ; English ; Howitzers ; Cần Thơ (Vietnam) ; South Vietnam ; Mekong Delta (Vietnam) ; Army of the Republic of Vietnam (ARVN) ; ammo dump ; office ; officer ; Deuce-and-a-Half (M35 2½-ton cargo truck) ; sorties ; convoys ; artillery unit ; helicopter ; roads ; landmines ; rice paddies ; buffalo ; civilians ; buses ; farmers ; Charlie Battery ; rubber plantation ; French ; base camp 0 1734 Communication with Family Since Toro made the decision to stay in the U.S. and join the military instead of returning to Chile, his family was upset. The long period of separation was especially hard on his parents. family ; friends ; communication ; parents ; Chile ; South America 0 1762 Treating Others with Respect as a Sergeant As a Sergeant, Toro wanted to treat the guard duty he was in charge of with respect. When guards were in foxholes, Toro would bring them food, help them stay awake, and try to keep them comfortable. Sergeant ; guard duty ; respect ; friend ; Non-Commissioned Officer ; platoon ; foxhole ; shelter ; airfield ; Cần Thơ (Vietnam) ; trust 0 1838 Unusual Event Experienced in Vietnam Toro tells a story about guarding an airfield in Cần Thơ. A soldier reported from a 30-foot tall tower that he was afraid, and Toro went to support him. Rain was flooding the area. Toro almost got washed off into barbed wire and nearly lost his weapon. By the time he reached the top of the tower, Toro and the guard were fired upon by snipers. The guard panicked and jumped off the tower but did not break any bones. guard ; airfield ; Cần Thơ (Vietnam) ; Cobra helicopters ; Bell AH-1 Cobra ; jungle ; towers ; rain ; Jeep ; barbed wire ; sniper fire ; M16 ; .45 caliber handgun ; sandbags 0 1982 Sleeping in the Deuce-and-a-Half in Vietnam According to Toro, U.S. armed forces slept in tents at base camp in Cần Thơ and hoped to eventually build hooches. Heavy rains and mosquitoes made sleeping in the tents difficult. So Toro spent three months sleeping in his M35 2½-ton cargo truck, commonly referred to as a Deuce-and-a-Half. Cần Thơ (Vietnam) ; Mekong Delta (Vietnam) ; Deuce-and-a-Half (M35 2½-ton cargo truck) ; hooch ; mosquito nets ; mosquitoes ; sleeping arrangements 0 2097 End of Military Service Before ending his service, Toro had “two weeks off” on guard duty in Cần Thơ. He recalls spending most of the day in base camp, occasionally visiting an enlisted club that served food. He avoided leaving base camp or exposing himself too much because he wanted to make it back home alive. guard duty ; Cần Thơ (Vietnam) ; U.S. Armed Forces ; enlisted club ; Saigon (Vietnam) ; base camp 0 2218 Returning to the U.S., Visiting Family in Chile, and Readjusting to Civilian Life Toro returned to the U.S. in the San Francisco bay area. He then spent months in Chile with his family before returning back to Los Angeles. Using the G.I. Bill, he was able to complete college and start his career in the aerospace industry in defense. San Francisco (Calif.) ; U.S. Air Force ; Expiration Term of Service ; Los Angeles (Calif.) ; Chile ; United States ; G.I. ; college ; South America ; family ; aerospace industry ; defense industry 0 2402 Camaraderie During Service and Inability to Reconnect with Friends after Service While working at TRW in Torrance, California, he ran into a fellow Vietnam veteran. The moment was memorable because Toro had lost contact with most of his Vietnam comrades. Toro had hoped to reconnect with the fellow veteran, but the interaction was cold and brief. Despite this, he says the comradery in Vietnam was strong. Toro tells a story about he and his comrades building a makeshift bar using ammunition boxes, plywood, and plastic roofing. Vietnam ; Torrance (Calif.) ; refineries ; gas station ; TRW (Thompson Ramo Wooldridge Inc.) ; defense contracts ; mechanic ; motor pool ; Cần Thơ (Vietnam) ; Tet Offensive ; camaraderie ; ammunition ; bar ; Howitzers ; plywood ; roofing ; C-rations ; artillery 0 2603 Vietnam Veterans’ Feelings of Ostracization After Service Toro describes the feelings of ostracization he experienced in the U.S. as a Vietnam veteran. He was especially upset that the “amazing people” he served alongside were often ridiculed. Toro tells a story about a group of long range patrols who had a monkey as a guard animal. Toro says he started to feel prouder of his military service once the attitude toward Vietnam veterans changed and they were better recognized for their service. Vietnam ; ostracization ; Travis Air Force Base ; San Francisco (Calif.) ; Los Angeles (Calif.) ; U.S. Army ; veterans ; infantry ; baboon ; monkey ; dog ; long-range reconnaissance patrol ; search and destroy ; Viet Cong ; the 25th Infantry division ; Non-Commissioned Officer ; My Lai ; massacre ; recognition ; baby killer 0 2907 Life Lessons from Military Service Toro says friendship was a life lesson he learned in military service. He describes how some of the less fortunate people in his training unit at Fort Ord had chosen military service as an alternative to jail. These were often teenagers. friendship ; discipline ; Fort Ord ; Category IV ; Cat 4 ; teenager ; military service ; jail teenager 0 2960 Message for Future Generations Toro says that if he learned one thing, it is that you have to survive in war. You cannot count on anyone else. survive ; survival ; risk 0 3026 Association with the San Marcos Community Toro became associated with the San Marcos community through his neighbor, Jason Beyer, the oral history interviewer. San Marcos (Calif.) ; U.S. Armed Forces ; interview 0 3051 Comradery and Recreation during Military Service Although he struggles to remember the names of friends he made, Toro reminisces on the comradery he experienced during service, including recreational activities like gambling that he chose not to participate in. basic training ; friends ; interviewer ; Fort Ord ; Vietnam ; hooch ; gambling ; Los Angeles (Calif.) ; beer ; comradery ; cooks 0 3138 What More People Should Know About Veterans Toro wants more people to know about what veterans went through. He speaks about their lack of freedom, and how many people were not cut out for military service but nonetheless served. freedom ; soldier ; pacifist ; danger ; bravery ; military service 0 3235 Learning How to Become Independent After Military Service Toro describes how difficult it was to adapt to civilian life as an independent person. Since he was in his mid-twenties when he entered the military, he says that younger enlistees and conscripts would have a more difficult time readjusting than he did. independence ; dependence ; meals ; conflict ; military draft ; young people ; U.S. Armed Forces ; Expiration Term of Service 0 Oral history Albert F. Toro is a Chilean American who served in the U.S. Army during the Vietnam War, reaching his highest rank of E5 Sergeant. Toro described being drafted and deployed to Vietnam. As a Supply Noncommissioned Officer (NCO), Toro provided artillery units in combat zones with ammunition and food. Toro shared his life story as both an immigrant and veteran, including the ostracization and shame many veterans experienced upon their return from Vietnam. This oral history interview explores topics such as comradery, independence, military training, mentorship, college, recreation, fear, immigration, and veteran recognition. NOTE TRANSCRIPTION BEGIN 00:00:00.785 --> 00:00:58.000 My name is Jason Victor Beyer. I'm a graduate of California State University San Marcos. Today I will be interviewing Albert F Toro. Today's date is Friday, November 15th, 2024. We are located in the Kellogg Library at CSUSM, located at 333 South Twin Oaks Valley Road, San Marcos, California 92096. My relationship to the interviewee is that we are both military veterans. The names of the people attending this interview are the interviewer, Jason Beyer, interviewee Albert F Toro, camera operator Adel Bautista, Marilyn Huerta, and Kathy Toro. The purpose of this interview is to conduct an oral history. Please state your full name—first, middle, and last name. 00:00:58.000 --> 00:01:02.865 Albert ; and middle initial, F ; and last name, Toro. 00:01:02.865 --> 00:01:04.245 The branch of service you were in? 00:01:04.245 --> 00:01:06.314 US Army. 00:01:06.314 --> 00:01:08.405 What was your highest rank attained? 00:01:08.405 --> 00:01:10.325 E5 Sergeant. 00:01:10.325 --> 00:01:12.394 And the war or conflicts you served in? 00:01:12.394 --> 00:01:14.424 The Vietnam conflict. 00:01:14.424 --> 00:01:22.135 So, I'm gonna begin by starting with your biographical details. Where were you born? 00:01:22.135 --> 00:01:26.644 I was born in Santiago, Chile in 1942. 00:01:26.644 --> 00:01:28.325 What was life like in Chile? 00:01:28.325 --> 00:01:32.405 Beautiful. I had a nice upbringing. 00:01:32.405 --> 00:01:36.000 Does your family have any past affiliations with the military? 00:01:36.000 --> 00:01:39.495 No. 00:01:39.495 --> 00:01:44.034 Did you hold any jobs before you entered the military service? 00:01:44.034 --> 00:01:53.814 I was going to college at junior college, and I was drafted outta junior college. 00:01:53.814 --> 00:01:58.385 So you were drafted—could you tell me how you were drafted into the US Army? 00:01:58.385 --> 00:04:14.000 Well, at the event to come to the United States, and some of the forms that you fill out there is a little strip about an inch by 12 inches wide. And it says, "Upon the age of 18, you must register to the military service of the United States." And, so I sort of—you know—with time, I guess—I was working, going to college—and I never did have the intention not to register—that's a completely—disregard that fact. So around 1967, about—I think about three years later—I was notified a friendly with the—it was a letter in my apartment from the FBI (Federal Bureau of Investigation)—(Toro laughs)—saying that you have to register within a week. A couple weeks later—I registered—but a couple weeks later, I was called in for a physical for the—that was about—in September, I think I received the notice. And in December of 1966, I got the—I was inducted. I had a physical and I was inducted in the Armed Forces. And even though going to junior college—I guess—I didn't have the opportunity to defer. I was taking so many units and I was working at the same time. So I—at that time, I think the minimum requirement was 14 units for college, and I have 12. And, so I said—they gave me a choice, either serve or leave the country. So, you know, my ambitions were, you know, to serve—and not only that, because I wanna finish school and fill—you know, fulfill my dream to, you know, become a productive person in this country and also to be able to finish my college. So I—two years, I said, it's gonna be not too bad. And that was the way I started in the Armed Forces. I mean—I guess—the way I was drafted. Do I have to elaborate on that? 00:04:14.000 --> 00:04:19.204 Did you have a choice in the branch of service that you joined? 00:04:19.204 --> 00:04:57.105 I did originally. I want to tell you something, that I heard so much about the Air Force, and I like electronics so much that I say, well, that'd be a big good a chance to—what do you call it—probably if I get drafted sometime in the future. That was my thought. So I applied to the Air Force—I remember that—but I never got a called. And they tell you, finish your high (school), finish your college, and then we'll talk. But that was kinda—I guess the Army had to step forward on me, you know, just—I got drafted and my choice—the only choice they gave me was Army. 00:04:57.105 --> 00:05:01.644 How did it make you feel that you were drafted. 00:05:01.644 --> 00:05:40.985 Because of my age, I feel a little—and also my school—I said, this is gonna have to be postponed for, you know, two years. And I wasn't that young, you know, I was 25. So I said, I'll be 27. And then when I said, probably when I come back to to school I'm gonna have to probably take again all the subjects that I was taking in college. And that happened, 'cause when I came back, I had to retake almost everything. And I lost another two years. But, you know, I don't have no regrets with—you know, I guess. 00:05:40.985 --> 00:05:47.685 For your early days of service during bootcamp, what type of training did you receive? 00:05:47.685 --> 00:06:58.235 I was infantry. So we did a lot of big walks. We did a lot of firing. A lot of, uh—what do you call—and the—Fort Ord was kind of tough because we had a lot of rain. So almost all our training was in the rain. At that time, that year it was really—it really rained the whole year long. Plus we had a meningitis issue, so our battalions—what they call, they were—we were located up in the new barracks—Fort Ord—and that was in the east side of what you call the base camp. The old barracks were right down by the Highway 1, the bottom of Monterey Peninsula. We were up on top and we were all restricted for the full training. To go to the movies, we have to go only—we were allowed to go all together—or whatever activities, PX (post exchange) and all that. We were all allowed to get as a platoon, you know, as a group. So we weren't restricted until AIT, the advanced individual training. But it was, you know, it was a lot of work (laughs). 00:06:58.235 --> 00:07:08.000 What is your most vivid memory? Both best and worst parts of your time in training and in school? 00:07:08.000 --> 00:08:26.415 On the training, the best part is when I left basic training. Basic training was, you know, it was hard. I mean, I'm 25 years old and you have a lot of young people, but I did fairly well. I could run, I could do all the stuff. And there I have some issues—you know, physical issues—but, I overcame those. And—but the most rewarding thing that I ever got—(long pause, Toro starts crying)—was in—it was in basic AIT, I had a lucky time to end up with an advance of a—I was in the on-the-job training as a supplier, and I was supposed to be in there for, I think it was about six or eight weeks—and I run into a very kind man, which was our battalion commander. He was named Captain Cunning, and he was like a father to me. And he helped me a lot with my career too. And he acknowledged my—you know—that I was capable to do the job and rewarded me with that. 00:08:26.415 --> 00:08:28.975 So he was one of your instructors? 00:08:28.975 --> 00:09:29.625 He was actually the—he was my commander. He was actually the commander because we were in an AIT unit. I was in a basic—I was in a AIT unit infantry. So we were training troops, and he was in charge of that unit, which was a platoon. It was—we have four platoons in that—I forget the name of it—I think it was "C-1-2" or something like that—that was the AIT. So we trained infantry people. They were ready to, you know, ready to go to the—and fight. So we trained—that was the last echelon on the training and forward the AIT events, individual training. So you will be preparing yourself to go to whatever the commitment was. But he was very—for being an officer for, you know, infantry—it was really a—what do you call—sort of thrown off because—so he wasn't—he was a tough man, but he was also kind. 00:09:29.625 --> 00:09:35.195 Did you qualify with any equipment such as vehicles, aircraft, radios, or weapons? 00:09:35.195 --> 00:10:10.904 Well, I became a—in fact, I became an armorer, and I got awarded for being an outstanding armorer, taking care of the weapons on the company. There were 250—I think about 250, I guess, M14s (M14 rifle)—we trained with the M14 at that time. We didn't have the M16 (M16 rifle)—I guess it was not available in the 60s. And all need time to qualify. If you qualify an inventory, that is the only time that you could touch the M16. We qualified use of the M16. 00:10:10.904 --> 00:10:13.000 Did you receive any promotions? 00:10:13.000 --> 00:10:42.553 Yeah. I was promoted to E4 Sergeant. I mean, actually it was—they promoted me to it because of the—it was the infantry and by MOS, which is my Military Operational Standard—was supplied, I could not be a corporal or a sergeant. So they make me a PFC-4 (Private First Class), but they gave me an acting jack. They gave me the two stripes of a corporal for that because of the training unit. 00:10:42.553 --> 00:10:49.105 What was the hardest part of the military lifestyle for you to adapt to? 00:10:49.105 --> 00:11:34.784 Well being spoiled, it was tough. You know, when you—because I was already 25, so I have my ways and you're pretty—you know, kind of independent. And I never thought that I was gonna be drafted. I was more like a civilian. So it was kind of hard. I feel a little like in confinement for me, for a while. I mean, especially when I was in Vietnam, because, you know, a long time for serving and—you know, it's difficult for a person like a civilian. They all of a sudden—they throw you in that—and I've always being pretty "I want to do my things my way." So it was tough. It was tough. But I followed, you know, the suit. I didn't fight it. 00:11:34.784 --> 00:11:42.514 What was the easiest part of the military lifestyle for you to adapt to. 00:11:42.514 --> 00:12:32.475 I just, become a civilian later on. But you get pretty much—you know, I think it is funny that even though being 25 and having my own things as a civilian, to end up for two years in the Armed Forces—and at the end, you depend a lot. That's another thing that I forgot to tell you, that sort of, you can—you start thinking still that someone is backing you up. Because when you're in the Army, you're following. You're not making your own decisions, really. You are more a follower. So, and then it gets difficult. Yeah, I'm a civilian now, and what am I gonna do? I'm not gonna get my four square meals a day, you know? So then you start thinking, and you have to get out of the mood. But yeah. 00:12:32.475 --> 00:12:40.034 What were your interactions like with people you encountered during your stateside service? 00:12:40.034 --> 00:13:48.835 Well, the best—I think it was the—I guess, life, you know, as I became a—like I mentioned, when I was in the OJT (on-the-job training)—after my OJT, which is six weeks, I became permanent cadre. So I stayed in Fort Ord for another year, working for the—in the training unit that I was assigned to do my on-the-job training. And that's what I found—there was a lot of—you know, I think the people—I guess since you are cadre, you are in a different position than if you are a trainee. So there was a lot of camaraderie in there in the—among the—what do you call the cadre—the sergeants, the lieutenants. And there was a lot of like—you know, we could kid around. Instead of—when you're a trainee—when you're in training, you know, the officers and all that, they want some respect. So that become a little more lax. It was fun. I think I enjoyed the—Fort Ord was fun. I mean, not too much as when I—I guess when I went to Vietnam, that was a little tougher. Yeah. 00:13:48.835 --> 00:13:52.274 What war conflicts were you a part of? 00:13:52.274 --> 00:16:07.794 Well, in January of 1968, I end up in Tan Son Nhut, that is at Saigon. That was my starting at Vietnam. I forgot the term they used. I think it's ETS (Expiration Term of Service)—I think is the end of the term of service. But this is when I got—we got in Vietnam after a long trip, we end up in Tan Son Nhut, which is in Saigon, and we end up in the processing base in there. I think it's called Bearcat—I think it was called. And that's where they process all the Armed Forces. Basically it was mostly—I saw Army people. And we arrived sort of late in the evening. I don't remember having shower. I think that they took us to the barracks. I never forget that. And it was a gigantic base camp with all the—you know, these big barracks that they were two tier buildings. Usually they were made outta wood, and they get—because of mosquitoes they were surrounded by mosquito net mesh. And usually these barracks have a long haul, and they got all the bunkers, you know, lined up. You got probably here, probably downstairs, there were like 50 people. And upstairs, there was a two story. And I end up right underneath in the bottom. I don't think we have supper that night. I don't have a recall of that. But I remember one thing really clear, that that night we got hit. Badly, we got hit. And I really panic. I didn't know what to do. And we hide. I mean, I remember that we had this bunker made out of concrete, like a culvert. And I got under this place in there, and that was my first experience in Vietnam—late at nighttime. And oh my God, I said, this is gonna be tough. 00:16:07.794 --> 00:16:14.105 What were your interactions like with the local cultures and the people you encountered while you were deployed in Vietnam? 00:16:14.105 --> 00:18:25.365 The only interaction we had usually was with the KP (kitchen police) people we had, and the girls and the young men, they had, were used for—you know, they help us, you know, with serving. And they were very nice people. They enjoyed—we used to teach them a lot. They were good people. And, since we were in—there were two bases—I ended up in Vietnam where I ended up in a base camp called Củ Chi, which north of Saigon is about 50 miles, and that was the 25th Infantry Division. So we—they have no access, we can't go nowhere. There's a town in the Củ Chi, and they say it was—the Viet Cong was right in there all the time, so there was no access to it. And I end up in a supply unit. So we used to supply food and ammunition to our—I end up in an artillery unit, which—but I end up in a battery called "the service." We used to service—food, weapons and whatever require in the field. And also we used to fix all the equipment for them. But I end up in the food—I end up in supply, supplying the troops for food so everything was flown off. From Củ Chi, there was no access to the outside world by—only flying. And I guess that was my experience there, supplying the troops. We used to fly all the sorties. I never flew out of Củ Chi, but we used to provide it to the helicopters and all that. Our artillery units were in the field. And our base camp was completely sealed from—what do you call—the outside world, although the town of Củ Chi was right next door. And I've seen in pictures now of pretty—it's kind of a large town today. But that was—I guess that was my—there was no out. I mean, I was in. So all my work was—for six months I spent in there just supplying, providing food for our battalion and flying sorties out to the field. 00:18:25.365 --> 00:18:30.243 How were your sleeping arrangements like? 00:18:30.243 --> 00:19:21.025 In Củ Chi we had hooches that were built of, you know, wood, tin roof. And I never forget that we had a storm one time—I'm going to tell you about that one, and that's interesting—because we got a storm, and the roof was thin, so it got blown off. So, and then of course, we got all wet in there. So at nighttime, at my cell was a couple more troopers. We end up up on the roof nailing the tin roof to prevent the water from going inside of the—(laughs)—inside of the hooch. And the place was pretty, you know, it was nice. It was, you know—we had a PX (post exchange)—we had not that many comforts but it was also—you know, like I said, we were restricted. 00:19:21.025 --> 00:19:24.545 Did you have any problems with wild animals or anything? 00:19:24.545 --> 00:20:17.025 We had a lot of—wild animals, yes. We had some snakes in there. I think that we found some of them is supposed to be—they call a viper. They were pretty deadly. But we never encounter. I didn't never encounter, because these people used to come around and I guess they used to fumigate and make sure that we were safe. They put all kinds of—they have the trap for the rats. We have rats. So in all the corners in there, we had—(laughs)—we had rat traps for what do you call—to prevent us, you know, to be in—I guess—bothered with these little creatures. But the tents were, you know, like I I mentioned, they were all floors with hardwood, and we were surrounded by mosquito nets around the air to protect us from—mosquito was a big issue in Vietnam. Yeah. 00:20:17.025 --> 00:20:20.105 Did the rats ever get inside your tents at all? 00:20:20.105 --> 00:20:52.795 No, we were lucky. And they were usually—the tents, they were—the buildings were about a foot off the ground, so we're (unintelligible) because when it rain in there we have a foot of water outside. And it will rain, and they will rain in there, and a foot of rain was nothing in a couple hours. And after that it will dry automatically. I guess that's what Vietnam is. I guess the water gets absorbed pretty quick. So you—after the rain, looks like it never ever rained. Yeah. 00:20:52.795 --> 00:21:01.865 Were you in combat, combat support, combat service support role, or did the war zone make that designation irrelevant? 00:21:01.865 --> 00:21:58.335 No, I was in the combat zone and we were supplying our artillery units—we have Alpha, Bravo and Charlie—and that was the thing: supply ammunition, ammo, plus food in the field. At that time, when I was in Củ Chi, I didn't fly any sorties. I was mostly involved in supplying the food—supplying the food for our existing unit, and plus, they're called the battalion. We have a battalion in there with all the sort of people that provided more support on the clerical side. So we had to supply for people—a hundred people—you know, supply all the food. And also the sorties were flown out by other—and ammo was also taken by what we used to call "the ammo-dumping people" to supply Howitzers in the field. So they used to go on convoys out of Củ Chi. 00:21:58.335 --> 00:22:01.005 Where else did you serve in Vietnam? 00:22:01.005 --> 00:22:27.674 I serve as a—I was a supply NCO (Non-Commissioned Officer) for ammo. So I used to order the ammunition for the field for the Howitzers. And also I did a lot of food supply. We used to supply the food, so we had to fly sorties for food and ammo to the field. 00:22:27.674 --> 00:22:33.005 What did you do for recreation or when you were off duty? 00:22:33.005 --> 00:23:51.035 There was not too much in there because when you're in Vietnam—I guess in the war—there are no weekends. So we did seven days a week. And usually we give us—on Sundays, usually the NCOs will go and cook for us. So we have a barbecue, and they will, you know, give us—and we were lucky because we were able to absorb some t-bone steaks in there, and some good hamburgers. So the NCOs and the commanders will cook for the troops. So that was a—it was usually, typically then about 5:00 PM, so we get the rest of the evening. And occasionally we had these conexes with that—so you probably remember that—you're interviewing me, and I know you're familiar with the—conexes are these metal containers. And inside we have a projector, so sometime we used to get movies. And we got one of The Green Berets movies. And I never forget that with John Wayne. And people were laughing so much about it, because you're in a war zone and you got a green beret. Do you remember that? Probably you remember that, about John Wayne in there. And that was the funniest thing in the world, I think that hit me. Yeah. 00:23:51.035 --> 00:23:57.724 What kinds of friendships and camaraderie did you form while serving and with whom, while you were in Vietnam? 00:23:57.724 --> 00:28:54.025 I had a—I think it was Sergeant—oh my God, I can't remember his name right now, with all this. There was a sergeant in there that sort of was my protege, and he was from Idaho, I think. And he—Sergeant Johnson was one of them. Sergeant Johnson—let me go back—he was a—it's a first sergeant. He was in charge. He was pretty keen on me because of—for being, I guess—I was born in Chile, so he was kind of keen on me that he couldn't understand why I was serving in the Armed Forces. He used to tell me, "Oh I can't believe this." And the other ones—I can't remember his name, and he was the one who actually helped me a lot. He was an E6. He was an ammunition—what do you call—NCO? And he took me under his arms, and I become his clerk. So I used to run the runs for him, I used to ride on—the phone was Vietnamese, but they have a little translation in English, which it says what came of ammo we were getting for our Howitzers. So he gave me the task to run to town. This is moving to when I was in Cần Thơ—this is South Vietnam by the Mekong Delta. And he assigned me—"You're gonna write all the forms for the ammo, and you're gonna go and wait." And there were Vietnamese—we had to get from the south—from the ARVNs (Army of the Republic of Vietnam)—we have to get the ammo, believe me or not. So the ammo dump was in the charge of the South Vietnamese Army. So they used to make me wait in there. I sat in there in the office, looking at the officer. He—the only thing I have to do, sign the paper. So he made me wait in there for an hour or so until he decided to sign the paper. And I got them, and I went over there and I start—we go, you know—we went over to the ammo dump to get out ammo. But that was—every time I went over there, every time I had this, it was kind of a—how do you call them? It was kind of a thing that he had for us, that we have to wait, even though he signed the document. But he made us wait. I waited for an hour. I was—I used to smoke, but I quit smoking. Good thing I did. So I waited. I waited in there for this officer to sign the paper and let me go. And then the funny thing about this is—and then we go to the ammo dump, and the ARVNs—which is a regular Vietnamese army—they don't like us at all. So, and then we go in there and this big Deuce-and-a-Half (M35 2½-ton cargo truck) to load up the ammo. And then they used to give us challenges. They used to sort of challenge us. I mean, to get in to some kind of a scheme. It was kinda weird. It was like a—it was sort of a—what you call it—it was a ritual that we have to go through. Every time we go for ammo, we have to go through that ritual. I mean, for these people, they used to tease us. I don't think they want to fight with us, but they were teasing us—doing some karate movements and all that. It was funny. You wouldn't believe it. And that sergeant told me—disregard this, you know, I forgot the name of—I can't remember what the name is. I hope it comes. But he was great. He helped me a lot too, because he's the one that kept me from going—really—I was almost end up in the field, but he said, "I need you in here." So he kept me in the base camp. But we had to—we had to fly sorties, but we also had to go on convoys many, many times to, you know, deliver the ammo. Because all our artillery units were in the field. Some of them were way out in, you know, helicopter flight, but some other ones—the roads were really tough because they have to clear the roads because they had landmines. So we waited for all the traffic. These guys were really smart. When I was in Cần Thơ, we had to cross the river, the Mekong Delta, and go to the field that was miles away. And the roads were really—there was nobody in the road, you see? There were all the—the roads were all—they were not paved—were all like granite compacted. And we're all riding on top of rice paddies in there. And you can see the buffaloes in there, and you can see people, you know, the farmers in there, in the road. But always there was a fear of landmines. So we went over in the road when everything was clear, we thought, and we saw a lot of things in there. We saw buses with civilians, and they're blown up. And we were lucky we never got hit. So we deliver—we have batteries, you know, like—this was Charlie Battery. It was—I can't remember the name of the city that we were located. It was another city. It was rice—it was a rubber plantation. Beautiful—beautiful rubber plantation. I remember, I'll never forget, it was like the French left it in there. It was really incredible. And the roads were amazing. I mean, the roads were not amazing. It's just that the scenery around us, because we were in a base camp all the time, to go out in the field and take a risk, It was something else. I mean, sort of like, I want to get outta here, I wanna see something else. But you saw a lot of, you know, a lot of bad things in the road too. Yeah. 00:28:54.025 --> 00:29:00.605 How did you stay in touch with family and friends? Did you choose to keep communication with them while deployed? 00:29:00.605 --> 00:29:22.345 Yeah. My parents were in Chile, South America—all of them. So they really suffered from this. They weren't too appreciative, I guess, that I made the choice to, you know, stay and serve. So that was really hard for my parents—where we come from a large family, seven kids. 00:29:22.345 --> 00:29:28.244 Was there something that you did for good luck while you were in Vietnam? 00:29:28.244 --> 00:30:38.424 I tried to be good with the—oh, yeah—I always like people, you know, even though I'm not an Army type to be rough and tough. So I'm always being—what do you call that—I thought about the other people. Like, you know, I was a Sergeant in charge of a guard, and I tried to treat my, you know, my people with a lot of respect. Not treating my, you know—I never wanted to feel like I was in command. I feel more like I want to be their friend. So I used to bring them—when we were in the—we have like a guard duty. I was—because I was an NCO—I was in charge of the whole platoon that was in front on the foxholes and also in the shelters in the front of—we were guarding a big airfield in Cần Thơ. And I always brought them, you know, food, make sure they weren't sleepy at night and all that. So trying to make things easy on them. And that was the most rewarding thing to me, that they feel comfortable with me. So, they feel trusted, you know? 00:30:38.424 --> 00:30:44.845 Do you recall any particularly unusual events while you were in Vietnam? 00:30:44.845 --> 00:33:02.615 Yep. I'll never forget this one here. When I was in—we were supposed to guard an airfield in Cần Thơ. This was the landing pad. And we had all the Cobra helicopters (Bell AH-1 Cobra), so we had to protect all that area. But we were right in the front of the airfield, which was facing the jungle. And we have towers in there, and we have satellites on top—scopes. So I have a kid up there that was calling me that was scared. So, and then I went over there and it was raining. And it was raining so high that I almost got washed off. I didn't want to take the Jeep around it. So I left the Jeep. I had a Jeep, and I have all my—what do you call—black light. I mean, have all my, the lights down, you know, the—what do you call them? I forgot the name of—you keep all your lights on it on the—there's a switch, it turns the lights off, and they go into a nocturnal—what do you call—thing. So in case you cannot be seen. So I left the jeep behind, and I got in the—I started walking on it—and I almost got washed off in the perimeter in there to the barbed wire. I got up in there, and then somehow we got—started getting some sniper fire from the outside. And I had a kid on this tower—30 feet tall tower—and he—this guy jumped down and he didn't break his leg. He panic. He jumped from this tower. Would you believe that? I was scared too, because I was washed off. I almost lost my M16 because I carrying a weapon—and I carry also since Sergeant guard usually carries a .45 (.45 caliber handgun). And I said, I was glad that I made it. I mean, I just got to the barbed wire, held on until the water run—and I got up and I went and take a look at this kid that—he jumped all the way from 30 feet up, and he didn't break his legs. And I said, "Well, stay here. We're gonna stay here." And that was about the most scary thing that I ever had, you know? And this kid had jump, he panicked because they shot at him. He was shot—up in the tower. Instead of staying there—there was sandbags, but he was scared and he couldn't handle it. 00:33:02.615 --> 00:33:06.994 Could you tell me about the story of you sleeping on a truck? 00:33:06.994 --> 00:34:57.824 Well, when we got to our new base camp—from Northern Vietnam we went down to south—we end up in Cần Thơ and, we end up this—Cần Thơ was—at the airfield only, there was not pretty well established yet. So what they did—from the Mekong Delta, they used to suck up all the sand from the Mekong Delta and make a plateau. That was a basic base for the base camp—for this new landing strip. So there was absolutely nothing in there. So we end up in tents and it was raining. And the tents, you can't even walk inside because it was mud in the floor, and we have cots. So I decided to sleep in the—I slept in the in the Deuce-and-a-Half—that was my supply truck. And I spent in there three months sleeping in the truck. And I enjoyed it, because all the other people were on the—you know—wet tents and the floor—because we were—there was no floor. And I was sleeping in the truck in the front for three months. I slept in the Deuce. And that was tough. It was hard because it has a canvas—padding is canvas and metal. There's a thing in the middle. And there, I never forget it, It was my friendly thing. It was a metal piece that was hitting me in the back every night (laughs)—there was a division in between the two seats. And after that we slept until I left we have tents. And the plan was to build hooches, as they call 'em. You know, there were like, buildings on top of, you know, about a foot or two off the ground. And they were with mosquito nets. And that was another issue that mosquitoes will eat you alive. I had all these issues with them (laughs). Yeah, it was tough. 00:34:57.824 --> 00:35:06.525 So, towards the end of your service, do you recall the day your service ended? Where were you when your service ended? 00:35:06.525 --> 00:36:08.000 I was in—I was a—still—they gave me—actually before my ending my service, they gave us two weeks off. But my two weeks off, I didn't have to do absolutely nothing. But I have to do one thing: guard duty. So I have to pull every day guard. That was a break. So I slipped—I could do whatever I wanna do during the daytime, but in the base camp, like in Cần Thơ, it was not too much to do. I mean, there was a little town in there. I didn't care too much about it to go to town. There was a—what is it called—the—my goodness, I forgot the name of the club for the Armed Forces, where they used to serve beer and hamburgers. And, they used to cook for us. And then that was in a little town. And that was the—oh my goodness, I can't remember—that was one of the services the Armed Forces provided for us. It was outside, like in a big town like Saigon, they will have like a—it's like a club— 00:36:08.000 --> 00:36:09.755 —Like an enlisted club? 00:36:09.755 --> 00:36:45.065 Yeah. But it's—yes. Only for the Armed Forces. And they'll have, you know, drinks, like—not alcoholic—like coke, you could have a hamburger, and they have like a day room that you can probably sit and read. And that was the city of Cần Thơ. And that was one of the places—but I stayed mostly in the base camp. And when I was getting short, I became a little more coward because I want to live. So I didn't wanna expose myself too much. 00:36:45.065 --> 00:36:45.844 Did you— 00:36:45.844 --> 00:36:58.585 —You know what I mean? I mean, it's not being a coward, it just self preservation. I say, if I survive this for so long, I want to be here. You know, I don't want to take a chance going to town and, you know, being a fool, you know? 00:36:58.585 --> 00:37:03.284 Did you return home or where did you go? 00:37:03.284 --> 00:37:41.275 When I—end the term of the service term, I end up in the San Francisco area. There was an Air Force base that we did the ETS, because that was the end of the term. And my plan was to go back to L.A.—Los Angeles—and, you know, finish my college—that was my first goal. And probably return home—I was born in Chile—to see my family that I didn't—I didn't see them for about six years. So that my first goal was to go there. 00:37:41.275 --> 00:37:46.684 What was it like for you when you stepped foot back in the United States in San Francisco? 00:37:46.684 --> 00:38:50.704 Oh, I was—well, people were kissing the ground, you know. They were, I saw it. The people, some GIs that went down on their feet. I saw them. All the ones that—there was a really bad attitude too. Most of the people didn't want to go back to their families, you know, I don't know why. That was really bad. I noticed that I—what are you gonna do? Because I met a lot of guys in there. They said, "Well, I don't want to go. I have some issue with my family." So some of them said, "What are you gonna do? I'm gonna stay in San Francisco—in here." And it was a really strange attitude. I can tell you. I mean, I said, "You're not close with them? You don't have no family?" "No, I don't get along with them," and so forth. So that was really sad to hear that. And some people—I don't know why—I guess the war makes you strange too. You know, people—I don't know—it was like a demise on everything. I know I want to see my family. That was the first thing. Because, you know, I was drafted outta college and I wanted—and I didn't see my parents for almost six years. They were in South America. They were in Chile. So I said that was my main goal: to go and see them. 00:38:50.704 --> 00:38:54.684 How were you received by your family and community upon returning? 00:38:54.684 --> 00:39:27.744 Oh my God—they wouldn't let me come back. Yeah, yeah. And I end up in summer in South America's. It's just beautiful, especially Chile—you know, we're a big family. So I end up—I didn't want to come back—but I said I got my things to do. So that was my—I spent about three months in Chile I think after—yeah, three, almost. And, but I want to come back. I wanna finish my school. My goal. That's my whole ideas—and do my thing in here, because I planned that since I was a kid. I always dream about to come here. 00:39:27.744 --> 00:39:32.804 How did you readjust to civilian life? Did you work or go back to school? 00:39:32.804 --> 00:40:02.184 I went back to school and then I start—I went back to school at the beginning. Yes, I did go back to the—I got my GI Bill and I started going to, you know, finish my junior college. That was my first goal—and—which I did. And then, I liked the aerospace industry in defense, so that's what I—that was my goal, too—to go back to work for them. Which I did. 00:40:02.184 --> 00:40:07.264 Did you continue any friendships after service? And if so, for how long? 00:40:07.264 --> 00:43:23.804 You know, I didn't. People were from other states—most of the people that was in Vietnam. I—in fact, it was really strange because I was in Torrance, California, and there was a—in Torrance, California, there's a lot of refineries, and there was a gas station that I used to go—I worked for a company called TRW (Thompson Ramo Wooldridge Inc.), which we did, you know, defense contracts, aerospace, and all that. So this day I stop in this gas station, and guess what? I run in to one of people that I was in Vietnam. He was a mechanic in our motor pool. I used to go over there, and I teased him all the time—he and the sergeant—this guy was a redhead guy, I don't remember his name. And I said, "Do you remember me?" And I see he looked at me and I said, you remember such and such. And I asked him a question: "What happened to Cần Thơ?" I asked him. "Oh, we got a run in here in Tet Offensive. We did well." Because I left before the Tet Offensive. But there was not a—what do you call—there was not a contact. I said—I wish the guy would say, "Hey, let's get together or something." It was like, "Hey, see you now. See you later." You know, that was the only thing. So there was a lot of camaraderie when I was there. You know, people—in fact, when I was in Vietnam, you know what I did outta ammunition boxes? I helped to build a bar. I built a bar myself with a sergeant that, I can't remember his name. He was my protege. Big guy. He was from the south, like I said, again—and I hope I remember his name, to keep him in record because he was—he helped me a lot. So, our ammunition boxes for the Howitzers, we filled them up with sand and we built a bar. We built a building. We put a building. And I was—my skills, since I was supply, I used to go out and get the plywood. They used to have a plywood where they put the sorties when they put the ammo in the helicopter. They have two holes on the side. They brought probably six by six planks—you probably remember those (points at interviewer)—and then I did the roof with that. And then we got some—I guess—some plastic roofing from dealing with—I used to trade C-rations for all these items that we are speaking of. And there was some guy that knew a carpenter out of town in Cần Thơ. He built the bar out of the plywood we got. So we built a beautiful bar out of that. And I never forget that one. And in the front, we have a muzzle of a Howitzer. That was our—the symbol of artillery right in there, I never forget. I got pictures. I think I got the pictures. I don't think that I have the pictures, because I lost—all those pictures that I took in that area in Cần Thơ I lost in the camera that I bought. I lost I don't know how many rolls of film I lost, but I had a great time helping. And I have free drinking on that bar until I left. Would you believe that? (Toro laughs.) 00:43:23.804 --> 00:43:27.585 Did you join any veteran organizations? 00:43:27.585 --> 00:46:51.704 No, I didn't. It kind of—you know, I think most of the people who came from Vietnam were kind of ostracized. You remember that? We kinda insulted. 'Cause I get insulted and you—like I mentioned over at—when I left Travis (Travis Air Force Base) up in San Francisco, some guy say something about, Are you the, you know, baby killers or something like that. Twice. I have that—another one in L.A. So sort of lost the—how would you say—the interest, you know? And I didn't want to know anybody. I never mentioned that I was in the Army until they recognized us. You know, people being more onto our side. I felt—I never spoke of it. You know, never even at work—people never. I never talked to my kids about anything. My wife (shakes his head), you know—I think most of the Vietnam veterans, we were sort of sour at the end. Because they got—I saw a lot of heroes. I saw amazing people. You won't believe it. I mean, like, you guys (points at interviewer), like my interviewer in here. You know that—you know—people—amazing. Amazing soldiers and especially infantry. Yeah. I can tell you some issues in there. You wouldn't believe it. There was an infantry unit in—I never forget this one. We were—I was in the—taking a—coming out of the shower, and we had this group of soldiers that came over. They were all infantry. And they have a baboon. This guy had a baboon—they have a monkey. And that monkey was a dog. And these guys were in the field, and these guys were so raggedy—you wouldn't believe it. These guy were like long range patrols. They were like—they called them LRRPs (long-range reconnaissance patrol). I don't know if you heard about them. It's a unit—I guess—and they go at nighttime. They go out of the base camps and they start doing search and destroy. So they see—because usually our base camp was surrounded by—you know, the Viet Cong was out there. And these guys had the monkey—this monkey, this baboon, it was like a dog. He held sense. Anybody moving—there was not—in fact, I remember approaching this monkey, and the NCO told me, Don't get close, he'll get you. It was a great baboon. It's a monkey. And that was a dog—guard dog for these people. It was amazing. And these people were attached. They were not attached to our—the 25th Infantry division that I belonged to—they were not. They were like a bastard battalion. And so they were doing all this reconnaissance, and they were amazing, these people. I can—you know—there were some—there were some good soldiers. And we came back for the really—most of them came back with a really bad attitude, because we were treated like, you remember—I don't know if you guys know—probably we treated a little like we didn't—we were not wanted. Yeah. But they recognized us—luckily—later on, they recognized us—you know, Vietnam veterans. But most of them, they really—we were really sour, all of the ones that I knew. So I hide my identity. Yeah, I was in the army, but I never mentioned that. What do you call that? I was—that I served in Vietnam and so forth. And people didn't care really. You know, the new generation. My kids never ask me until later on about what that—what you did, what you went through. 00:46:51.704 --> 00:46:58.284 How has your service impacted your life, your community, your faith, and your family? 00:46:58.284 --> 00:48:27.875 I makes—I think of, you know—at the beginning after coming out, you know, you don't have a sense of pride. You became—you have a sense of pride after people recognize you. That's the only problem. You feel more guilty—you know—at the beginning when you get out because, you know, we not recognized. So there was an effort, you know, for them to say, "Hey, you know, thanks for your service." I started getting the thanks for your service later on in life, you know—way back. And mostly the people that approached me were veterans. You know, that they told us that. People—you know, the American soldiers are amazing. I tell you that—what I saw in Vietnam. To survive all that junk we went through and then not be recognized—and then left the country like that. That's the thing. It hurts the most, you know, being like treated the way they treated the people. They—you know—people like the soldiers—the American soldiers, I mean—the kids were great, but the attitude—the outside attitude was really bad. It was really bad toward us. And that's what it really hurt—a lot of people. I mean, we were doing what the country ask you for, you know, but they—you go and serve and do the best you can, and then you come all out like we were—actually, you remember My Lai (The My Lai massacre) and all that—like we were criminals. 00:48:27.875 --> 00:48:33.405 What are some life lessons you've learned from military service? 00:48:33.405 --> 00:49:20.554 I guess the friendship. There's a lot of friendship, you know, in there. Sometimes you don't feel like all by yourself. You know, that. And also it used a little discipline, because there was a lot of kids when I was in the army—I was in Fort Ord—that they were in trouble with the law somehow. And they were near serving because of that. You know, in my training unit in Fort Ord, they were a lot of kids that were—what they call them—Cat 4?. They have a name—I think category four. So these guys were—somehow they have some trouble with the law. So they have a choice either to serve or to end up in jail. And they were young kids. They were not adults—you know, in the eighteens. Yeah. 00:49:20.554 --> 00:49:29.005 What message would you like to leave for future generations who will view and hear this interview? 00:49:29.005 --> 00:50:04.465 Oh, the experience teach you—I learned one thing that—to survive, that's the thing. You have to survive. And you know, when you are in the war and you're—and you have to serve—you have to survive. And there's not too much you can do. And what you can do for yourself is be yourself. Because nobody else—when you're in a situation—as my interviewer knows too—at this point I'm gonna use that as—you are the only one in there. You. And you can't count on anybody else. 00:50:04.465 --> 00:50:05.000 How did—(Toro and Beyer accidentally speak simultaneously.) 00:50:05.000 --> 00:50:05.989 —Excuse me— 00:50:05.989 --> 00:50:06.000 Sorry. 00:50:06.000 --> 00:50:26.704 You can't count on anybody else, but you know that you're supported. But that is your life at stake in there. I mean, you're the only one that can—you know, you don't know what is gonna happen in that moment. I mean, you look for the risk, but the only things you think at that time are you, you know? How you gonna react to this? That's what I'm trying to say. 00:50:26.704 --> 00:50:33.125 How did you become associated with the San Marcos community? 00:50:33.125 --> 00:50:51.295 Well, was through my neighbor, Jason. He brought me to this in here, because I never thought I was gonna be interviewed. He's a former also gallant Armed Forces. He served many conflicts. 00:50:51.295 --> 00:51:05.074 Thank you for taking the time to share your recollections of military service. Is there anything you've always wanted to share about your service or veteran experience that you never have? 00:51:05.074 --> 00:52:18.074 Well, like I said, I wish if I could remember the names, but there's a lot of—you know, I think I had a—at the beginning, you know, in basic training, I made a lot of good friends. You know, and then they departed all their ways. I don't remember their names, but I have some pictures that you have—some other records in there. I think my interviewer has a picture of it. He was a—great people. I met some fine people. And when I was in Fort Ord, I did—and when I was also overseas and in Vietnam, I did meet a lot of people who had a lot of fun—especially on night times in our hooch—(laughs)—when they have the beer parties in there, and we used to—what do you call the, you know—I was very conservative. I don't gamble. And so I used to send all my money to my bank in L.A.—(laughs)—all the little that I earned. But the other—my older friends that used to love—they used do to a lot of gambling in there. My God, it was amazing. They have a lot of fun in between the beers and the—we had a lot of great time in the Hooch. That was the best time in the—the comradery. Yeah. In Vietnam. Yeah, there was a lot of that. And the biggest gamblers were the cooks—(laughs)—that's what I remember. 00:52:18.074 --> 00:52:23.684 What do you wish more people knew about veterans? 00:52:23.684 --> 00:52:29.295 What they going through. Yeah. What they going through. 00:52:29.295 --> 00:52:31.005 Could you elaborate on that? 00:52:31.005 --> 00:53:55.985 I mean, the do's and don'ts. The way you lose your freedom. You're not anymore in charge you of your future. I mean, someone else got your hands on. So that was my only thing—you know—you gotta serve and you're not an instrument, but you are a tool—you know, to help, I guess, the conflict. But they—you don't have too much to say. Some people are—they're born to be a soldier and—you know—and they're strong. And some people, they're a little in between. They're more—I guess, a pacifier—pacifist. And those are the ones that have a hard time. But they all serve. And that is a—that is a difficult time. I mean, for the people that don't have the—even though if you're brave, you have your feelings. I mean, you know, when danger is—your life at a stake—you know, the bravery, it counts—but you know that, Hey, I gotta survive this one. And some people are a little weak, and those are the ones that suffer. And they have to be protected because they're not meant to serve, but they served. And I see a lot of people like that. They served and they were—they—I mean—they were not happy they were doing—but they served. 00:53:55.985 --> 00:54:05.445 In your unveiling of the journey, what are the lessons learned from your military experience? 00:54:05.445 --> 00:55:20.735 Well, they teach you—I think they make you more independent too—I think. But being independent is very difficult. You know, after my two years, I didn't know what to do because I've been always, you know, four square meals a day. So I have a little conflict in there. So you gotta get out of that one and say, What am I gonna do now that I'm outside. But I already was outside, you know? I was drafted when I was already working and I had my own—so I have my goals. So I think for younger people it's more difficult. They were 18 and they—they have some conflict—that's why they end up in the armed forces—and they'll be very difficult to readjust. And those are the ones that I saw. And when I left the Armed Services and I was up in my ETS—end of the term of my service—they didn't know what to do with themselves. Yeah. That was one of the things that I was really sad. And I was more mature, I guess—my age. I was 25 when I left. I was 24 when I got drafted—26 I got—actually, I'm sorry I'm changing. It was almost 27 when I end my—my ETS was 27. So I was a little more mature, so I see the weight—but those people, they have a very difficult time to adjust. I know that. 00:55:20.735 --> 00:55:22.445 Thank you for your time today. 00:55:22.445 --> 00:55:23.945 Okay, thank you. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. Copyrights are retained by the &#13 ; creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives csusm.edu if you need reproductions made. Please see the related “Preferred Citation note” for language on citing materials from this collection. &#13 ; &#13 ; Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder. &#13 ; &#13 ; The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the library's materials. &#13 ; &#13 ; In assuming full responsibility for use of the material, the researcher also &#13 ; understands that the materials they examine may contain Social Security &#13 ; numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=ToroAlbert_BeyerJason_2024-11-15_access.xml ToroAlbert_BeyerJason_2024-11-15_access.xml https://archivesearch.csusm.edu/repositories/3/resources/19 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 Toro, Albert F. Interview November 15th, 2024 Description An account of the resource Albert F. Toro is a Chilean American who served in the U.S. Army during the Vietnam War, reaching his highest rank of E5 Sergeant. Toro described being drafted and deployed to Vietnam. As a Supply Noncommissioned Officer (NCO), Toro provided artillery units in combat zones with ammunition and food. Toro shared his life story as both an immigrant and veteran, including the ostracization and shame many veterans experienced upon their return from Vietnam. This oral history interview explores topics such as comradery, independence, military training, mentorship, college, recreation, fear, immigration, and veteran recognition. Identifier An unambiguous reference to the resource within a given context SC027-073 Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-15 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Albert F. Toro Contributor An entity responsible for making contributions to the resource Jason Beyer Marilyn Huerta Adel Bautista Subject The topic of the resource United States. Army—Veterans Vietnamese Conflict, 1961–1975 Veterans—United States—Chile United States. Army—Noncommissioned officers Fort Ord (Calif.) Travis Air Force Base (Calif.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Vietnam Chile United States Santiago (Chile) Monterey Peninsula (Calif.) Tan Son Nhut (Vietnam) Saigon (Vietnam) Củ Chi (Vietnam) Cần Thơ (Vietnam) South Vietnam Mekong Delta (Vietnam) South America San Francisco (Calif.) Los Angeles (Calif.) Torrance (Calif.) San Marcos (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Albert F. Toro License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> Type The nature or genre of the resource Moving image Is Part Of A related resource in which the described resource is physically or logically included. San Diego Veterans History Initiative Community history Latine experience San Diego Veterans History Initiative Veteran experience https://archivesoralhistories.csusm.edu/files/original/84b4d291425238d1a6b1ad8321a41775.pdf 03077269591f47c6d5239cd22e9b9ad9 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 Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. 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 Cole, Kevin. Interview transcript, November 28, 2012 Description An account of the resource Transcript of oral history interview with Kevin Cole. Cole served with the Marine Corps as a Rifleman from 1998 - 2007. In his interview, Cole recounts his personal motivations for enlisting with the Marines and for enlisting as a Rifleman, as well as his family's civic-minded nature. Cole also discusses his bootcamp and on-the-job training with the Marine Corps, as well as the two-year cycle of Marine life: training, joining a larger joint unit, deployment, and downtime. Cole recounts two deployments, ship life aboard his deployments on Naval vessels, the bombing of the USS Cole, the 9/11 terrorist attacks, and how attitudes towards Marines and the armed services shifted in the wake of those attacks. Cole ends his interview by relaying his reasons for reenlistment after 9/11. This interview was conducted as part of the CSUSM Veterans Voices project, a collaboration of the California State University San Marcos History Department and CSUSM Student Veterans Center (now the Epstein Family Veterans Center), from 2012-2013. Veterans Voices (originally called War at Home and Abroad) documents, preserves, and makes accessible the experiences of CSUSM's student veterans. This interview was conducted with a "self-interviewing" protocol, a process drawn from a technique known as Digital Storytelling, which invites the narrator to self-author the interview, telling their story from their perspective, in their own words, and in their own manner. Narrators were provided a list of topics and interview guidelines emphasizing that they could use all, some, or none of the topics as they fashioned their stories about military service and related experiences, thus allowing each narrator to decide what they deemed to be historically important. Creator An entity primarily responsible for making the resource Kevin Cole Date A point or period of time associated with an event in the lifecycle of the resource 2012-11-28 Subject The topic of the resource Iraq War, 2003-2011 September 11 Terrorist Attacks, 2001 United States. Marine Corps USS Cole Bombing Incident, Aden, Yemen, 2000 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lynn (Mass.) Twentynine Palms (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en">In copyright</a> Format The file format, physical medium, or dimensions of the resource text CSUSM Veterans Voices Veteran experience https://archivesoralhistories.csusm.edu/files/original/a6843277848736469c82be27a54962ad.pdf caee1d3a111589aaef8eb8b480547558 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 Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. 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 Aguilar, John. Interview transcript, May 21, 2013 Description An account of the resource John Aguilar, Jr. is a Marine Corps veteran who served from 2001-2005. In his interview, Aguilar recounts his motivations for enlisting with the Marine Corps and his experiences at Marine Corps Air Ground Combat Center, 29 Palms, California. Aguilar also offers his thoughts and experiences regarding the trauma and changes wrought by combat deployments on veterans and their families, his work in information technology in the Marine Corps, and his perspective on the Iraq and Afghan wars, media manipulation, anti-Arab racism and societal glorification of and prejudice towards veterans. This interview was conducted as part of the CSUSM Veterans Voices project, a collaboration of the California State University San Marcos History Department and CSUSM Student Veterans Center (now the Epstein Family Veterans Center), from 2012-2013. Veterans Voices (originally called War at Home and Abroad) documents, preserves, and makes accessible the experiences of CSUSM's student veterans. This interview was conducted with a "self-interviewing" protocol, a process drawn from a technique known as Digital Storytelling, which invites the narrator to self-author the interview, telling their story from their perspective, in their own words, and in their own manner. Narrators were provided a list of topics and interview guidelines emphasizing that they could use all, some, or none of the topics as they fashioned their stories about military service and related experiences, thus allowing each narrator to decide what they deemed to be historically important. Creator An entity primarily responsible for making the resource John Aguilar, Jr. Date A point or period of time associated with an event in the lifecycle of the resource 2013-05-21 Subject The topic of the resource Afghan War, 2001-2021 Iraq War, 2003-2011 Marine Corps Air Ground Combat Center (U.S.) United States. Marine Corps United States. Marine Corps -- Recruiting and enlistment Veterans -- Health aspects -- United States Veterans -- United States Veterans' spouses Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Twentynine Palms (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en">In copyright</a> Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context WAHA-02 CSUSM Veterans Voices Latine experience Veteran experience 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 Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Sean Visintainer Interviewee The person(s) being interviewed Glen Brodowsky OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=BrodowskyGlen_VisintainerSean_2024-06-14.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Brodowsky, Glen. Interview June 14th, 2024. SC027-090 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm CSUSM ; marketing department ; intercultural marketing ; Alexander Gonzalez, Karen Haynes, Ellen Neufeldt ; Craven Hall/Administrative Building ; Jewish Faculty and Staff Association ; cross-cultural marketing ; Faculty Senate Glen Brodowsky Sean Visintainer Sound BrodowskyGlen_VisintainerSean_2024-06-14.m4a 0 https://archivesoralhistories.csusm.edu/files/original/2a4f9d867903cbe2aba28d8139361fc2.m4a Other audio English 0 Intorduction Oral history interview of Dr. Glen Brodowsky, June 14th, 2024, by Sean Visintainer, Head of Special Collections, University Library, California State University San Marcos. 0 33 Background and Education Dr. Brodowsky discusses how his educational background including his fluency in Mandarin and how he found himself working in higher education. Chinese studies ; Higher education ; Marketing ; CSUSM ; University of Buffalo 0 203 First Impressions of Cal State San Marcos Brodowsky talks about his first impressions of CSUSM during his interview process. The campus was built on an old poultry farm and Hollandia dairy was nearby so the campus felt very rural. Prohoroff Poultry farm ; CSUSM ; Campus architecture 0 637 Designing Cal State San Marcos' Expansion Brodowsky discusses his work on the design committee for expanding CSUSM. CSUSM ; Markstein Hall ; Construction ; design ; architecture 0 1269 How CSUSM Differed from other Colleges Brodowsky talks about how Cal State San Marcos' culture and attitude towards faculty participation differed from some other, older and well established colleges. Faculty participation ; Committees ; education ; Marketing 0 1769 Changing Policies at CSUSM Brodowsky discusses his efforts at changing policies at Cal State San Marcos and the effects that those changes had on the school. Policy ; education ; CSUSM ; standards 0 2110 Living on Campus Brodowsky talks about his time living in the dorms at CSUSM while he was a full professor. Dorm life ; education ; student life ; CSUSM 0 2328 Jewish Associations on Campus Brodowsky talks about his involvement with the Jewish Faculty and Staff Association as well as other Jewish association on campus. Chabad ; Hillel ; Jewish Faculty Association ; Religion ; Outreach 0 2679 Navigating New University Administrations Brodowsky explains his thoughts on working with different University Presidents over the course of his career at CSUSM and how he navigated professional relationships with administrations, faculty, and staff. University Presidents ; Alex Gonzalex ; Karen Haynes ; Ellen Neufeldt 0 3424 Teaching Internationally Brodowsky discusses his time teaching internationally in Copenhagen, Ecuador, Shanghai, and Taiwan. Fulbright ; international teaching ; Ecuador ; Copenhagen ; Shanghai ; Taiwan 0 3919 Cross-cultural Marketing and Research Interests Brodowsky talks about his research interests in international marketing as well as his thought on how to make products successful in different cultures. Taiwan ; China ; United States ; Marketing ; Internationality 0 4912 Teaching is Performing Brodowsky discusses his career as a teacher and how he felt that teaching was his chance to express himself as a performer to get students interested in Marketing. education ; Marketing ; acting 0 Oral history Interview discusses Brodowsky’s career at CSUSM, starting with his journey into academia and his experience during the early years of the university, the campus, his work in development of policy and initiatives, as well as marketing, including the campus logo. Interview also discusses Brodowsky’s work in service at the university, his relationship with past university presidents, intercultural and cross-cultural marketing, his approach to teaching both at CSUSM and abroad at Brodowsky’s visiting professorships, the Jewish Faculty and Staff Association and the campus Jewish community, and his past year as Faculty Senate Chair. NOTE TRANSCRIPTION BEGIN 00:00:04.794 --> 00:00:17.635 This is Sean Visintainer with California State University San Marcos. Today is June 14th, 2024, and I'm interviewing Dr. Glen Brodowsky, professor of Marketing. Dr. Brodowsky, thank you for joining us today. 00:00:17.635 --> 00:00:19.394 It's a pleasure to be here. 00:00:19.394 --> 00:00:33.914 Well, thank you. And, I wanted to start off just talking about the university, kind of the early days when you came to the university and so I wanted to ask you about your journey into higher education, and just how you decided to become a professor. 00:00:33.914 --> 00:02:45.235 Well, I, my original plan was to--I was a,-- majored in Chinese studies and I spoke Mandarin early into my twenties, and I thought I'd have a phenomenal career in international business and then retire into higher education. Well, it didn't work out quite that way. It came out to be the reverse where I had--couldn't find a, a business career. I stayed on and did my PhD at University of Buffalo, and it was a bad market year, and there were no jobs. I didn't get a job. And then I got this phone call in the spring, well, after the market was over from then, the dean of a place called Cal State San Marcos. And I said, are you still on the record? Well, maybe, yeah, maybe. would you be able to come out for an interview next week? Let me check my calendar. Yeah, I think I could come. So I came out here on April 15th, tax day of 1996, desperate for a job but didn't wanna let on. And by the end of the day, I had the job. And so here I was coming and they were apologizing, saying, the salary is not very high. And, I said, listen, you'll pay me to come here and teach, where do I sign? and I was very, very grateful to have that opportunity, 'cause it wasn't guaranteed at that time. And, things happened during my first year. The death of my partner happened the first year. Lots of crazy stuff. Moving across country, finishing a PhD program, defending, taking care of a cancer patient, burying him all within one year. That was my first year here, but the people who were around me, in the college of business, were very, very supportive and were with me throughout that whole process. And you don't forget things like that. I mean, I don't know if I would've been treated that well anywhere else in the world. So, I was very grateful to be here, have been grateful to be here for many years, and I'm grateful that I've had 28 wonderful years here at the Cal State San Marcos. 00:02:45.235 --> 00:02:50.104 Yeah. So, you said that you were kind of headhunted, they found you and contacted you. 00:02:50.104 --> 00:03:20.794 Well, they found me, I guess my advisor sent out a bunch of letters and, and they called me and said, oh, sure. I saying, where's that? I've never heard of it. I mean, it was, who knew? But then I said, near San Diego. And I thought, well, that doesn't sound half bad, you know? 'cause 'cause I was in Buffalo at the time, and it was winter. So, it sounded very attractive. And then, so that was it. And that, the rest is, -- 28 years later here I sit on a very, very different campus than I started out on. 00:03:20.794 --> 00:03:27.715 Yeah. And I wanted to ask you about the campus, but I guess I wanted to ask you first, like, what were your first impressions when you visited for that interview? 00:03:27.715 --> 00:04:20.995 Well, they brought me in the back way of what was then Craven Hall, and now the Administrator Building. They brought me through this blue hallway, through this labyrinth. I didn't know where they were taking me into the bowels of this building. I thought, there were lots of staircases, very few buildings, or three buildings, like 10 staircases. And I thought, what is, this does not look like a college campus. What am I, what am I getting myself into? didn't seem like much, but they had this diorama and say, in 2025, this is what we're gonna look like. And we don't look quite exactly like that. But we've grown certainly to that level. So, but it seemed kind of a bit of a pipe dream at the time because it was so new and lots of dirt and lots of staircases and, and on a windy day, you can tell that we were built on a chicken ranch. 00:04:20.995 --> 00:04:23.274 Yeah. Yeah. How could you tell? 00:04:23.274 --> 00:04:26.444 Well, the wind would, carry a certain . 00:04:26.444 --> 00:04:28.285 So, so the ranch was still in existence? 00:04:28.285 --> 00:04:48.634 Very fresh, very fresh in our minds. Yeah. There was a Hollandia dairy, which was across the freeway. So, this was the country. There was nothing here. There's very, very-- that whole shopping center was--none of the apartments were there, nothing. It was just really very open. 00:04:48.634 --> 00:04:52.605 Yeah. Was how, how big was San Marcos at the time? 00:04:52.605 --> 00:05:19.105 I think it was about 40,000 people at the time. It was very small. I chose to live in San Marcos for the first, I think, until 2003. So seven years. I lived on San Marcos Boulevard. I had an apartment at the Benchmark Apartments, and then I bought my first condor across the street, which is, the ones right next to the Home Depot, which didn't exist when I got here. So, the Home Depot, that is. 00:05:19.105 --> 00:05:21.435 And I'm sure traffic wasn't as bad on San Marcos (inaudible). 00:05:21.435 --> 00:05:41.504 Well, San Marcos was, the only thing that was bad was that, that bridge getting onto the campus was only two lanes. and so it could take a good 20 minutes to get onto and off campus, even though we were small. And then it took several years to build that bridge. So it was always tricky getting onto and off of our campus. 00:05:41.504 --> 00:05:45.365 And where did you start teaching? Like what, what building were you in? 00:05:45.365 --> 00:06:02.845 Well, my office was on the second floor of what was then Craven Hall for 10 years in a windowless office across from the men's room and my first class was in, what is, I guess it's ACD on the second floor. 00:06:02.845 --> 00:06:08.884 Was the, was the College of Business, was it all located? 00:06:08.884 --> 00:06:13.475 We were all located on the second floor of Craven Hall. 00:06:13.475 --> 00:06:19.754 Okay. Interesting. Interesting. So how have you seen the campus change over the years? 00:06:19.754 --> 00:07:28.875 Well, I mean, the first thing that came up was University Hall. Which we apparently had the option on, and we passed on. And, so that came up. And then I remember saying to President Gonzalez, to whom I was a consultant on a few projects, when we built the track and field of the Mangrum track--Mrs. Mangrum, her family did that for us-- He said, we have a track. We look like a real campus now. And I said to him, Alex, build me a library, and then we can talk. Because at that time, the library was also located in Craven Hall. And that was on the third and fourth floors. And it was this black area. It was--this walls were black and there were pipes, and it was weird. We were all in that same building. It's kind of where the Cougar Central used to be the library. And then, I ran into Alex Gonzalez a number of years later at what was the new Ralph's across the way. And we were looking out across the campus, and here was Kellogg Library. And I said, Alex, you made good on the promise. you've done good. You built me a library. Now we're a real campus. 00:07:28.875 --> 00:07:29.274 Yeah. 00:07:29.274 --> 00:07:31.644 I didn't, oh, I'm sorry. Go ahead. 00:07:31.644 --> 00:08:25.035 And, and really, the whole campus, really center of the campus moved here upon the opening this plaza out here, because we used to be centered at the dome. The dome was the major gathering place in the early years. This was all just, nothing. It was an empty lot. So, you saw this huge migration of the campus towards this, what is now the center of the campus, which is kind of this Kellogg terrace. And, and then later on came, the Student Union and the, the new building for SBSB and the new Science (Hall) too. that all came much later on, but the ca--and now with the housing going down the hill, it's like what used to be the center of campus is like this little outpost up there, which is the dome. Which is where the Bookstore is. But no, you don't see much going on there. 00:08:25.035 --> 00:08:29.584 Yeah. So what was, you said it was kind of the center of campus and activity. What was happening there? 00:08:29.584 --> 00:08:49.553 Well we would have lunch there. We had, we had meetings there, we had events there. the (Academic) Senate used to meet in that building. So that was kind of the building that was, the facility, and now it's kind of, it's just kind of, kind of an appendage. It, it really has lost its centrality to the campus. 00:08:49.553 --> 00:08:57.085 Yeah. Yeah. You also mentioned the University Hall. You mentioned it was passed on, and I was just curious what you meant by that. 00:08:57.085 --> 00:09:20.544 The dean at the time, who was my very, very good friend, who was a mentor of mine, who lives in Chicago as well, she's 85, and she's amazing, was the dean at the time. And she didn't really like what she saw in the plans for the building, how it was set up. So she decided that we would wait for something to come, the next building phase. So we stayed in Craven Hall until 2006. 00:09:20.544 --> 00:09:21.040 Wow. 00:09:21.040 --> 00:10:37.764 So, and we're very pleased with Markstein Hall. I think it's a great facility and, world class in terms of classrooms. I was on the, on the committee that designed the building. So I remember taking the architects around to U Hall (University Hall) and other places saying, see, this classroom, don't do this. don't set it up like this. This does not work. This is too wide and too shallow, or, and then I remember, we had all these vendors sending us chairs, and I was having a butt, testing, lab in the buildings, because I short people and tall people and fat people and thin people trying out all these different chairs to go into the different rooms in Markstein. So, there's things that I could look at that are designed into that building and--said, that was my idea to that. And it was nice. Like, we have these benches that are throughout the second and third floors, along the hallways where the students could actually sit outside the classroom while they're waiting, because when we were in the Administrative Building, there's no place for students to sit. So they'd sit on the floor, it's like, we could put a bench there. It would be kind of a nice thing. Welcoming. 00:10:37.764 --> 00:10:41.595 Yeah. How, how long was that process of, uh. 00:10:41.595 --> 00:10:42.315 The planning. 00:10:42.315 --> 00:10:46.174 The planning, and especially like the involvement of the committee with the architecture? 00:10:46.174 --> 00:11:51.205 I think we started planning probably around 2002, 2003. It was a multi-year plan, and then we planned, the office space and how we'd maximize the number of windows. And if you go into that building, you'll notice that, on--it's actually two buildings. It's a class from one, which is three stories and the office one, which is four. And the hallways are quite wide on one side, but on the office area, it's like you feel like you're inside of a train, there's narrow, narrow passageways. And that was done so that we could maximize square footage for offices and classrooms. The state allocates a certain number of square feet, no matter what you--how you use them. And so, people will sit at the halls, feel very narrow and closed in. And warren like, but that's because we've maximized the number of window offices. So, we just had to create it because you, there, there are mandates on how much space a faculty office can have and how much, classroom space has to be available relative to office space. 00:11:51.205 --> 00:12:03.065 Okay. That's really interesting. And I think it probably explains why a lot of academic buildings look the way that they do. Huh. Very interesting. Thank you. Who was involved on that, committee. 00:12:03.065 --> 00:12:50.965 At the time? This man named Russ Decker and Diane Malone. They were from, Building Planning and Design, BPD, and then the Dean, and Regina Eisenbach was on the committee, and Ben Cherry was on the committee, and a couple of other people. But that's off the top of my head--it was a real fun committee to be on. And one of the arguments is that I really want to-- I, I'm looking at these windows in your door. And I really wanted that in the building because I thought it would be nice for you to look out. And I see that most people cover those, and they don't like them. They feel it's a violation of privacy. But I just thought--I liked that idea. That was one I was shot down on. I'm still, annoyed about that because I really wanted one of those. 00:12:50.965 --> 00:13:00.924 Well, so you ran into, you ran into headwinds there. What were--you mentioned that the seat testing was one of the things that you were involved in. What were some of the other things that you had an impact on the design? 00:13:00.924 --> 00:14:41.485 You know, one of the things I hate in academic buildings, or if you go to other campuses, is students stick things on walls and it ruins the paint, and it just, it looks tacky. So, there, if you go through, Craven Hall you'll see on the doors and along the walls, there are these metal strips that you could stick some-- they just-- and, that's, that was one of those things I requested, so that you could always put signs up and take them down without any tape. And, and you can remove things easily. And also you could--so that they're all tension bars. And that's one of the things that I have, that I requested because I just don't like scotch tape on paint. It's just hard to maintain. One of the things about this campus, and I've been on many campuses in my life, it's remarkably well maintained. It doesn't look tacky. It's not, it, it's aging quite well. it's immaculate. when I bring--I oftentimes walk around--I used to always work on Saturdays and Sundays until about eight, nine years ago. I said, I've been here long enough, I could take off the weekend. But I oftentimes find myself walking around campus on Saturday or Sunday. And I'd see people around my age with a teenager and, oh, these must be parents. And I give 'em a little tour, and they always remark how clean things are and how neat things, very, very tidy place. and it, it feels very safe, and, not, not--It doesn't feel like it's been overrun by lots of students. And the parents like that. I don't know if the students like that, but I just thought as an older person's, like, you have to have respect for the property. Keep it nice. 00:14:41.485 --> 00:14:48.125 Yeah. What, so what do you think has been the reasons why it's been maintained so well, or aged well? 00:14:48.125 --> 00:15:43.754 I think maintenance is great on the campus. I think the staff keep beautifully. The gardening is incredible. The bougainvillea are there because of a man named Bernie Hinton, who is a founding faculty. And, I didn't always agree with him on things, but, when you drive up campus drive, you see those beautiful bougainvillea, it's makes a real, I mean--the buildings are large, beige, institutional buildings. There's not much you could do with them. They're not--it's just not, Louis Sullivan type of you, or, an Ivy League school campus. But the grounds are very well maintained. And, it just--it doesn't look--it looks new. It still looks new, and some would say a little bit sterile, but I like that. That's fine. It's always, in good shape. 00:15:43.754 --> 00:15:46.254 And the grounds do a lot, I think, to soften the buildings. 00:15:46.254 --> 00:16:16.000 I mean, the setting is gorgeous. I mean, you can't--it's just kind of nestled into this hill. The logo is reflective of that. I actually introduced the logo. I helped design the logo. You know, of course we've cut down some of the hills behind the campus with our mining and quarry operation. But it's just really set nicely into the hillside. And then you look at it, this magnificent vista and, the library, this eleven sided building has great views. 00:16:16.000 --> 00:16:17.000 Yes. 00:16:17.000 --> 00:16:18.884 Just really lovely. 00:16:18.884 --> 00:16:23.325 Yeah. could we talk about the process of designing the logo? 00:16:23.325 --> 00:18:05.000 Yeah. We had the original logo, which is kind of the keystone that you'll see right across on Science Hall One that was the original logo with a globe in it. Because that's where the-- the founder circle is there. And it's really nice. But it's kind of, it'd be great--better in Pennsylvania with a keystone type of thing. And so we wanted something a little bit softer, a little bit more evocative of the landscape. And so I was on a committee with a men named Rick Moore, who was the Director of Marketing back then. We came up with a style manual and we came up with this, logo, which looks like, the two hills, with the, with the campus nestled on it. And then people--a lot of people didn't like it 'cause if you turned it on its side, it resembled Demi Moore on the cover of Vanity Fair, when she was pregnant, and they noticed that. But I remember, I was given the honor of unveiling this to the entire campus, and I said, and here it is. And I went like this (gestures). And, then I said--and I showed you on the--on the front of my personal action file. I said, you could use it on your own file for personal promotion. And you could use it like this and that. And it was--people still remember that day when I was--I introduced the logo. And, if you still listen to the answering--then you get the, recording--"The first of a new generation of California State Universities,"--that was me as well. 00:18:05.000 --> 00:18:06.000 Nice. 00:18:06.000 --> 00:18:15.000 So I was on this marketing committee--little things like that,--I mean, I--I'll remember, doing that. And it's like, yeah, I did that. 00:18:15.000 --> 00:18:16.000 Yeah. 00:18:16.000 --> 00:18:30.265 But it--and so that logo has lasted. I mean, I think it's, we probably unveiled it around 1998. Maybe it's in need of an update, but that's the one that we have. 00:18:30.265 --> 00:18:44.194 Okay. So, I'm--I wanna circle back a little bit to you saying like that there's kind of this intersection with like the University Marketing and marketing, and then you as a Marketing professor. So were you tapped oftentimes to. 00:18:44.194 --> 00:19:06.674 Oftentimes, yes. Often there were other Marketing professors, but I was high profile and willing to do it. So I always came in--I always had something, to offer that way. And I came in for the local design. I came in for, the, I think the 10th year reunion branding that, a lot of the branding that we did on the campus I was involved in. 00:19:06.674 --> 00:19:18.894 Okay. And does that come back to--does that come back to kind of the campus being small? I hear from a lot of people. Oh, I wore many hats, so, I had to-- 00:19:18.894 --> 00:20:36.625 We did. and the thing is, I got--I talked to Alex Gonzalez once, this is how I became a consultant. I said, in this system, they're always hiring these special consultants with hundreds of thousands of dollars to do--I said, you got go down the elevator two floors. You got 10 people with PhDs in marketing. Why don't you ask us? You give me five grand, I'll do the whole thing for you. You know what I mean? And I mean, I thought, why do you have all this, all these PhDs sitting around and you're hiring these external people? This is a great way to get people to feel more ownership of the campus, because we're actually involved in building it. Well, in the early days on this campus, we had no choice. We had very few resources and, we all knew each other. We were all pretty much based in, if not Craven Hall, we had offices across the hall in, Science One. That was where the library, which was in Craven Hall. So, you couldn't help but bump into all of your colleagues. Now, there are people, I find out they've been here for, you've been here for years, I've never met you. That wouldn't have happened back then. I I saw in the archives, the original, campus directory and had like 15 phone numbers on it. 00:20:36.625 --> 00:20:37.954 Yeah. 00:20:37.954 --> 00:20:46.585 That's how small it was. I mean, that was when we were over at Cal State Jeromes (nickname for Cal State San Marcos' initial location). I didn't come then, I came in (19)96. So we already had Craven Hall. 00:20:46.585 --> 00:21:08.545 Yeah. Okay. This kind of dovetails to a line of questioning I wanted to get into. And--I--so I read a--oh, I'm sorry. I don't have any water in there for you--but, yeah. so I read a University of Buffalo Alumni profile, 00:21:08.545 --> 00:21:09.000 About where? 00:21:09.000 --> 00:21:20.005 About you. And you mentioned, that you found a much different academic experience here at CSUSM than you did at University of Buffalo or the University of Chicago. And I was just wondering if you could expand upon what the difference is were there. 00:21:20.005 --> 00:22:50.733 When we become a faculty member, as a new assistant professor, anywhere. At a campus that's been around for a hundred, two hundred years--and it's pretty well all baked in. Most of the leadership on campus, most of the committee work, most of the--most of the decision making is done by crusty old faculty who've been there for a hundred years. And you're told, go into your office, publish six articles, get tenure, and keep your mouth shut, and teach your classes. And that's it. That was not viable at a place like this. I mean, there's all hands on deck. I mean, there was two marketing professors. So we had to develop all the curriculum. So it was all--I was on a committee with, David Borsky and Jackie Fishman and Michael McDuffie. We were doing all the academic policies on the campus and approving all the curriculum. I was the assistant professors. They were also, in the first couple of years we were all, young people. That kind of work is not done by junior people on campuses. This is done by the senior people. Finally, after like, I don't know, about 15 years, this Provost said, ah, now that we've got this critical mass, we don't have to count on all the assistant professors anymore. We can have all the associates and fulls (full professors) do this. Thank you very much. Now that I still get to do it because I have to protect these other people from doing it. 00:22:50.733 --> 00:22:52.255 Yes. 00:22:52.255 --> 00:23:19.634 And it's like, I was always, pressed into service on things. And that was great for--as you could probably tell, I'm not a shy person. And I'm very--I jump in with both feet. I don't know if I would've been tolerated at other campuses with, ideas and wanting to be part of things. I think I would've been the wrong match. Because I can't keep my mouth shut. 00:23:19.634 --> 00:23:22.174 So it's a good, so it was a good environment in those days-- 00:23:22.174 --> 00:25:43.805 It was a great environment for me and when I hire people, it's like, it's still not that solidified. That there's still room to grow. And, if you think you're gonna come here and hide out for six years before we call on you to do things, you've got another thing coming. So I'm telling people in the second and third year, now it's time to step up to do this, and mentor them through the process. I'm a bad example 'cause I did too much early on. But I still think that that spirit of faculty leadership is still much a part of our DNA on this campus. Although, again, as we've gotten bigger over the years--the other thing is, there were people in those days who were the senior people when I came in, who were the-- had the Union and the this, and the faculty who were, they came here mid career, and they were probably at the time in their late thirties, early forties. And so they were the big movers and the shakers. And I thought, someday I'll be one of-- now I'm one of the old people on campus, one of the old timers. You know, how the hell did that happen? But it--and those people who I thought, how--what would the place be like when they're not here anymore? They've gone on, they've retired, they're fine, we're still fine. And it was a great lesson to me. I had given up my office to some-- a new faculty member. I went into the department chair's office and she found a personalized pen with somebody's name on it of a very dear friend of mine who had retired. She said, I don't know who this is. How do you not know who that is? She built this damn place. And I realized that someday that somebody's gonna find my name on something and they'll say, who was he? Even though it seems, I'm pretty high profile around here, but there will be people--there are people on this campus, most of the people on this campus who have never known the campus without Glen Brodowsky's name associated with it. But starting next fall, there'll be people in a post Glen Brodowsky era who won't know. And you know what? It's okay. It's okay. the campus is bigger than all of us. 00:25:43.805 --> 00:25:52.525 Yeah. Yeah. That's a really interesting sentiment. And so you feel okay about moving on, then? 00:25:52.525 --> 00:26:18.815 You have to be able to let go. One of the things I think I've been very successful in doing is hiring the next generation of faculty. I was hired by faculty who were here 30 years ago, 35 years ago. I've hired faculty that will be here 30 years from now. So I'm connected to the campus for 60 years. That's a pretty amazing thing. 00:26:18.815 --> 00:26:31.105 That is. What do you look for when you're thinking about, I don't wanna say succession planning, but when you're looking towards, bringing people in that will continue to build upon what you built? 00:26:31.105 --> 00:28:29.664 Well, first of all, I'm in the process of-- I haven't even started working at Roosevelt (University) yet, but I'm already in a hiring process for new faculty members. Because they need them. Hiring faculty is the most important thing that you can do as a faculty member. It's the most important thing. Because, it's an awful lot of work. Takes an awful lot of time. And I'm not hiring somebody who I want here for two years. I want somebody for the next 20 years . So it's, will they be happy here? Will they find that this is the right speed for them? People who are looking for a tier one, I just wanna do my research, keep my head down and do my thing and be an independent contractor. They're not gonna be happy here. People who really wanna do a lot of development into programs and initiatives and be involved, they're gonna love it. There're faculty members, they got great records, but I didn't wanna hire them 'cause I knew they'd be miserable here. And who wants to, who wants a miserable colleague? So also, it's like adopting a pet, it's a lifetime commitment. How's I see it. It's not like, oh, I'm tired of it, I'm gonna just give 'em away. No, it's a lifetime commitment and faculty are like that. And so, I've seen people who have been not happy here and they've moved on, and I thought that was the right move for them. And other people who have left and come back. And so there's a kind of a type of person I look for who's just really kind of outgoing and roll up their sleeves. And I want to develop this program and that program and have ideas. Not like, okay, which textbook am I gonna use? And to give my marching orders, and I'll just do my thing. That's not the kind of person that I think of as Cal State San Marcos type. 00:28:29.664 --> 00:28:37.835 Yeah. That makes sense to me. Knowing the faculty that I've interacted with here, it's--I think it fits it pretty well. 00:28:37.835 --> 00:28:57.815 There's someone who I'll point to who are young faculty (unintelligible). She's perfect for this place and this place is perfect for her, and she's going just be great. Because she's gonna be happy here after 20 years, you know? And, life is very short, so if you've gotta do a job, you might as well have one that you like. 00:28:57.815 --> 00:29:21.775 Yeah. Yeah. Absolutely. You mentioned that, you've kind of talked a lot about kind of this need almost to have folks that are, able to really dive into things. And, I'm putting words in your mouth a little bit, but be a little self-directed in the way that. 00:29:21.775 --> 00:29:22.634 Yes. Yes. Yes 00:29:22.634 --> 00:29:44.924 Yeah. And so you've talked as well about--and kind of circling back to some things that I found about you, and doing research for this interview about--you've mentioned that when you came here, everything was a new initiative, and that you were involved in policy making. and so I was curious as to what some of these changes that you helped implement and what some of the policy making that you were involved with was? 00:29:44.924 --> 00:31:37.234 My first one was a famous one. We had this system called Banner, which runs all the enrollment stuff. We had these courses and we had prerequisites. And there was no way every enforcing prerequisites. And so everything was an exception. And, I didn't take the prerequisite, I want to take the advanced course. And finally I said, can we find a way to code this in so that, they're prevented from enrolling if they don't have the prerequisite? And we found a way to do it. But I remember putting up a sign saying, as of next fall, all prerequisites will be enforced for all College of Business courses, there will be no exceptions made. Not even for you. And I got emails! I was Department Chair of the program for te-- you were preventing me from getting my education, and you're standing in my way and, you're disadvantaging me. And this is so unfair. And the bitching the and the moaning that went on for about a semester or two until the next crop of students came in. And of course you enforce prerequisite. That's how it's done here. And it became part of the culture. this is how it's done. And it was to the good-- to the--because it increases the likelihood that you'll actually pass the course if you've got the background. Yeah. So, it was, there's a lot of pushback. But then once things become normalized, then I, I learned that things will take a, a couple of cycles to kind of get the kinks out. But once it did, now we enforce prerequisites, period. I haven't had anyone in years ask me if they can come in without the prerequisites. 'cause it's just not, not even thinkable anymore. 00:31:37.234 --> 00:31:46.505 Yeah. So, the students obviously that had to adjust and some of them weren't happy about it. Did you run into any pushback from faculty or from advisors? 00:31:46.505 --> 00:33:13.000 No, they were happy with that. I mean, this is a good thing. Just every policy that we put into place over the years and hundreds of them I've seen, on the statewide level too. One of the things that faculty do is before we pass anything, we try to say, well, what about this contingency? What about that contingency? And we try to bake it all in at once. And I finally said, you know what, it's not gonna be right the first time. We're gonna come up with a what if set. We're gonna get an exception in two years, and we're gonna have to revisit the policy. Because something's gonna come up that we didn't anticipate. And it always has happened. So one of the things that I've tried to implement over the years is whenever we have a policy, we put in a clause that says, and this policy will be reviewed in three years and updated. So we'll go back and say, is there anything that we missed? Because, who could have anticipated, the internet, who could have anticipated ChatGPT. What happens to things like who owns, intellectual property in the age of Chegg and Coursera. I mean, how do we, we, the law has not caught up to the technology. So you can't make, ironclad policies. They're going to change. And so why not just build that into the system to say it's time to look at the promotion and tenure policy. 00:33:13.000 --> 00:33:14.000 Yeah. 00:33:14.000 --> 00:34:33.735 It's time to look into the--into this. And we just had a big discussion about the promotion and tenure policy this year, about people coming in with service credit and can you go out for early tenure, and how does that work? Well, we had to really think about it. And then we said, okay, we're gonna have to, we're gonna have to grandfather some people in and then move forward, because, if you're coming under one set of rules. Like, with the prerequisites, you think, well, I'm entitled to that. Well, yeah, but that's gonna, that's gonna end and we're gonna have to have some transition. You don't see that when you first start out, but you see that after 5, 10, 15, 20 years of, oh yeah, we're back to this conversation. We had this conversation 15 years ago and yeah, we knew this would come back to bite us in the ass. And sure enough, here it is, and so-- but faculty have this, well, what about this? Because faculty like to just talk about things. It's like, okay, it's not gonna be perfect. Let's send it up the food chain and see what we get and then we'll come back around the next time. Kinda like sending a paper up for review and said, when I first tried to get something published, I had no idea and I wanted it to be perfect. I said, no, you leave a little something for the reviewer to pick on this, then they'll have something to say. You know? 00:34:33.735 --> 00:34:48.094 Yeah. That's wise. And, I think it's smart, to revisit policy as well. I think that's a really good point. Just to circle back and give things in an occasional refresher and to build that process into the actual design of things. 00:34:48.094 --> 00:35:10.855 That's normal. It's normal. And it takes some of the do or die attitude away if you don't get this right. You know? We'll, it's like raising kids. It's like, assume that you need a fund for the, education, the fund for the therapy. Because you could just screw it up. So be prepared. 00:35:10.855 --> 00:35:24.614 Yep. Well, thank you. I wanted to ask you as well, kind of, kind of along those early days, in 2005, you were involved in CSUSM's. Faculty and residence program. 00:35:24.614 --> 00:35:25.139 Yeah. 00:35:25.139 --> 00:35:30.284 And so this is pretty wild. I had not encountered something exactly like this. 00:35:30.284 --> 00:35:30.295 I lived on campus. 00:35:30.295 --> 00:35:37.385 Yes. That's what I wanted to ask you about. So could you talk about the program as a whole and then why faculty members lived on campus? 00:35:37.385 --> 00:36:20.364 Yeah, they would have one university faculty living in the University Village apartments. There's an apartment there. And I had, at that time, I had an apartment, I had my condo here. And I also had met my partner. So we were down in San Diego. Then we had this apartment. I was here four or five nights a week living on campus with the students. My goal was to, have some programming for them, get to know them, maybe. I took a couple students to the symphony and to the theater. Just to kind of bring the quad down there and them up there. And then the second year, there was a wonderful woman who founded our nursing school, Judy Papenhausen. 00:36:20.364 --> 00:36:20.485 Okay 00:36:20.485 --> 00:36:21.000 She-- have you ever heard of her? 00:36:21.000 --> 00:36:22.414 I haven't. 00:36:22.414 --> 00:38:04.344 She retired from Cal State LA and in her seventies came down to Cal State San Marco to build the fa--the nursing school that she always dreamt of. And she was a kind of a tough ole gal, you know? Been around a long time. And she'd been living in a--she had like this camper that she was living in. I said, well, Judy, I said, there's a two bedroom from apartment over there. Why don't you come and shack up with me? So she moved in and we had this two bedroom apartment. And Karen Haynes was like, oh God, Glenn, and Judy are shacking up on campus. Out of wedlock and the whole thing. She's a lesbian, I'm a gay man. It was a big joke. But, and--it was an--it was a nice-- I lived on campus, you know . And, I don't think I did as much with the, as I thought I could have. I don't know. It just, I know one night that there was--they woke me up, but I came out to the hallway and my door closed behind me, and I--they put peanut butter all over the handle. I couldn't open the door. I came into the executive committee meetings. I said to Karen, I said, I don't know what's--they're putting peanut butter on my door and locking me out in the middle of the night. I said, when I went to school, we just did drugs and had sex. What's wrong with these kids? And she's like, oh God, I think people know we made a bad choice here. But it was, it was a fun thing to do and I was the second person to do it, and Scott Greenwood did it first, and I think he was probably more successful. 00:38:04.344 --> 00:38:09.387 Okay. So what was the, like, what was the goal of having the--what was the University's goal in having a professor live in the dorms? 00:38:09.387 --> 00:38:17.764 I think just to kind of join the academic and the student affairs element of it and have, have an adult presence there. 00:38:17.764 --> 00:38:22.204 And do you think it was--so you said maybe, Scott was a little more successful than you were. 00:38:22.204 --> 00:38:44.355 I think he was more involved in it. I think he was--had his wife there, and so they were like dorm parents and things like that. And, I did work a lot with the RAs now that was kind of nice. So I enjoyed it. I did it for about a year and a half, and I said, it's time for somebody else. And I think that--I don't know if anybody else did it after I did it, it was a short-lived program. 00:38:44.355 --> 00:38:47.000 Okay. Yeah. That's what I was gonna ask you was if it, if it continued on or not. 00:38:47.000 --> 00:38:48.000 Yeah, no it didn't 00:38:48.000 --> 00:38:53.525 Okay. I wanted to ask you as well about the Jewish Faculty and Staff Association. 00:38:53.525 --> 00:41:02.945 I got involved in that a couple years ago. And, the first thing I tried to do is I said, let's have, a dinner at my house. Our Friday night, which is Shabbat, I said, and I'll have a, a nice spread. Everybody will come and we'll have a social event. Well, it's too Jewish. What about people who aren't,-- it's the Jewish-- I said, it's Friday night at my house. We'll have candles and wine. That's it. People may be offended. I said, why? I mean this--the Jewish faculty here are split this. Some people are just very, very, culturally--or just they identify as Jewish, but want no part of the religion. And they're very progressive. And then there are people like me who are a little bit more conservative and are more religiously oriented. So we had our first--we raised a little bit of money over the years. We had to spend it. And I decided that I was gonna have an interfaith Passover Seder. And we did it last year. And all the faculty, they wanted this, they wanted that, anything but Jewish things, they just wanted all this political stuff. And I said, we're gonna do this. Had the meal, had the whole thing, and none of the faculty and staff showed up. This one was too busy. This one had foot surgery that--So they all want to have their input on it, but nobody wanted to do any of the work. So here I am schlepping food and cooking food and doing all this stuff. And I said, there doesn't really seem to be very much will for this to happen. but I stuck with it for two or three years and, it was the only event that we ever had was that Seder. And, the Provost was there and the Vice Presidents for all the other-- couple of faculty, a couple deans. I had seating for 50 people, 10 people showed up. We had a little circle. We had a very nice Seder. And then I was taking all this food to this homeless shelters around trying to get rid of this food, you know? At night, because, everybody was--everybody wanted to say what they wanted, but nobody was willing to do anything. 00:41:02.945 --> 00:41:06.965 Is there--so you-- there's about 50 Jewish faculty and staff on campus? 00:41:06.965 --> 00:41:11.474 I don't even think there's that much. I think there's maybe 15. It's a very small number. 00:41:11.474 --> 00:41:17.364 Yeah. Yeah. So is there, is there, other than the Jewish Faculty and Staff Association are there like--. 00:41:17.364 --> 00:42:06.675 Hillel is active now. And Chabad is active. Chabad is right here in San Marcos. And, Chabad are very, very conservative religious organization. But they are serving a purpose. The students are going there, they outreach, the students, students go there. And then they (say) we don't want Chabad here. They're too religious, but they're the ones who are serving the students. And I think they're doing a great job. And now Hillel has become much more active on campus, especially with the recent, protests. My husband as of today, is on the board of Hillel. So he's involved with that. It's a good organization. So there are not that many Jews on this campus. Maybe there's a hundred. 00:42:06.675 --> 00:42:10.144 What is the, what is the mission of Hillel? I'm not, familiar. 00:42:10.144 --> 00:42:13.224 Hillel is a Jewish student organization. 00:42:13.224 --> 00:42:15.045 Oh, okay. It's a student organization. Okay very cool. 00:42:15.045 --> 00:42:54.614 Student organization. It's, international. It's--most campuses have it. There's usually Hillel House on campus, and they have social, and they have--and also like at UCSD, they have a big facility. UCSD is a pretty rough place right now with the,with protests. And Jewish students don't feel very safe on campus. They're being harassed and so they hang out at the Hillel Center and we try to provide a safe space for them just to feel, that it's--that they're not, on display so much and they can just kind of breathe. 00:42:54.614 --> 00:42:59.735 Yeah. Those, I mean, student identity and inclusion spaces are really important for people to 00:42:59.735 --> 00:42:59.744 They're important! 00:42:59.744 --> 00:43:00.764 Get a break from the larger-- 00:43:00.764 --> 00:43:34.925 Yes. Yes. I am-- I was never into having, these--we have separate graduations for different--I am--I'm much more integrated into everything. I'm much more like one graduation. We all wear the same stupid robe in the same hat. We're all the same. So I'm not really a big proponent of these, designated spaces, but I understand their importance. And Hillel's an international organization, and they have programming and, support services for Jewish students. 00:43:34.925 --> 00:43:40.385 Has there been any talk on campus here of having like a Jewish student center or anything like that? 00:43:40.385 --> 00:43:59.775 No. It's too small. And the Hillel--Chabad house is right down the street and they open their home on Friday nights for everybody. And I think it's wonderful. They're the ones with the black hats and the wigs and the (unintelligible). You know, I went to my period of working with Chabad, I don't know if you were here-- Yes. With the shooting at Chabad. 00:43:59.775 --> 00:44:01.585 Yeah. Yeah. 00:44:01.585 --> 00:44:03.565 I was on my way there that day. 00:44:03.565 --> 00:44:03.985 Oh my gosh! 00:44:03.985 --> 00:44:39.695 When it happened. Because I was doing some work with them. So I know that rabbi quite well. Yeah. He turned out to be a convicted felon. He went to jail. And so, I went from, thinking, oh, my whole life that I was--and I was born in Crown Heights, which is where the headquarters is in Brooklyn with all the black hats. And I'm not one of those people. I always felt like, oh, I'll never be good enough to be one of those very pious Jews. And then I found out that, after that I said, well, maybe not quite up to stuff for me. Yeah. So, it was interesting. 00:44:39.695 --> 00:44:47.764 Thank you. I wanted to ask you a little bit more about the consultant to the President that you did as well. 00:44:47.764 --> 00:45:33.465 At that time, I was consulting on the logo and also the budget. There was a budget discussion and the President wanted to get the faculties feeling on budget issues. And so I did a number of focus groups with faculty about the process. This is with President Gonzalez. And basically what I found,--I said--was, that they wanted the Presidents to take a more active role. They were not trying to say don't do it. They said, we wanna see some leadership. So I sat in the President's office, says Alex they're were looking to you for leadership and direction. Don't fuck it up. 00:45:33.465 --> 00:45:43.724 So what was--so, Gonzalez was the second President after Stacey, then Karen Haynes comes in. What do you--were you here when Stacey was here? 00:45:43.724 --> 00:45:47.304 Oh yes. I remember. I remember Dr. Stacy. He just passed away. 00:45:47.304 --> 00:45:54.625 Yes. Yeah. So what do you think like the differences between them were. 00:45:54.625 --> 00:47:20.914 You know, very few people liked Alex. He was not light. And he was considered, the Chancellor's guy. He was, I remember, one of the things, he was, the interim President after Stacy, and then, Charlie Reed, who nobody liked except I liked him. Appointed him the President, and they were having the installation of the appointed no search President, which I dubbed the Coronation . So we were all going to the coronation. And that was the term that we used. That was my word 'cause I remembered that from Mr. Rogers, with the king and the queen. They had the world coronation. and I, and Alex was never quite comfortable in his own skin. He was, quite--lemme tell you a story about Alex. So, I saw him at a dinner at the Chancellor's office once. And, I said, Alex, thank you for everything he did on our campus. He left it in great shape. And Karen has taken it in a new direction. He said, yeah, but those two buildings that she opened up, I got the funding for. It's like-- I told Karen that. She said, yeah, that sounds like Alex. It's like he was not able to be gracious in terms of just, he was trying too hard. 00:47:20.914 --> 00:51:32.474 And I looked-- worked very well with him, and I liked him, and I could sit in (unintelligible). They're looking for leadership. Don't fuck it up, Alex. I said that to him. Karen was--Karen was a force of nature. She was, a huge personality. Everything with Karen was somewhat formal. Even though she was very folksy. Everything was very scripted. Everything was very planned to the letter. And then I came along and, I remember, she always had these outfits that she like, remember those? Monochromatic, one color, the earrings the dress the purse. She used to change her purse every night to match her--And she had these sea foam green shoes on and this matching two piece outfit in the same color. And she was at McMahan house. I said, Karen, I said, I have the same pair of shoes that I've been looking for, the perfect outfit, and only you could find it. And she--she had a huge personality. She was very good with the donors. Some of them. She built a lot. She was the right woman at the right time. She was very senior. She was respected at the Chancellor's office. She had a lot of gravitas. And so I think for that huge growth spurt, she was the ideal person. And I liked working with her. I remember she had this thing over at the reading room here about health--health--allied health careers, and all these people from around the county talking about Allied Health at PalomarCollege. And, not medical school, not nursing, but other things. So she asked me to give a little talk. And I said, I think that you have to start really young with students. I thought first time I played a doctor was in elementary school, So she used to use me as kind of a, an MC type of, she would never appoint me to a real position. I was--but I was like, this spice that she had it sometimes if you use it the right way and sparingly, it was the right accent piece. And we--I understood my place. She surrounded herself with, a lot of good looking young gay men. She liked that. I wasn't good looking enough that that coterie of boys that she had around her. But she liked me and she was--I liked her. I think she was a great President for the time. And Ellen Neufeldt, Boy, talk about a baptism of fire. She comes here and then we had a crisis. We had a scandal, and then boom into pandemic mode. And yet she's really come through all that. She's a very strong President. Very different style than Ellen--than Karen. Much more folksy, much more down to earth in ways. And I've worked really well with her as well. Probably worked more closely with Ellen than I did with any of them 'cause I was chair of the Senate . And I always felt, to be very accessible and very open to ideas. And so, I know if other people have other things to say, but I have--I never felt like I--like I worked for the administration. There was a time when I didn't get the Brakebill Award (Distinguished Professor Award at CSUSM) once, and my colleague got it. And Rather than be bitter, I threw a party at my house for 60 people. And I called and baked, and I invited the President and the Provost at the time. 00:51:32.474 --> 00:53:49.355 And they both came to my house. It was Karen Haynes and Emily Cutrer. And they said, this is the first time we've been invited to a faculty's home. I said, wow. That's telling. I have all these people here. I'm giving them a tour of my house, which is very dicey, you know. And, I was up in my bedroom. I said, I just wanna tell you, I don't work for you. You're not my boss. I work for the state of California and I serve the students and the taxpayers. You have a different job on that campus in that we serve different functions, but we all have the same boss. I don't work for you. And they said, we wish more faculty thought of it that way. So I never looked at them as like, that's my boss, you know? They're partners and they have a different role. They have a different perspective and a different viewpoint. Vantage point. And so I've worked with every President. I've no problem walking into the President's office or the dean's office, or the provost office is saying, we need to get this done, or this is pure bullshit, we need to fix this. And I was never afraid. And I don't know, people say, I'm privileged. I'm a white male. I could get away with that I could never do when I was a black woman. I don't, I don't know if that's a joke. I--it's just that's my style and it served me well here. And it--well, I got in trouble a couple times, but we won't talk about those But, I, think if you comment things from a--always assumed that everybody has good intentions, that even though I think what the President or the provost is doing is completely boneheaded that I--or the board of trustees god help us. They do crazy things. I think their intentions are good. Now. How we get it done may be impossible. But if you start with, I don't think that they're out to make it worse. And we all cop to that. We're all trying to make it better. We have different ideas about how to get there, but if we can always assume that we're all coming at it with positive intentions, I think that, that solves a lot of problems. 00:53:49.355 --> 00:53:53.204 Yeah. And it sounds like you've had good relationships with all of the Presidents that you worked with. 00:53:53.204 --> 00:54:09.514 All of them, I've worked with I dunno, ten deans? I could rank order them if you want, but I won't. But there've been, good ones there have been bad ones, but there's been none that I couldn't work with them. I'm gonna be myself. 00:54:09.514 --> 00:54:12.965 Yeah. 00:54:12.965 --> 00:54:13.594 I am. 00:54:13.594 --> 00:54:15.304 Yeah. Yeah. 00:54:15.304 --> 00:54:45.795 So it's been--what a ride. I mean, who gets to build a place? Who gets to sit here and look at this? Oh, yeah. Well, we did that. I remember when that wasn't there. Or, the day we opened the library, my god, Karen Hayes was standing outside the library and Alex built the library. He got credit for that, and I said to Karen, I said, you know what? This is my baby. This is my life's work right here. Take care of it. 00:54:45.795 --> 00:55:01.605 Yeah. I don't know where to, where to go with that, but it's a wonderful-- 00:55:01.605 --> 00:55:16.155 That's how I feel. I mean, I'm leaving with--I couldn't have had a better career. Could not have had a better--couldn't have planned it better. 00:55:16.155 --> 00:55:31.000 So, a lot of this that you've talked about, a lot of this, kind of need to take initiative and need to, wear many hats, really has given you a skillset now where you can go, back to Chicago and, and be a dean there. 00:55:31.000 --> 00:55:32.000 Yeah. 00:55:32.000 --> 00:55:34.894 And so in that way, it's been, it's been a really good environment for you to-- 00:55:34.894 --> 00:55:40.835 The President said that you built the campus, you know how to do that. 00:55:40.835 --> 00:57:04.000 Yeah. I've had a nice research career. I've done my research, done a lot of research. I've taught a lot I've taught all over the world, you know? One of the things I say to new faculty is, you can do great research. You can do great teaching, you can do great service. You have to do all three. You don't have to do all three every day. Every week or even every semester. There are times when you should be really focusing on your research. You got a great project, you gotta get tenure, you gotta get this done. But then, once that's done, maybe you should be developing some new curriculum or being on a committee, or, chairing a--I was in--I was president of a professional organization for a couple of years. I mean, so you do different things, at different times. And so there's always something new about the career. You know, I spent 17 years traveling around the world teaching. 14 years on statewide academic center. I published 30 articles, and then I just published two books, but I didn't do everything at the same time. You know. 00:57:04.000 --> 00:57:11.315 Let's, talk about your guest teaching. So you've taught in Taiwan multiple times. You've taught in-- 00:57:11.315 --> 00:57:13.534 I'm supposed to be there now. I had to give it up. 00:57:13.534 --> 00:57:14.454 Oh, I'm sorry. 00:57:14.454 --> 00:57:19.255 That's, that's my-- Taiwan, Copenhagen-- 00:57:19.255 --> 00:57:19.264 Ecuador. 00:57:19.264 --> 00:57:39.014 Ecuador to Shanghai. Taiwan started as a Fulbright. I looked at the Fulbright. I said, that one has my name on it. 'cause I had lived in Taiwan. I got it and I spent five months there, and I reconnected with some old friends of mine who I knew in the eighties (1980s). 00:57:39.014 --> 00:57:39.718 Nice. 00:57:39.718 --> 00:58:21.000 Who now is like, this woman is like my sister. I've known her literally for 40 years. And we've never--we don't speak any English. It's all Chinese. And they liked me, and they started inviting me back every year. So I got invited back every year through this year. I was supposed to be there now teaching, but I said, I've gotta start a dean's position. I've gotta move. I've gotta finish-- I just couldn't do. And it, 17, 18 times doing the same thing. It's--I think at a certain point it's time to say it's been terrific, but they'll move on. 00:58:21.000 --> 00:58:23.000 Yeah. 00:58:23.000 --> 00:59:36.855 But that was great. That was just like--kept up my Mandarin and I kept up my friendships and I loved Taiwan. I'm like a local there. And then somebody suggested I try Copenhagen Business School. So I applied. Got it. And there was like this group of us that would come in every summer for 10 years. We'd all fly in from all over the world. We'd hang out, rent apartments together, have parties go out to dinner. It was like summer camp. And, so I'd have everybody over and I'd cook and I'd bake and we'd travel on the weekends. It was great. And then right before COVID, I was getting a little bit tired of it. And then the guy who I used to call my summer husband, because we had--we shared an apartment. They didn't invite him back. At the last minute. They invited everybody else, and they didn't even send them a no thank you. They just didn't. And I thought that was kind of rotten. And I thought, God, if that happens to me, and it could, because I'd seen them do it. That would really ruin it for me. I would--I'd feel really awful if like, we were not invited back. 00:59:36.855 --> 00:59:36.864 Yeah. 00:59:36.864 --> 01:00:35.255 And I was only going back for the 11th year because we had the apartment. And when he got canned, a lovely man, he's at University of Oregon, one of the campuses up near Redford. Southern Oregon. I said, I don't need the apartment. I don't need to go back. I've done it 10 times. There's nothing new here. I had a new book coming out. My parents were getting older, so I said, I'm not gonna go back. And they said, oh my God, how are we gonna replace you? We-- you were a brilliant teacher, and we would love to have, but we understand that you have older parents. So I got outta that one, and COVID happened, and the whole program went online, and it's never been the same since. And the esprit de corp, is not there. Everybody's kind of on their own way. I got out at the right time. 01:00:35.255 --> 01:00:35.264 Yeah. 01:00:35.264 --> 01:00:50.073 Ecuador came to me, out of the blue. Would you like to teach a course in Ecuador in international marketing research? Sure. What the hell? I get an invitation like that. Why not? 01:00:50.073 --> 01:00:51.914 Yeah. 01:00:51.914 --> 01:01:48.335 So I went and I drove this poor woman crazy. She ran the place and she told her I was crazy until I got there. And I had a very successful course. And I got invited back four more times over the years. But the first--you never know if you're gonna get invited back. So I flew my partner down. We went to the Galápagos, whatever money I made down there, it went--yeah. I'm in South America, Ecuador, I may never be here again. Let's blow the money on the Galápagos. Fabulous. Next year. I went to the jungle. I went to the Amazon, I went to Machu Picchu, loved it. I got another sabbatical, and I applied to be at the China European International Business School, CEIBS. Shanghai, four weeks, 25 grand. The most prestigious that I could get. I hated it. They hated me. The most lucrative one didn't last. 01:01:48.335 --> 01:01:48.344 So-- 01:01:48.344 --> 01:01:50.000 So you win some, you lose some-- 01:01:50.000 --> 01:01:51.000 Yeah. 01:01:51.000 --> 01:03:31.724 But, you know, three out of four, where I was invited back multiple years and never was not invited back. I mean, it's--I was--and so that was about almost 20 years of my life where I was doing international work. Which is what I wanted to do. I had a beachhead in Asia. I had one in South America. I had one in Europe. Plus I was gonna Mexico. I was going to Germany, all that. But I mean, I was really an international lecturer all on my own. and it was great for about 17 years. And then COVID happened. I thought, I don't have to fly internationally. I did. It was great. And I made the most of it. And that was a big chapter of my life that's --it's kind of behind me. But boy, it was great. And sure. How could, how could you be somebody who teaches international marketing, cross-cultural marketing, doing it, sitting in California. So I, I did it. And I was able to do it and get away in the middle of the semester and schedule things and go away for four or five weeks at a time. They never missed me. I was, the department chair, was running meetings on Zoom at three o'clock in the morning, whatever I was doing, they let me get away with this. I can't believe it and yet, I never didn't do my job. I never--I was a reliable vote on everything and whatever. So, boy was I lucky. 01:03:31.724 --> 01:03:44.045 So what was the biggest--what was the biggest adjustment in teaching when you teach overseas as opposed to here. 01:03:44.045 --> 01:03:46.228 I do it exactly the same way. 01:03:46.228 --> 01:03:46.720 Yeah. 01:03:46.720 --> 01:04:36.625 I mean, even when I did it in Ecuador, I had a simultaneous translator who turned out to be a good buddy of mine. We've been friends for years now. we've worked on some projects together. So that was a little bit--learning to pace myself so that he was simultaneously translating. That was not that bad. I just never adjusted to the program. And in Shanghai, it just . They evaluated me after the third day, and it was not good. And it was too heterogeneous a course, class. It's just--at the time-- it just didn't work. I'm sorry, it didn't, but Taiwan was easy. Taiwan was, now during COVID, I taught in Taiwan, I had eight hour classes. 01:04:36.625 --> 01:04:37.505 Wow. 01:04:37.505 --> 01:05:19.204 00 PM in front of my computer till two, three o'clock in the morning, drinking coffee here in California. But I--I've been teaching international students since I was in college. I tell the same jokes. I'm used to a non-English speaking audience. I'm used to talking to people in a way that they can understand. I speak slowly. I give lots of examples. I've had the same response from students wherever I've gone. 01:05:19.204 --> 01:05:24.764 Could you talk about cross-cultural marketing and what--for a layman like myself, what is-- 01:05:24.764 --> 01:09:11.000 Interestingly enough, the first book I did was about cross-cultural international marketing, comparing Germany and France and France and China and all these kind of--how is marketing different? How do people consume products differently? How do they use products differently? A lot of my marketing was about time, how do people conceive of time differently in different places? And it is very different. And it feels different whether, in certain places things are very linear. You do A and then B and C and D and other places, everything's going on all at once. It doesn't make any sense. It could be very disconcerting. And so a lot of the earlier work was about comparing things on the national level . And then what I realized is that culture--countries are not cultures. Countries are multidimensional. So the second book was more about intercultural marketing, let's say taking Southern California and looking at dividing that up between the Latino culture. that if you're looking at the Asian culture in San Diego, it really is not Chinese. It's Vietnamese and Filipino. Okay. If you go to LA and San Francisco there is a Japanese culture there, you've got hip hop culture, you've got--Latino culture is not a monolith theater. You've got here. It's all Mexicans. In New York, it's Puerto Ricans and Ecuadorians and in Florida it's Cubans. They all speak Spanish, but music's different. The food's different. Some of the things are similar. I mean, it tends to be Catholic and family oriented and male dominated. There's certain kind of Latin things. But then even within that, you've got first generation Latinos who just came here, and their parents are different. They consume differently. They speak differently. They see the world differently. So the cross-cultural marketing, some of it I think of doing, in terms of, you could look at things in terms of cross-cultural differences, which are interesting, where you need to change the product or the price, or the color or whatever it is. And other things, you don't have to change everything. There's certain things that will go cross cultures. And so if you can find similarities, well, we could have one product for two groups of people. That saves us a lot of money. That's a lot more profitable. So I'm as interested in looking at cross national differences as I am looking at international differences. And even if you look at things like-- then you have segments that are--you find all over the world. So diaspora marketing. So you find Indian populations all over the world. You find, Hasidic Jews all over the world. They have more in common with one another than anyone who lives within this 400 mile radius of where they live. But that--there's similarities there. So how do we serve those communities that you--or you look at the, businessmen okay. Who are traveling through international airports. They're shopping in Sky Mall. They're buying stuff. They're buying Fendi and Courvoisier at the duty free. They're buying gifts for their wives when they're coming home. They're buying gifts for their mistresses when they're going. So there's a lot going on. And they all carry the same kind of briefcases and wear the same kind of shoes. And yet they may come from 10 different countries. And then the ultra wealthy. I mean, some of the wealthiest people in the world live in the poorest countries. They own them. 01:09:11.000 --> 01:09:13.000 Yeah. 01:09:13.000 --> 01:09:45.844 Okay. So how--so that's another segment. So you can set with market based upon wealth, and that's--that goes across countries. And then there are also things that are very national. There are things that are very American that are very different in things that are very Canadian. Believe it or not, there are differences there. Don't ever tell 'em-- a Canadian, that they're just like Americans. We're just like--Americans are just like us. We're just nicer. You know, you have to look at it from their perspective. It is a different culture. 01:09:45.844 --> 01:09:45.854 Yeah. 01:09:45.854 --> 01:11:00.375 It may be subtle. So, in my book, first book, I had a lot of the more classic, scholars from going back for the past 70 years, who've done work on international marketing, international negotiations. All these different models that we've used to try to understand these differences, none of are terribly perfect. None of 'em are perfect at all. And then the second one is says, what about the African American market? What about hiphop? Hiphop is now a multinational--it's not just an American thing, and it's not just a Black thing. It's kind of the music of the oppressed and the under classes. But then American Blacks' think it's a Black thing, but then you go around the coun--, the world. And it's like, no, there are people--there are more non-Black people who are fans of hip hop than there are Black people. But is it still a Black--isn't it our thing? When the music of the counterculture becomes the mainstream does it lose its authenticity? These are interesting questions. And that's some of the work that I do. 01:11:00.375 --> 01:11:42.324 Okay. That is really interesting. And you talked a lot about intercultural--I'm trying to wrap my head around it as I just got like a very beginner seminar in it. so you talk a lot about the kind of the intercultural, connections that you can make across cultures. I'm interested to know, I guess, how marketing--how you can look at marketing, and implement marketing across cultures when there are structures in place that maybe function very differently. Like we look at marketing, I assume, I'm making an assumption here. We look at marketing very differently than maybe somebody in, China does. 01:11:42.324 --> 01:12:07.104 Absolutely. Well, they're not--Here's one of the things that's very interesting. I'll use Taiwan as an example. Taiwan makes great products. Fabulous products. Their phones are the best phones in the world. And yet they're the shittiest marketers on Earth. They don't know how to market because they view marketing and the Chinese, to an extent do as well, as expense. 01:12:07.104 --> 01:12:07.824 Okay. 01:12:07.824 --> 01:12:16.104 Okay? Branding is not important. Branding is--it's--they--they're much more engineering driven. Okay. 01:12:16.104 --> 01:13:59.364 Whereas a company like Apple or Samsung, they make their products sexy. The HTC phone is, every bit as good, if not superior to the Samsung. But HTC is not a sexy brand. Samsung invested billions of dollars in marketing and in brand building. In making it something where I want a Samsung. The Chinese to their-- the Chinese and the Taiwanese, their mindset is a little different. It's like, we just wanna make it cheap and efficient. We wanna make our profit on having good quality and selling a lot. So they don't really have exclusive brands. Now, Huawei is doing something a little bit different. Huawei is, now you'll go around the world and you'll see Huawei in airports, and they're spending billions of dollars on marketing, and they're gonna become the next Samsung. But certainly the Japanese and the--and the Koreans are very similar 'cause they were much more export oriented. They really kind of understood that we have a small market at home and we have to make our products desirable in the West. China, not so much. They've got 1.3 billion people there. So just in terms of what they've-- Taiwanese just do not invest in marketing. They do not invest in branding. They don't care. They invest in technology. They are the world's best OEM. They will make the best components. You can't build a bicycle or a saxophone or a computer without a Taiwanese component. 01:13:59.364 --> 01:14:01.625 I'm sorry, what's an OEM? Just to clarify. 01:14:01.625 --> 01:14:04.454 Original equipment manager. So they make the components. 01:14:04.454 --> 01:14:05.574 Okay. 01:14:05.574 --> 01:14:32.494 They said, we wanna become an OBM, original brand manufacturer. Well fine invest in branding. Spend this much money on your branding as you're doing your R&D. Oh, we couldn't do that. We just want people to write--It's like. So there--and look, you need somebody who makes good components. So let's brand Taiwan as like Taiwan inside, like Intel inside. 01:14:32.494 --> 01:14:35.104 Yeah. 01:14:35.104 --> 01:14:37.164 They're not willing to spend the money. 01:14:37.164 --> 01:14:38.539 So how, as-- I mean as a marketer- 01:14:38.539 --> 01:14:39.000 Frustrating 01:14:39.000 --> 01:14:45.000 how do you market the importance of marketing to people that don't-- 01:14:45.000 --> 01:14:46.000 Very slowly. 01:14:46.000 --> 01:14:49.000 Yeah. 01:14:49.000 --> 01:15:01.989 But yeah. And look, Levi's. McDonald's. Coca-Cola. IBM, it's all branding. The products are not--I mean, nobody thinks that McDonald's is good. 01:15:01.989 --> 01:15:08.594 Yep. It's not a good product. Marlboro, if you, if you use it correctly, you will die. 01:15:08.594 --> 01:15:08.604 Yeah. 01:15:08.604 --> 01:15:16.385 But my God, the Marlboro man, everyone wants to be that rugged individual. 01:15:16.385 --> 01:15:17.284 Yeah. 01:15:17.284 --> 01:15:21.784 That's what they want to be. 01:15:21.784 --> 01:15:30.414 Yep. That's very-- that's very interesting. So, and I do wanna be mindful of your time. How are you on time? 01:15:30.414 --> 01:15:37.864 Fine. I'm just--I'm realizing that hopefully I didn't leave my wallet where I think it's. 01:15:37.864 --> 01:15:58.824 Okay. let me ask you a little bit about marketing. About-- I'm gonna ask you to forecast a little bit. Obviously we're seeing huge technological changes and we really have been since the advent of the internet. But--so I guess my first question is, how has marketing changed since, the advent of the Internet? 01:15:58.824 --> 01:18:34.000 It's completely data driven. Completely. There (is) more data than ever there's no shortage of data. We need people who could interpret data and extract information. What does it mean? What does it tell us? So there'll be jobs and data analysis. Students don't have a good grasp on that. Those who can take information and say, well, what this means is this. Not, here's this number. 30% do this, 20% do-- That's nice. But what could we say with that? What can we conclude. Those skills are, are lacking. I think, also the old kind of-- the company tells you what it wants to tell you about its products is gone. It--it's all C to C it's all consumer to consumer. It's all word of mouth. I mean, they always said word of mouth is the strongest marketing before the internet. Now it's like on steroids, because, you're gonna go to Yelp, you're gonna go to TripAdvisor. You wanna see what other travelers say, okay. You know, the commercial doesn't tell you. It's the reviews that tell you that's the first thing that you go to. So, there was a wonderful thing I heard from a person from Marriott who was sitting with me through a number of musicals. You're no longer a brand manager. You're a brand steward. You were--and you have to work with consumers. And you have to understand your customers so that they become your ambassadors. You have to create, evangelists for your brand. Who will tell their friends and rave about it. 'cause they'll also complain about it a lot more. So--and they'll destroy you. So, it's not just how do we craft a message? How do we convince people something that's-- it's not that. It's how do we get people excited about what we're doing so that they'll tell everybody else? So I think the two biggest trends are data. Data, and data and so you got Teradata down, (and) down the road, so-- and what Teradata does is it takes all these data from what you've done. So, you know how, you look at the upgrade list when you're trying to get onto the flight? It's like--and there's like--so like six seats in first class. And I'm always the seventh person so I never get the seat. Sometimes I do, but how do they figure out who gets the seat? 01:18:34.000 --> 01:18:36.000 Yeah. Yeah. 01:18:36.000 --> 01:19:12.614 You know, but there's a lot of information. How many miles do you have? How often do you fly? How many upgrades? There's a whole thing of algorithms that, that they take these enormous amounts of data that we hit--that we have about every customer. And then how do we look at it so that we could make decisions to say, well, it's not rewarding you as a customer, but rewarding the right customer. 'cause that's the customer that's going to become the sustainable customer. You know, customers are an investment. 01:19:12.614 --> 01:19:12.625 Interesting. 01:19:12.625 --> 01:20:01.000 You wanna reward those that are gonna--everybody likes to get something for free, but which one gets it for free? What benefits the company the most? Also, and that could also be where's the goodwill? I mean, how do we, how are we good corporate citizens? You can't get away with the things you've got whether 50 years ago 'cause everybody's gonna read about you. So, do we sponsor,--if we're gonna support Donald Trump, what's that gonna cost us in terms of some of our customers? So we--if we do support Donald Trump with our marketing, is it gonna get us more customers? I talk about this a lot in classes talking about politics. Please it's the biggest marketing campaign every four years as a Presidential election. Why do you vote for this guy? 01:20:01.000 --> 01:20:02.000 Yeah. 01:20:02.000 --> 01:20:18.515 And frankly, very few people are indifferent to Donald Trump. They either absolutely love him and think he's the second coming, or they think he's the devil incarnate. There's not anybody that goes, well, if we get him, it doesn't matter. 01:20:18.515 --> 01:20:19.465 Yeah. 01:20:19.465 --> 01:20:29.095 Nobody feels that strongly about Biden. I don't get the, we gotta get this guy. He's so great. 01:20:29.095 --> 01:20:32.435 So from a marketing perspective, how do you, how do you market him.? 01:20:32.435 --> 01:21:02.734 Donald Trump is a brilliant marketer. He's a brilliant marketer. He knows how to resonate with his audience to say, you have this problem. I'm gonna come in and I'm gonna fix it. I'm going to kick ass and take names. Well, some people will just say, yes, you're right. You shall lead us. And other people are shivering in their boots. But nobody's indifferent. 01:21:02.734 --> 01:21:09.314 Yeah. And then you have somebody, a candidate like Biden. How does--how do you market Biden? 01:21:09.314 --> 01:21:24.795 Well, I mean, he was marketed as kind of the anti-Trump, you know? He was calmer. He was supposed to just keep things even keeled. If it's too chaotic, here's an alternative. I'll just keep (inaudible). 01:21:24.795 --> 01:21:28.324 Yeah. So it kind of, it kind of comes back to Trump. 01:21:28.324 --> 01:21:49.114 Yeah. Exactly. But it-- you can't not talk about. I always turn on CNN, which is an anti-Trump, station, and I always count how many seconds go by before I heard the name Trump. And it's usually about six. 24 hours a day. You can't buy coverage like that. 01:21:49.114 --> 01:21:51.444 Yeah. Yeah. 01:21:51.444 --> 01:21:52.564 Yeah. 01:21:52.564 --> 01:22:02.225 Yep. I wanted to ask you a little bit about teaching and, just kind of the--kind of wrapping up-- 01:22:02.225 --> 01:22:58.505 I'm a frustrated actor, I was not good enough to be a--I love to perform. I like to be in front of a group. I like to be the center of attention. I feel like Phil Donahue or (inaudible) running around a room and getting everybody excited and talking and participating. It's the most fun I can have with all my clothes on. on the worst days of my life in my career, and those are the best teaching days. 'cause when something's really bothering me and I'm all pent up and I can walk into a room and become this other character. And everything outside melts away. And Dr. B is this much nicer version of me. Based upon my life. Not really, but, an exaggerated version of me. 01:22:58.505 --> 01:23:02.005 How is it an exaggerated version or a nicer version of you? 01:23:02.005 --> 01:24:14.604 Well, I can't say the F word as much. I don't know. It's just, I'm having fun. I'm not stuck in my own, what's-- my best days are--I've had a bad customer experience. Another comment--I would tell you everything went wrong in the store. And related to you--in real life. I just--I remember once, this is after my partner died, the first year I was teaching at UC Riverside, I taught there for a couple years as an adjunct. And I walked down into this auditorium and I'm walking down and my face is long and the weight of the world on my shoulder. I was widowed. And I turned around to the classroom and it was different. It all went away. And I was fully present in this moment. Talking about interesting stuff. 01:24:14.604 --> 01:24:15.795 Yeah. 01:24:15.795 --> 01:25:07.000 Asking them interesting questions, getting them to talk, getting them to think. Yeah. Why did they package it that way? Why did they price it that way? Why do they have that in the commercial? What are they trying to say? What's going on? What's the message? One thing, the fun thing about teaching marketing is, not everyone's gonna be an accountant. Not everybody's well you know-- not every-you can take an English class, you might not be an ex(pert), you are always gonna be a customer. You're always gonna be involved in marketing transactions. So even if you never become a marketer, okay, you are being marketed to 24 hours a day. Wouldn't you like to be a more active participant in that? Wouldn't you like to know what's going on? 01:25:07.000 --> 01:25:08.000 Yeah. 01:25:08.000 --> 01:25:11.064 I would. 01:25:11.064 --> 01:25:15.145 So you have a built-in, level of engagement then? 01:25:15.145 --> 01:26:17.664 Yes. Yes. I mean, I talk about this, I talk about toilet paper, I talk about tampons, I talk about, I talk about cars. I talk about, gas mileage and going to Costco. I had a group of students--I got to teach this group of Italian students this past semester and they'd never been to a Costco. And it was a three hour class. And I showed a video about distribution, and we talked about pizza. I said, well, it's 6:30. I got an idea. Let's take a field trip. And we all went to Costco. It's like 10 students, five Americans, five Italians. And we went around Costco and we looked at everything and I said, let's try the pizza. 'cause they're all Italians. And we got the pizza. We got them to rate pizza. But it's like, this is how--this is where people shop in America. They shop in one of 3, 4 places. They either go to Target, Walmart, Costco, or Amazon. I'd say that covers about 80% of where people shop. 01:26:17.664 --> 01:26:20.104 Yeah. 01:26:20.104 --> 01:26:32.265 And they go, this is different. The places the size of an air airport hangar, you don't have that in Italy. 01:26:32.265 --> 01:26:38.005 How has your-- has your teaching evolved over time? Have you changed your approaches or--? 01:26:38.005 --> 01:27:27.284 I use a lot more simulations. A lot more technology. I'm more comfortable letting them work in groups, especially with the long classes in Taiwan, it's eight hours. So I'll give a two hour lecture in the morning, and we'll take a break, and then maybe we will break up and do a case study. And I'll walk around to different groups, and then we'll go to lunch and they'll come back and they'll work on the simulation. So it doesn't all have to be about me. I used to think I was-- I had to be on, if it was the 90 minute class, I had to be actively engaged at teaching. And, I think I've gotten more comfortable with letting them learn. You know. 01:27:27.284 --> 01:27:38.354 Yeah. Kind of talking about students and letting them learn. Have you seen our student body evolve over time? 01:27:38.354 --> 01:28:09.175 I think post COVID, there's been some--there's been some real loss of social skills, real loss of engagement. I see that also among the faculty, people not knowing how to behave. People don't know how to engage with people anymore. I mean, I think COVID was a real eyeopener about how fragile our systems, our social systems or our educational systems, our financial systems, our logistics systems, everything broke down. 01:28:09.175 --> 01:28:11.154 Things are still breaking down. 01:28:11.154 --> 01:28:29.994 They are still not back where they were. No, they're not. When you turn off a faucet and it doesn't just come back on when you open the spigot. So, yeah. There's a lack of engagement. 01:28:29.994 --> 01:28:41.354 Yep. I just wanted to ask you about your--just to wrap up, I wanted to ask you about faculty Senate, and--so you're chair. 01:28:41.354 --> 01:30:01.015 Yes, I loved it. I was afraid. I thought, I've been asked to do it many times throughout my career, and I said, no 'cause I prefer to be on the committee, not in charge of the committee. Because he could be speak more freely, but--and I wasn't planning to do it. And I ran a couple years ago and I lost. I said, well, the hell with it. And then I was asked to do it, and I said, okay, I'll give it a shot. I promised the provost that if I got through an entire year of running the Senate with no drama in meetings, no fighting, no screaming, no-- that I got a steak dinner. And it was pretty rough year. Lots of stuff going on with GE and things like that. And we got through it and it worked. So I'm hoping I'll get a steak before I leave. I loved it. I really loved it. I also realized that, I had a really good team in place who were like, the detail people. I'm not the detail person, so I was like, I don't have to read everything. They're gonna read it and I'll find the mistakes. And I just--my job was just to--it's just to be the master of ceremonies and keep things moving. I loved it. I thought it was the easiest year of my career. 01:30:01.015 --> 01:30:01.024 Nice. 01:30:01.024 --> 01:30:16.675 And people told me, oh, it's awful. It's miserable. And why would you do this to yourself and they, you know, they said why would you do this to, it's a miserable, thankless position. And I loved it. And the people who I thought would be difficult, I found a way to work with them. 01:30:16.675 --> 01:30:21.327 Yeah. That's good. What was the maybe the biggest accomplishment of Faculty Senate this year? 01:30:21.327 --> 01:30:31.795 Getting us organized to deal with the changes to, GE. 01:30:31.795 --> 01:30:32.835 They're gonna be big. 01:30:32.835 --> 01:31:44.375 Like, and I've been (inaudible) saying this for two years and kicked and screamed--it's going to happen. It's going to happen. I know how things are. And then, no, we could push back and I say, if we had taken the time, instead of pushing back and getting organized, things would be a lot easier. But at least I got everybody's seizures on this committee for the summer. They're meeting, I was able to hand it off, to be able to leave. I mean, and I let the provost knowing and the President('s) office knew before the announcement, at least a month before. And I was determined to not leave anything half done. So getting things sewn up or ready to be passed on, I think goes back to, I could leave the College of Business 'cause I could point to a dozen faculty members that I hired that're gonna be much better at doing it than I am now, or have been. That I didn't leave a mess for anybody. I left it how I found it, but better. 01:31:44.375 --> 01:31:45.414 That's good. 01:31:45.414 --> 01:31:56.000 And that's--people are not gonna open drawers and say, oh, he left this mess. Oh my God, what I do, he's gone. You have to plan the succession. 01:31:56.000 --> 01:31:57.000 Yeah. 01:31:57.000 --> 01:31:58.795 And so there's a lot of talent around here. 01:31:58.795 --> 01:32:05.604 And you leave next week? 01:32:05.604 --> 01:32:05.614 Mm-hmm. 01:32:05.614 --> 01:32:06.283 Well, Congratulations on your new position. 01:32:06.283 --> 01:32:10.965 And may God have mercy on my soul. 01:32:10.965 --> 01:32:14.038 What are you looking forward to about it? 01:32:14.038 --> 01:32:15.131 Being in Chicago. 01:32:15.131 --> 01:32:17.036 Yeah. 01:32:17.036 --> 01:32:20.845 And walking to work. 01:32:20.845 --> 01:32:23.784 Well all right. Is there anything else that I should have asked you that I didn't? 01:32:23.784 --> 01:32:24.423 No. 01:32:24.423 --> 01:32:27.370 Alright. Well thank you Dr. Brodowsky. I appreciate it. 01:32:27.370 --> 01:32:28.255 My name is Glen. 01:32:28.255 --> 01:32:33.755 Thank you Glen. I appreciate you spending time with us today. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en audio Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives csusm.edu if you need reproductions made. Please see the related “Preferred Citation note” for language on citing materials from this collection.&#13 ; Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder.&#13 ; The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the library's materials.&#13 ; In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive&#13 ; 30&#13 ; information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=BrodowskyGlen_VisintainerSean_2024-06-14.xml BrodowskyGlen_VisintainerSean_2024-06-14.xml https://archivessearch.csusm.edu/repositories/3/resources/19 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 Brodowsky, Glen. Interview June 14th, 2024. Description An account of the resource Interview discusses Brodowsky’s career at CSUSM, starting with his journey into academia and his experience during the early years of the university, the campus, his work in development of policy and initiatives, as well as marketing, including the campus logo. Interview also discusses Brodowsky’s work in service at the university, his relationship with past university presidents, intercultural and cross-cultural marketing, his approach to teaching both at CSUSM and abroad at Brodowsky’s visiting professorships, the Jewish Faculty and Staff Association and the campus Jewish community, and his past year as Faculty Senate Chair. Identifier An unambiguous reference to the resource within a given context SC027-090 Subject The topic of the resource California State University San Marcos California State University San Marcos. Administrative Building California State University San Marcos. Faculty Senate California State University San Marcos. Jewish Faculty and Staff Association California State University San Marcos. Marketing Department Cross-cultural marketing Gonzalez, Alexander Haynes, Karen S. Intercultural marketing Neufeldt, Ellen California State University San Marcos--Faculty Date A point or period of time associated with an event in the lifecycle of the resource 2024-06-14 Format The file format, physical medium, or dimensions of the resource audio Rights Holder A person or organization owning or managing rights over the resource. Glen Brodowsky Creator An entity primarily responsible for making the resource Brodowsky, Glen Contributor An entity responsible for making contributions to the resource Visintainer, Sean Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> CSUSM history Jewish experience 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 Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Judith Downie Interviewee The person(s) being interviewed Jim Carr OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=CarrJim_DownieJudith_2017-09-26.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Distribution Services;CSUSM;Asset tracking OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Carr, Jim. Interview, September 26, 2017 SC027-091 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Distribution Services ; CSUSM ; Asset tracking Jim Carr Judith Downie sound CarrJim_DownieJudith_2017-09-26.m4a 0 https://archivesoralhistories.csusm.edu/files/original/31e232bd190157b0333d3c3a3d37e764.m4a Other audio English 0 Introduction 0 28 Accountable fixed assets for CSUSM Jim talks about the folder he brought into the interview that documents Cal State San Marcos' fixed assets across 82 pages. That folder is included in CSUSM library Special Collection. Fixed assets ; Cal State San Marcos ; Asset tracking 0 333 Education and Employment in the CSU System Jim talks about his education at San Diego State University where he received a Bachelor's degree in English and worked as a student assistant. His work as a student assistant at SDSU eventully led him to his career as a property manager at SDSU and then CSUSM. Asset tracking ; Education ; San Diego State University ; Cal State San Marcos ; Student employment 0 1008 Watching the University Grow Jim discusses how CSUSM has grown in his 24 years working on the campus. Blossoming into a campus with over 17,000 students. CSUSM ; Expansion ; Student experience 0 1379 Barcoding Assets Jim talks about one of the largest projects during his tenure at CSUSM, barcoding all of the fixed assets on campus. Barcodes ; Fixed assets ; Asset tracking 0 1604 Sustainability and Purchasing Jim talks about the ways that his department worked with other departments on campus to create sustainable plans for the retirement of assets and how on campus purchasing plays a part in that project. Sustainability ; Asset retirement ; Asset planning ; Asset tracking 0 2175 Technology Growth in Higher Education Jim talks about how technology has been implemented within the CSU system over the course of his career. Email ; Technology development ; Higher education ; CSUSM ; SDSU 0 2292 Retirement Jim talks about his plans for retirement which include staying active on the Retiree's Association and backpacking with his grandson. Backpacking ; Retirement ; Retiree's Association 0 2542 Asset End of Life Planning Jim talks about how assets are retired from the CSU system through sustainable means. Donations or reselling old er assets are often used as ways to retire old assets and keep them out of landfills. Sustainability ; Asset retirement ; CSUSM ; Donations 0 2898 Crunching the Numbers Jim talks about how he did some quick calculations to see how many thousands of miles he drove during his commutes and how much money was spent on fuel. Trivia ; Commuting ; Expenses ; CSUSM 0 Oral history Jim Carr spent 23 years at California State University San Marcos working for the Distribution Services team and was instrumental in implementing the first barcoded inventory tracking system for the University. Jim discusses his time working for CSUSM as part of Distribution Services and how his education and background led to him this job. NOTE TRANSCRIPTION BEGIN 00:00:01.314 --> 00:00:16.155 Okay, this is Tuesday, September 26th, 2017. Judith Downie, Special Collections and History Librarian at Cal State San Marcos with Jim Carr, of Materials Management at CSUSM to record an oral history. 00:00:16.155 --> 00:00:19.545 Okay, so this picks up very, very well. So-- 00:00:19.545 --> 00:00:19.885 Very well, 00:00:19.885 --> 00:00:20.714 Don't worry about speaking. 00:00:20.714 --> 00:00:21.942 Good morning, Judith. 00:00:21.942 --> 00:00:23.047 Good morning. Jim 00:00:23.047 --> 00:00:28.995 Jim Carr here, also known as James Carr, in case any official documents need to be-- 00:00:28.995 --> 00:00:48.704 Okay. So let's go back to what you were talking about before I got the recorder started. There's about three quarters of an inch of eleven by four or --eight and a half by fourteen (inch) paper. Computer printout with signatures from Ernest Zumwalt, Patricia Harris, and Ron Neu-- 00:00:48.704 --> 00:00:49.395 Farris 00:00:49.395 --> 00:00:50.085 Harris. 00:00:50.085 --> 00:00:51.005 Farris. Farris. 00:00:51.005 --> 00:01:12.355 Farris, I'm sorry, it's been so long since I've used her name. And Ron New who, in regards to an inventory of assets here at Cal State San Marcos. And Jim is giving it to us for storage in the archives as part of our campus startups. The document is dated 1994. And so this will be in the University collection when it is processed. 00:01:12.355 --> 00:01:13.685 Okay. Yes. 00:01:13.685 --> 00:01:14.754 So you wanna explain this document? 00:01:14.754 --> 00:01:50.484 It's 82 pages of, the accountable fixed assets that the university, first accounted for after a long process of converting, manual inventory labels into barcoded assets. And once we were all accounted for, this is what we used and was signed up for as a dollar amount and a number of items that the University was gonna start accounting for in the fixed asset category, for accounting purposes. 00:01:50.484 --> 00:01:55.954 And what I love is I'm seeing computer monitors. Apple. Back in the days when we had Apples. 00:01:55.954 --> 00:01:56.525 Yeah. There's-- 00:01:56.525 --> 00:01:59.564 Then we went to PC and then we came back to Apple. So. 00:01:59.564 --> 00:02:00.000 Yeah, 00:02:00.000 --> 00:02:02.000 We've kind of gone full circle here. 00:02:02.000 --> 00:02:32.044 Yeah. We kind of went back and forth there for a while and of course back then we were asset tracking at a $500 threshold. And then around the year 2000 we went to a $1,500 threshold and now we're at a $2,500 threshold. Hopefully at some point the Chancellors office will find a way for all the campus' to be on common ground in that regard. But right now every campus is a little different in how they track assets, so there we are. 00:02:32.044 --> 00:02:35.155 That's kind of a campus system standard it seems like. 00:02:35.155 --> 00:02:48.914 Yeah. I also have some old, letterhead that I happen to have acquired somehow that actually talks about, the old address at the University before it moved onto our current location here. 00:02:48.914 --> 00:02:50.564 Without a logo or anything. 00:02:50.564 --> 00:03:00.555 Yeah. Without a logo. It's from the College of Arts and Sciences, and the address on it is 820 West Los Viacitos Boulevard in San Marcos. So, in other words, when we were across the freeway. 00:03:00.555 --> 00:03:03.965 With the area code of 619. That's been a long time. 00:03:03.965 --> 00:03:27.000 Yeah, that's right. Also some old one with our old logo here. From accounting. That's nothing much there. I also have something,(19)91 that was just kind of interesting. back in the earlier days of the University, of course we had a program called Central Stores and it was kind of like what would later become Office Max or Staples or something. And-- 00:03:27.000 --> 00:03:28.354 I had forgotten about that. 00:03:28.354 --> 00:03:36.485 --chargebacks at the time, 1991. Just little things of what we used to carry in the warehouse that we would deliver to campus when somebody was interested in that. 00:03:36.485 --> 00:03:39.205 I remember ordering reams of colored paper and things like that. 00:03:39.205 --> 00:04:21.444 And then of course, in the early days too, being a small university, our department, and our warehouse workers were responsible for every move on campus at the time. And Ron Neu at the time, used to track who had asked for a particular move on a date, when it was completed and how long it took. So anyway, that's just kind of interesting in that it references a lot of the employees that were on campus at the time, in fact there's even a few that are still around, like Kathy Martin. It won't be around much longer. Or, Marcy Boyle up in, the provost's office, that kind of a thing. So there's some very interesting history to look at. So if you're interested in that. 00:04:21.444 --> 00:04:22.764 Oh, that's fabulous. Yes! Thank you. 00:04:22.764 --> 00:04:24.444 You're more than welcome to archive that. 00:04:24.444 --> 00:04:32.095 That's in the manila folder. Yeah, I, let's see, Mitchell, I wonder if that's Dannis Mitchell or. 00:04:32.095 --> 00:04:34.264 Susan Mitchell. It's probably Dannis. 00:04:34.264 --> 00:04:38.345 And then there was also another D. Mitchell. It was Judy Taylor's daughter. 00:04:38.345 --> 00:04:39.644 Oh, really? 00:04:39.644 --> 00:04:46.774 Oh, what was her name? She worked in, boy. Yeah, this is going back. Oh, I see. Yee. So that would be probably Michael Yee. 00:04:46.774 --> 00:04:48.963 Mike Yee or Criselda Yee maybe. 00:04:48.963 --> 00:04:50.426 Yeah, who just retired. 00:04:50.426 --> 00:04:51.706 Yeah, he just retired. 00:04:51.706 --> 00:04:52.475 Oh, there's Theresa Handy. 00:04:52.475 --> 00:04:53.764 Yeah. Still here. 00:04:53.764 --> 00:04:58.125 Oh yeah, I'm seeing a lot of names down there that take me down-- 00:04:58.125 --> 00:05:04.925 Yeah, interesting names. So I, again, I just kind of thought something I found when I was going through my files that I thought maybe the archives would be interesting. 00:05:04.925 --> 00:05:17.725 Yeah, no, definitely. Wonderful. Okay. Very good. Well, here's a rough idea of kinds of questions you could answer. And of course, if you take off from those and talk about something else, that's absolutely fabulous. 00:05:17.725 --> 00:05:19.463 Okay. That sounds good. 00:05:19.463 --> 00:05:33.485 And here is a clipping from the San Diego North County Times with-- this goes through 2004. So that's not, of course exhausted by any means, but it might trigger a few things 'cause. 00:05:33.485 --> 00:05:51.024 Absolutely. And I can certainly, relate to this in, in several regards. And I'll tie in my history here. I'll start with where I was before. CSUSM back, of course my history with the CSU actually spans 44 years. 00:05:51.024 --> 00:05:51.634 Wow. 00:05:51.634 --> 00:08:53.206 When you count the idea that I actually went to San Diego State and was a college student there, starting in the fall of 1973. And I graduated in May of 1978. And during that time, I was able to be employed as a student assistant in the property office there under a gentleman named John Hines at the time. And, he put me to work as a inventory student to go around to different buildings and do inventory. So I'd take a clipboard and a piece of paper and I would write down asset tag numbers and record those and give them to John to, you know, do his tracking and accountability for those. And I remember, at the time we had just opened a brand new art building and I was very excited 'cause John handed me his master keys, said, Jim, go through every room in this building and find every asset you can find 'cause we wanna make sure we know what got moved into that new building. So that was fun. And it was a very good experience and a very good precursor to learning all the things that I did that I brought to Cal State San Marcos. But before I got to San Marcos again, I spent a couple years as a student assistant. I also worked over in, what was called the Duplication Department, doing deliveries of printed materials as, what they would call secretaries back then needed particular copies made. And of course, back then they had their great big printing machines. There was no such thing as, printers. There were still mimeograph machines and all that back then and typewriters by the galore 'cause that was the mid seventies (1970s). So, apparently I was well-liked as a student assistant. 'cause I did graduate and I worked off campus for a couple of years. And during those couple of years off campus, I worked for a delivery service that handled a lot of medical accounts. It was kind of like a small, say like a FedEx home delivery type business. And our accounts were mainly, medical at the time. So we delivered to a lot of pharmacies, medical labs, dental labs. And for a short while, there was actually a veterinary account that we carried. And one of my routes during that time carried me from Kearney Mesa, all the way up to the small town of San Marcos. So this would see be around 1979, 1980, somewhere in there. And on one trip at the end of my day, I remember driving down this long road delivering to a chicken ranch, and I can almost guarantee that it was the Prohoroff Chicken Ranch. And I delivered a small box of veterinary supplies. And I don't remember much of it other than it was a long road. And I found someone out there that could sign for the package. I handed it to 'em and off I went. But it's just fascinating that I probably came to the Chicken ranch once in my career. 00:08:53.206 --> 00:08:56.195 And no inkling you were going to be back there for something. 00:08:56.195 --> 00:09:01.294 I had no idea. Absolutely. So that was just a great story. 00:09:01.294 --> 00:10:51.645 later on, I found out that there was an opening in the department, that I had worked for at San Diego State, and I applied for that position and, took that position in September of 1980. And that began my employment career in the California State University system. So I went to work, in the property office. And, I spent twelve and a half years working at San Diego State. And during that time, I certainly remember that, San Diego State, of course had a satellite campus out in Imperial Valley at the time. Well, up there in the North County, growing as it was, the University wanted to establish a North County campus up there. And, again, based on your history here, I can see that in September of 1979, a satellite branch of the university opened in Vista, for 148 students. And I remember, it may have been after this point, but at one point, the North County satellite campus moved to a location on the Lincoln Middle School, I believe. And they actually, assigned an admin coordinator, secretary, whatever you wanna say, in a trailer there at that location. And that secretary needed some furniture. She would need a desk, she would need a table, a file cabinet, maybe, bookcase, something like that. And, John, my supervisor, said, well, Jim and Larry, my coworker at the time, go to our surplus area, pick out a nice desk, pick out some furniture, and you're gonna make a road trip up to that location and deliver that for that secretary. So I do remember making a trip up to Vista at the time and delivering some, surplus furniture. So that staff employee-- 00:10:51.645 --> 00:10:53.725 Yeah. Was this Prison Industry's furniture do you remember? 00:10:53.725 --> 00:12:27.384 It probably-- Well, I, no, it wasn't Prison Industries. It would've been an old, like World War II type metal desk. That would've been what we had a lot of at San Diego State. A lot of that type of furniture at the time. So that was kind of another little piece of history. And of course, as the, North County satellite campus grew larger and larger, we would make trips up there when they would order tablet armchairs that would come into our receiving at San Diego State. And then we'd have to make, again, another road trip up to deliver a tablet armchairs or other furniture as it grew and grew and grew. And then, obviously it got to the point, at San Diego State, John Hines retired and I became the, the property clerk there for a while. So, it became obvious that San Marcos was going to be dedicating a brand new campus up there in North County. And it was about the time I had become the property clerk. So employees were getting hired up there at, the new campus. It officially dedicated again in, I believe, July of 1989. It was, established. And, some of the new employees would come down to San Diego State, like Ron Neu, who had been hired in there at the time, would come down to San Diego State and visit with me to kind of get ideas of how we did processes and set up policies and how we did that kind of business to support the University in categories such as fixed asset tracking, shipping and receiving, if you had a central store's mail, that kind of thing. 00:12:27.384 --> 00:14:21.825 So, I would talk to Ron and, he was impressed with, how we ran things at San Diego State. And it wasn't too long after that, that burgeoning campus there at, Cal State San Marcos, was now going to be separating completely from San Diego State. There was a little transitional time where San Diego State supported Cal State San Marcos in some of their processes and business practices. Well, once the split occurred, I was tasked to go up to Cal State San Marcos when they're still at the Jerome's location. And do an inventory again, of tracking fixed assets to find out what assets the University (CSUSM) was gonna keep that used to belong to San Diego State. And which ones they wanted to relinquish back to San Diego State. So again, I went up to the Jerome's location and went through all the buildings and track things. And I walked around with Ron who said, okay, we're gonna keep these pieces and these, you're gonna, you know, gonna be moved back to San Diego State at some point. So that was, again, a great experience. And again, meeting more people at the new campus and being very excited for them. And, so went back, took care of that project. And then before long I was getting calls from Ron Neu, asking if I might be interested in coming to work at Cal State San Marcos. And this was in, late 1992. And, that was one of the times when, our CSU system was undergoing one of its budget downturns. And there were some, tough times there. There was new management coming in. There were workers that were getting laid off, only because they were temporary, but there were some tough times. And the prospect of a new, vibrant, exciting university just up the road, was very appealing. And, again, Ron was wooing me, and it didn't take me too long to realize that this would be a very good move. 00:14:21.825 --> 00:16:47.004 So in, December of 1992, right before Craven Hall (Academic Hall) was occupied, I came up to the campus and submitted my application for a warehouse worker position that had opened up in, Support Services there at the USB (University Services Building) building, one of our first buildings on campus. And, Human Resources was in Academic Hall at the time. And I submitted my application and I interviewed with, Ron and Ivalee Clark and a gentleman, from procurement at the time, and ended up getting the job. So in February of 1993, I had given my notice, and I came up, started working at Cal State San Marcos, and, a couple years later I got reclassed into the property clerk position. And again, we were starting to barcode all our assets, and it was a very exciting time at the, the young campus. The, Craven Hall building was dedicated in April of 1993. And that was exciting, to go through that ceremony. And, one other interesting thing about, my previous history at San Diego State was when I was a college student, I took an English class and it was called, John Milton. And it was about that writer, John Milton, and a lot of his writings. And the particular faculty member that taught that class was none other than Mr. Richard Rush, who was one of the very first, administrators here at the new university. I think by the time I started, he had already moved on to become president back at, the University of Minnesota that he was. But, it was neat to, have had him as an instructor. And find out he was an administrator here. And then of course, he spent a very great distinguished career up at, (CSU) Channel Islands. And I think he came down to campus a couple times to visit. And I think I got a chance to talk to him a few times and mention that I had been a student of his and, put a smile on his face there. He was a good instructor. So, that was kind of another neat little piece of history. And then I've of course spent 24 and a half years here at Cal State San Marcos, always down there in the University Services Building, whether we were called Support Services or Materials Management, or now we're Distribution Services. And it's been a--it's been a great career and I've loved working here. 00:16:47.004 --> 00:16:48.754 I've always seen you with a smile on your face. 00:16:48.754 --> 00:17:08.755 Well, thank you. It's-- there's been great people here. There were of course, great people working at San Diego State too. So--but to see the university grow and blossom from, you know, just the few buildings that were here when I started to our large vibrant campus now with 17,000 students has been--has been a great experience. 00:17:08.755 --> 00:17:11.204 Yeah. Very. It's been amazing. It's definitely been amazing. 00:17:11.204 --> 00:17:13.243 Absolutely. So-- 00:17:13.243 --> 00:17:16.607 I came in (19)91 as a student, so yeah, I've done that. 00:17:16.607 --> 00:17:17.125 Oh. There you go. 00:17:17.125 --> 00:17:22.924 It's very similar trajectory of being here to help schlep all the stuff. 00:17:22.924 --> 00:17:25.434 Yeah. Yep. And been a lot of schlepping over time. 00:17:25.434 --> 00:17:26.194 Yeah. Yeah. 00:17:26.194 --> 00:17:56.444 It's been great to see the buildings come up and people move and the students come in and, and the technology change to, to see how education has grown over the years. It would've been neat to have been a little more involved on the academic side, but, I was very proud to have, supported the University with our customer service and the frontline people that are behind the scenes on the business side of the University that, you know, really keep it going. 00:17:56.444 --> 00:17:58.404 Yeah. You're the grease that makes the wheels turn. 00:17:58.404 --> 00:18:00.233 That's, that's kinda it. Yeah. 00:18:00.233 --> 00:18:01.684 Very essential to getting things done. 00:18:01.684 --> 00:18:20.005 Yeah. And the nice thing about San Marcos, we've generally had pretty good, support from management to, you know, continue our operation and make sure that we provide the service that's best for the campus. So, very glad to have been part of that. Very good. So thank you, Judith. 00:18:20.005 --> 00:18:26.045 Well and so, you talked about being a student at San Diego State. What was your degree? 00:18:26.045 --> 00:18:27.869 My degree was in English. 00:18:27.869 --> 00:18:28.599 Oh, okay. 00:18:28.599 --> 00:19:11.505 And, I guess I could have pursued a teaching credential or something might've been the logical direction to go, but the employment that I had experienced as a student assistant was really good. And, my mother in fact was a department secretary there at San Diego State for about 20 years. And, her promoting the benefits of state employment kinda said, well, you know, this would be a good direction. I kind of like what I was doing. And, so again, when, that position opened up, it was a great draw and I'm glad I did, because, our benefits are very good. 00:19:11.505 --> 00:19:26.444 And do you think that having been a student assistant maybe also helped you decide to go that way? Just because you had worked with good people, you also saw how the system worked rather than going blindly into something completely different and saying wait a minute I don't think I like this? 00:19:26.444 --> 00:19:57.000 Absolutely. Yep. The student assistant definitely was part--it was fun to work on a campus. You worked with really good people. You worked with, other student assistants that were, you know, enjoying being employed before they headed off in their careers and things. And, working with people that, had--were actually in second careers. Because a lot of the people at the time I worked with were veterans from World War II and they were working in that support business for the University, because that's what they had done in the military. 00:19:57.000 --> 00:20:00.964 The military runs on logistics and things, so, yeah-- 00:20:00.964 --> 00:20:16.275 Exactly. So it was, it was kind of neat. And I had always, enjoyed logistics like that. So it was a very good fit. And, so the student assistant experience was a very good precursor to going into that business. And I was glad I did. Yeah. It was a good fit. 00:20:16.275 --> 00:20:19.785 Okay. So, have you ever attended any classes at Cal State San Marcos? 00:20:19.785 --> 00:20:46.243 I never did, other than, some, you know, classes that you get sent to as an employee. I did join a national association called the National Property Managers Association, which is a nationwide group of property professionals, again, property having to do with fixed assets and tracking. 00:20:46.243 --> 00:20:47.315 As opposed to real estate? 00:20:47.315 --> 00:21:41.674 Correct. Correct. Tracking fixed assets in all kinds of different applications. Everything from the military, a lot of federal programs, universities, cities, counties, state agencies. So, it's a very good support group for property professionals. And I got my certification in that. And, kept that for a while. I wish I could have pursued it more, but at some point, the University decided that, we'd move a different direction in that regard. So I'm hoping maybe, anyone that follows me in the fixed asset world might be able to join that association. Because it's a very great support group along with the other property clerks. In the CSU system, which are also very good resources. 00:21:41.674 --> 00:21:47.894 So is there anything formal in the CSU for the property? 00:21:47.894 --> 00:22:42.855 No, not really. Other than, like the Chancellor's office attempting to, you know, set new standards and guidelines for, tracking assets. Whether it be capital assets, non-capital assets, theft sensitive assets. But the property clerks, had some meetings that they would get together in the late nineties (1990s), early two thousands (2000s). They kind of fell off during the recession, but about three years ago (circa 2014), they started having them again. So, the CSU property clerks are getting together for a conference, in fact next month in October at San Diego State and my successor is gonna be joining that conference and a couple other people here on campus. So I'm glad to see that that's been revived. And that, they get together and talk about different challenges that they have amongst the campuses in their business practices. So it's good to share that information and learn something. 00:22:42.855 --> 00:22:47.134 And communication is only augmented when you can do face to face and build some relationships that way. 00:22:47.134 --> 00:22:48.214 Exactly. 00:22:48.214 --> 00:22:49.365 So that's great. That's great. I'm glad to hear that. 00:22:49.365 --> 00:22:52.674 I'm glad to hear they're doing that. Yeah, absolutely. 00:22:52.674 --> 00:22:58.000 And you talked about your mother working at San Diego State for 20 years and being a champion. 00:22:58.000 --> 00:22:59.515 Yes! 00:22:59.515 --> 00:23:06.585 but what are some of the most notable projects you can remember having worked on? I mean, the barcoding the assets was a huge project-- 00:23:06.585 --> 00:25:10.434 Right. That's a big project because even ongoing, as we add new buildings, you have to go into each building and kind of update where all your equipment is moved. So if everything was in the first science building (Science Hall 1), now they've opened a new science building (Science Hall 2), first thing you have to do is go through the whole building and barcode all the rooms so that you can track locations. And then, you kind of go through and have to update, locations within all those labs, what centrifuges--microscopes, whatever it might be, have moved. And, of course we've been very lucky as a campus that, we have centralized computing on our campus, but we used to barcode every computer that came into the campus. And of course, computers were very important piece of equipment. And even more so these days in our information age where computers are holding a lot of data and basically have become a very, very strong security risk. As we all know, when you're talking about data breaches and things like that. So, IITS we're lucky on our campus being very centralized as we have it, makes it a lot easier for them to kind of grab the reins on tracking data security with the new software and technology that they have, which makes tracking computers much better for them to do than (have) me slap on my paper asset tag and go, it is located here. Well, the datas are the most important part. So, we actually haven't been tagging, with our barcodes, computers in some time because they've been tracking that on their own with their own asset tags. And, the important part of course is tracking the data security of that. Because when a computer is now not gonna be used, they'll pull a hard drive and make sure that's taken care of. Or wipe a computer because you don't want any information to be disposed. Because again, you've got assets that come into the university, they have a life, well, at some point that life's gonna end. And so how do you dispose of assets? 00:25:10.434 --> 00:26:30.164 It's very important that you wanna make sure everything is--there's no data on them. How are you gonna dispose of it? Is it--'cause again, with sustainability, a big part of dispositions of assets, you're gonna avoid having to go to the landfill at all. So you have assets that you might be able to sell. You have assets you can donate to a charity. If you can do that. You have assets that go to an e-waste vendor because of their particular criteria that makes them e-waste. So you do the best you can. Which is a big part of, asset tracking of accounting for how you dispose of assets. How do you think sustainability and you think going forward, okay, what is the University procuring that at the end of its life, it's not going to be, you know, having to be disposed of in the landfill. Is it made of something that can be recycled? Is it made of something that, you know, can be reused for a long time that is gonna have a good life to it. So there's a lot of thoughts that you can use, as the University moves forward to kind of, you know, follow that sustainability. So that's now become kind of a part of my thought process. And hopefully others in that process going forward as, the University grows, 00:26:30.164 --> 00:26:33.964 Which means you collaborate a lot with the recycling program that Carl Hanson kind of-- 00:26:33.964 --> 00:26:34.650 Correct. Yeah, exactly. 00:26:34.650 --> 00:26:44.000 --Spearheaded. And you have to think, not just something's come in or I have to make sure I know where it is, but what's gonna happen to it over a long run. So there's a lot of planning and forethought going into this as well. 00:26:44.000 --> 00:27:30.000 Correct. Exactly. And, we now have a department on campus called, Sustainability. It's part of, sustain,--well, what we used to call, Risk Management. They're in that department. So we work a lot with them to say, going forward, you know, how are we gonna be sustainable in our dispositions? That kind of a thing. So they have a good Sustainability Committee on this campus. They put forward a policy that the University's now been following, and I've been--I believe it's been approved by the President. So, that's a step in the right direction also. So working with them, and again, like you say, the recycling program, under Energy Management, which is now a part of, Facilities Management. So-- 00:27:30.000 --> 00:27:35.674 yeah, we have shifted things from department to department to division to division. And, well. 00:27:35.674 --> 00:27:42.434 When you have a brand new campus, a lot of things are gonna change over time and it's exciting to watch those happen. 00:27:42.434 --> 00:27:45.045 Yeah. So any other projects. 00:27:45.045 --> 00:28:54.984 Well definitely have watched procurement change and implement system-wide power of purchasing to bring in our office vendors like, OfficeMax and Staples that we have. So that the unit that the CSU is now again using their purchasing power to try and save money. Certainly makes it better than the central stores that we used to have. So that transition's been good. Of course, as we procure things. Now, of course we've seen procurement go into the credit card business, so Pro Card (procurement card) is happening. But, that kind of implements a new level of asset tracking because now you have to track pro card purchases. Because again, it's the technology of our new world. You know, that's the way to procure. Now all of a sudden you've got Amazon being used significantly, and that's a major development that we have to look at to make sure we're able to account for those kind of packages as they come in. So, the technology is changing and it brings new challenges. Those are always exciting to work with. 00:28:54.984 --> 00:29:08.285 And my impression, since I don't do--I don't order supplies, I don't do any of that stuff anymore, is that the Pro Card and Amazon are generally the smaller ticket items, which means a lot of little stuff coming in. 00:29:08.285 --> 00:29:46.434 Right. And you have to look at those Amazon packages and go, well, okay, yeah, someone can be using the university credit card to buy things and they're getting their packages, but how do we know they're not using their personal credit cards, buying things that they have come into their office through Amazon, you know, how can we in receiving look at those and say, what's a personal package and what's a University business related package? There's no way to tell anymore. So that, that leads to challenges that, you know, we're looking at. And hopefully, we'll come up with a process to check those, so yeah. Other than the end user, which might really be the only genuine way to do it. 00:29:46.434 --> 00:30:00.724 Yeah. And we already have so much workload, but people are here so much all the time. It's kind of like, well, I'd rather have it delivered at my work because I know it's gonna be secure, as opposed to, you know, being left on my doorstep at home and not be there when I get home and stuff. 00:30:00.724 --> 00:30:11.994 Right. Yeah and it doesn't help that the news focuses on look at the thieves taking these packages from this poor person's porch. So, yeah, so there's a challenge right there. 00:30:11.994 --> 00:30:18.065 Just to complicate issues. What campus events are most remarkable in your memory? 00:30:18.065 --> 00:31:07.184 Oh, gosh. The dedication of any new building was always something new because it just showed how fast we were growing and, becoming more focused in our community as we grow, because we're certainly putting a greater thumbprint on our local area. So each time a new building came on, it just showed that, you know, the campus is just becoming more and more of a fixture here in North County. The Kellogg Library was a huge addition because of course, it freed up a lot of space in Craven Hall and enabled the Library to actually be a functioning department that it was meant to be all along. And, was, I'm sure that was great. It was a great project for Marian Reid, and, I'm sure it was the feather in her hat, and it was --that was a great moment in it-- 00:31:07.184 --> 00:31:12.005 It was a delight to get rid of those horrible old hand me down copiers from SDSU. 00:31:12.005 --> 00:31:25.805 Yeah, there you go. Yes. And microfiche readers and all those things that were there at the time. And, of course it made for, you know, much more securing the library to make sure, you know, your archives were good too. Yeah. All your books. 00:31:25.805 --> 00:31:28.684 And a multitude of access points in the new building. 00:31:28.684 --> 00:32:27.755 Exactly. So Library was big. Gosh, just as new programs came on, whether it was, you know, we didn't have a physics program. Visual and performing arts came on, you know, all those different programs as we grew, of course, as we started, we only had upper division. Then all of a sudden we had freshmen and sophomores were coming in so we were a full four year college, which was notable. Again, building a parking structure, it's like, whoa, we are getting big. That kind of a thing. Sports came in, where we had nothing for a long time. All of a sudden, look, we have a memorable and notable coach. Steve Scott is coming. He's bringing a track program, and then all of a sudden we have golf, and then it's like, well, look at this. We're now--we're playing basketball and baseball and, getting big, you know, down the line who knows? I don't know if we'd get football, but, eh (inaudible). 00:32:27.755 --> 00:32:32.265 Well, we are-- they are retiring the first Crash, the Cougar costume. 00:32:32.265 --> 00:32:32.964 Oh, okay. 00:32:32.964 --> 00:32:35.881 And it's coming to the archives. 00:32:35.881 --> 00:32:36.714 Oh, neat. 00:32:36.714 --> 00:32:41.285 And they said it's an off-the-shelf costume, so we're having a custom design costume the second time around so-- 00:32:41.285 --> 00:32:42.884 Oh, okay. Well that's gonna be neat 00:32:42.884 --> 00:32:49.394 That shows they're growing up, too, but, yeah. I wish we'd been able to get an oral history from Debbie Dale about her years with the Athletics. 00:32:49.394 --> 00:32:51.964 Oh, absolutely. In the early days. Yeah. 00:32:51.964 --> 00:32:57.565 Because I know she mentioned to me one time that the athletes used to change in her office because there was no place else. 00:32:57.565 --> 00:34:03.644 Oh, look at that. That's a great--that's a great piece of history right there. Yeah. So things like that. So, just watching the University grow, of course, we've had some of the great challenges that are somewhat memorable. Like, the fires that have gone through were always memorable. They would have to send us home or, something like that. Very scary times. But again, the university's been very blessed that we haven't really been affected by that luckily. Of course, I remember 9/11 (2001) coming to work the day that happened, and then the University sent us home, things like that. And, other events like that. But, again, usually focus on all the memorable things. Of course, we had commencements down at Del Mar for a long time when the students would graduate, and it's like, how many did we graduate? It's like, wow. And then now we're back on campus because we have our athletic fields and things. So, that was exciting. The building of the McMahon House was kind of neat, because it's like, well, they were looking at building something there for a long time and it finally happened, and it's like-- came out very nice. 00:34:03.644 --> 00:34:08.545 I remember the big piles of compost that used to be down there, along that front corner. 00:34:08.545 --> 00:35:41.925 Oh, down there. Yeah. And now that's, it's all been cordoned off as an environmental area of some kind. So that's interesting there. We'll have to see how the University expands in that direction, if anything will change in that regard. Of course, remember the early days just watching some of the springs and waters that would come up out of the ground and flow off in that direction. And, I believe now the university is getting groundwater to help with some of our irrigation. There's some wells that are coming in from further up, La Marea (Carlsbad, California), I believe that flow onto our property. So we're tapping into that to, for irrigation now. So we're using some well water and trying to get very energy sufficient on our own. If we can do that. Solar panels have gone on some of the new buildings now, and they may further that, I know they're looking at--they have the fuel cell going. I don't know how successful that's been, but I'm sure they're gonna be looking at other energy changes as we move on. So, little things like that. They're in the background too. I believe, Procurement's finalizing, working with AT&T to partner with them for a cell tower, but that's gonna be a win-win for them and us, because it's gonna enable us to get some, new, very efficient and, well used, lighting for our baseball fields and any other expanding for sports in that direction too. So, that's something we'll look forward to. So again, all these changes keep happening and it's, good to see. 00:35:41.925 --> 00:35:47.525 Yeah. The side of the house you work on, you know about things that I had no idea. We were talking cell towers-- 00:35:47.525 --> 00:35:57.965 Yeah. Until they happen. Yeah. It has been a very, very long process. Because there's been a lot of issues with AT&T and getting permission from the Chancellor's office, that kind of thing is always something. 00:35:57.965 --> 00:36:03.244 Yeah. You get the state involved, you probably get all sorts of environmental agencies involved. You know, there's just. 00:36:03.244 --> 00:36:03.905 Yep. 00:36:03.905 --> 00:36:09.605 You know, and so many strictures about what we can accept. So it doesn't look like a bribe probably. 00:36:09.605 --> 00:36:15.285 Right. Exactly. Exactly. There's all that, legal-ease involved in that kind of a thing. And, of course, budgetary and logistics and, and all that. You know, what's it--what are we gonna get out of this? So, a lot of tough questions have to be asked. 00:36:15.285 --> 00:36:31.304 One thing I-- that crossed my mind while you've been talking is did you use email at San Diego State at all? 00:36:31.304 --> 00:37:18.445 No. In fact, when I left San Diego State, we were actually just in the early, days of using computers, we had gone through the whole transition of--remember typewriters, well, typewriters were a big thing when I was a student. And then, slowly transitioned into word processors. And then in the mid eighties (19080s) there, the first computers were coming into some of the student labs to use. And, they gradually made their way into our offices. Because being a support agency, we weren't always needing the technology. We had our old business practices. And, that change was a tough time coming. So really didn't start using email until I got to Cal State San Marcos here. And it--the first one was implemented and I think, Netscape was our first-- 00:37:18.445 --> 00:37:20.244 Or was it Eudora? I seem to remember. 00:37:20.244 --> 00:37:23.994 Well, Eudora was the email program. I think Netscape was our first. 00:37:23.994 --> 00:37:24.844 Browser system. 00:37:24.844 --> 00:37:36.445 Browser system, yeah. And then we eventually went to, Windows, of course. But, yeah, I think, I'm trying to remember what we were using for barcodes. It might have been Windows 95 back then, something like that. 00:37:36.445 --> 00:37:41.005 Yeah. And you're scampering out just in time to miss this whole move to SharePoint and OneDrive. 00:37:41.005 --> 00:38:04.635 Yeah. All that going on. So, exactly. So it's been fun to, to work with the new technology and, of course phones are in now, and I'm sure there's, a lot of adjustment to our Millennials coming in that are, only familiar with, you know, telephones and things. So, that technology is something I'm sure they're using. 00:38:04.635 --> 00:38:08.885 They're using equipment and media. Their expectations are so very different than-- 00:38:08.885 --> 00:38:10.364 Yeah, esactly. 00:38:10.364 --> 00:38:12.875 Who've been there through all of this growth and development. 00:38:12.875 --> 00:38:30.965 Yeah. It's been fascinating. So, it'll be, fun to watch and change as I keep contact with the University through the Retirees Association to kind of talk to people to see how things are changing in the education business. So, it'll be fascinating to watch. 00:38:30.965 --> 00:38:38.144 Yeah. I did wanna ask what your plans were for retirement. And it sounds like you're gonna be active in the Retirees Association which-- 00:38:38.144 --> 00:38:39.244 Yes. In fact-- 00:38:39.244 --> 00:38:41.875 I see their newsletter and they do lots of great stuff. So-- 00:38:41.875 --> 00:39:24.744 Yeah. I've been to a couple of their meetings and one neat thing that they advise, they say, well, when you first jump into retirement, you know, don't jump too hard, too fast into like, another part-time job or volunteering or something. But, for someone in, say, a type A personality, which is more like me, it's like, it's gonna be hard to just spend six months chilling, as they say, to transition into retirement. But, you know, that's good advice. So, can certainly do a blend of that. There'll be plenty of things around the house for me to work on and catch up on. I would love to do more traveling. I've got a grandson now. So I'll be definitely spending time with him. 00:39:24.744 --> 00:39:26.566 How old is he? 00:39:26.566 --> 00:40:12.824 He's 13 months. And just a joy. We're-- my wife's been retired for a couple of years, and she's babysitting him two and a half days a week. Because my daughter went to work-- back to work part-time after he was born. And, so we're helping her out by babysitting. So I'm sure I'll be helping with that. And--but I would love to do some more backpacking. I love going up to the Sierras and hiking. I've summited Mount Whitney nine times now. My goal is to get my grandson up to the top. And that would mean four generations have actually summited Mount Whitney, because my parents did it and took me up when I was very young. And then, of course, both my brothers and I summited and two of my daughters have now summited. And I would look forward to seeing if I can get my grandson up. 00:40:12.824 --> 00:40:14.153 That's a wonderful goal. I'm sure you will! 00:40:14.153 --> 00:40:15.335 That would be would be neat. 00:40:15.335 --> 00:40:36.676 Thank you. So, you know, I've talked to a lot of people that have retired and they say, I don't know how I had time to work. I'm so busy. So we'll just see how it goes. But, I'm a little anxious of course, because I've had this wonderful family here at Cal State San Marcos for over 24 years. And, it'll be kind of hard to step away from that. So-- 00:40:36.676 --> 00:40:41.048 Well, the retirees will certainly be a transition. Because that's part of the family. 00:40:41.048 --> 00:40:54.164 Yeah, absolutely. That'll definitely help. So I'm looking forward to that. And, I do see some things they do, and they do look like they're a lot of fun. And to touch base with previous employ--employees who have been here will be a lot of fun. 00:40:54.164 --> 00:40:55.394 And swap those stories. 00:40:55.394 --> 00:41:05.155 Exactly. Exactly. So, that'll--I'm looking forward to that. So, we'll just transition in gently and see how it goes. 00:41:05.155 --> 00:41:08.724 Well, since your wife is already retired, it sounds like she'll be able to help you transition as well. 00:41:08.724 --> 00:41:12.085 Absolutely. I'm sure she'll have a "honey-do" list for me. 00:41:12.085 --> 00:41:52.585 Yeah. What free time? Yeah, I think the same way. I just --I think that all sounds so wonderful, and this is--you have reminded me of some things--and I forgot about Central Stores. I mean, I forgot that that's how we used to order things. And then the whole decentralization where, you know,--because it used to be, back in the old days at Jerome's where you needed something done, you just grabbed whoever was available and they came over and did it. Now it's fill out forms, get permission. Plot everything. Track everything. And so it has been a big change, but we--it's a sign of our maturity. It's not a negative, it's just a sign of our maturity. 00:41:52.585 --> 00:42:02.195 It absolutely is. So, yes, there's always challenges going forward, but, so far we're doing very well. And I look forward to the University continuing that path. 00:42:02.195 --> 00:42:08.224 Yeah. And so how much do you have to do with the (inaudible) building to refer to it by its old name? 00:42:08.224 --> 00:42:10.284 Oh, the one that's being built now? 00:42:10.284 --> 00:42:11.485 No, with the, existing-- 00:42:11.485 --> 00:42:12.445 Oh, the old Foundation (CSUSM Foundation)-- 00:42:12.445 --> 00:42:14.445 You know, where we had the Library collection stored for a while. 00:42:14.445 --> 00:42:20.644 Yes. In fact, I had some pictures of that. I might still have, of the collection that was over there because 00:42:20.644 --> 00:42:22.074 Oh, that'd be fun. 00:42:22.074 --> 00:43:50.545 I'll send them over to you if I can--if I can find them. I hopefully, well, I hope I haven't deleted 'em. But anyway, that was an interesting building because, as the University has grown, of course, in the early days it was--it seemed like we were almost required or mandated that we had to buy Prison Industries furniture. So every year we would expect, okay, we're gonna have another 20 faculty, so we'll need to order 20 more Prison Industries desks, and 20 more--or for each faculty three more bookcases. And a couple of file cabinets. And a chair. And a lot of this was, from Prison Industries. Everything was standalone. And as the University has matured and aged, all that thought process has gone away, and now we've just entered Cubicle World. So it is been very change--much of a change. So as each new building's come online and people have moved as desks and those old pieces of furniture have gone away, we needed a place to put them. And that's what we always used, was that old Foundation building. And it became a challenge to dispose of all that kind of equipment. So we finally were able to find charities that would take those, whether it be Goodwill or we found a very excellent, charity from Mexico that supplies schools and classrooms and libraries down in, the Tijuana area with some of our old furniture that's still usable. We can't use it. Sometimes it's very hard to donate or sell furniture. 00:43:50.545 --> 00:43:52.324 We have regulations within the state system that really restrict what you can do. 00:43:52.324 --> 00:43:59.217 Right. You wanna account for, again, your disposition. So, that's why we were able to find charities to take these and made the process a lot easier. 00:43:59.217 --> 00:44:01.371 That's wonderful. 00:44:01.371 --> 00:44:50.394 So, that building now, after these many, many, many years, looks like it's going to be--we're gonna give up the lease on that. So the admin offices upstairs will come over to campus or into the new Extended Learning building, depending on how all that pans out. And, as far as the warehouse space, that's something University's gonna have to kinda figure out to see how we're gonna work on, you know, moving out, pieces of furniture as they become access. So again, that's part of something we're working on with our Sustainability group, with the Recycling group. And, it's gonna be a little bit of a challenge. So, space is something the University has always struggled with. So, this will be another a little example of how we can adjust to that challenge. 00:44:50.394 --> 00:45:08.695 Yeah. Well, I have to say, the last time I was over at the Foundation slash (inaudible) building, it seemed like there was a lot less down in the Land of Misfit Furniture as I called it. So it shows that you've been very effective in weeding things out and getting them moved through. But yeah, there will always be a need for some sort of holding space. 00:45:08.695 --> 00:45:55.744 Space holding space, right. Staging area. Yeah. And in fact, kudos to, Planning, Design and Construction (PDC) who have really sort of stepped up and taken the lead in finding ways to reuse a lot of that surplus furniture on campus because now we're getting more and more of the cubicle surplus. So as departments sometimes can expand or need extra space, they can refurbish and reuse some of the cubicle furniture that's there. That Prison Industries furniture is kind of finally--there's not much of it left out there. So really PDC has stepped up and has really done very well in reusing a lot of that. They're kind of continuing that. So I've sort of stepped away from that part of it as they've stepped in. 00:45:55.744 --> 00:46:04.664 And the Prison Industry furniture was never ergonomically appropriate, which is something that campus has really been placing a focus on very wisely. 00:46:04.664 --> 00:46:08.545 Wisely. Very important. And it was also very heavy. 00:46:08.545 --> 00:46:29.264 Oh, I remember one time my--the desk, because I still have a Prison Industries desk in my office. And I cannot remember his name, but he was a very-- he was a shorter, very stocky built man. And he was underneath the desk and he just kind of got on all fours and then arched his back to push the desk up. And I was just like, oh. 00:46:29.264 --> 00:46:30.704 Oh, that might've been Eli. 00:46:30.704 --> 00:46:35.525 No, it wasn't Eli. I know Eli hurt his back and ended up going over to Parking Services. 00:46:35.525 --> 00:46:36.125 Went over to Parking. 00:46:36.125 --> 00:46:51.114 But, no, this-- Bobby, maybe his name was? I really don't remember. It's been a lot of years. I mean, I've been in the same office since we moved into the library. And that's--it's kinda like, gee, when I--when do I get a wall painted in my office or something? 00:46:51.114 --> 00:47:27.284 Yeah. Well that you've been in your space for that long is something unusual on this campus. Because so many people have moved so many times, I think there have been people that have moved 20 times just because of--a building comes online and so people move around and you have the whole domino effect. So you move from one place to another, to another, to another over the course of your history. And I may have actually set the record for actually been in the same office for the longest amount of time, in the building that I am. Although once I actually did move from downstairs to upstairs where I am now. But, I think I was 19 years in the exact same location. 00:47:27.284 --> 00:47:29.195 Oh my gosh. Yeah. Yeah. I don't quite make that. 00:47:29.195 --> 00:47:30.445 Yeah. I think-- 00:47:30.445 --> 00:48:14.505 I think all of my colleagues up on the third floor, with maybe the exception of one person have moved because there's an office down at the end that's not very desirable. It's kind of dark, odd shape. And so every time somebody shifts position, it's kind of this, okay, everybody's playing musical offices again and--My office is--it's fine. It serves my needs. So, really haven't gotten--I've moved the furniture around it a couple times. But not moved out of that office. But there are very few of us that are probably in the same location simply because of the, the numbers of buildings. All of a sudden you school or your unit, whatever you're in, has the whole thing's been moved over to another building, which you know, is great because you've expanded. You need that room. But yeah so-- 00:48:14.505 --> 00:48:17.763 But then you have to move all your stuff. 00:48:17.763 --> 00:48:18.000 A lot of people don't move outta choice. 00:48:18.000 --> 00:49:29.125 Yep. Exactly. Exactly. So that was kind of neat to stay in one place. Another thing I was thinking, one day, it's like, well, what is my legacy? And it's like, well, I certainly have a lot of history here, but it's like, I was thinking, it's like, well, in the business that I am, I'm very fortunate that I often get to go over to campus and meet people one-on-one because I'm either doing deliveries or maybe I'm doing inventory or tracking a piece of equipment. So you're out on campus and you're going from building to building. And it was the same thing I was doing at San Diego State. I spent many years doing central stores deliveries down there, shipping and receiving deliveries. So I'd be out on campus quite a bit, and I was thinking, it's like, wow, I might be the only person in CSU history that may have used almost every bathroom on two different campuses. It's like, ah, okay. There's a little bit of trivial information. So it's like, of course then San Diego State has changed immensely since I left. But, at the time, you know, I could say it's like, no, that's an interesting little fact. You know, when you're out and about, you know-- 00:49:29.125 --> 00:49:30.764 That's a wonderful trivia question. 00:49:30.764 --> 00:49:39.204 It's like, yes, it might be--my best legacy right there. 00:49:39.204 --> 00:49:48.875 No you've certainly made an impact on the campus and certainly facilitated a lot of the growth and a lot of the changes we've been through. And like I say, always done it with a smile, but.-- 00:49:48.875 --> 00:49:51.724 Well thank you. I appreciate that. 00:49:51.724 --> 00:49:54.074 Having been in nearly every bathroom-- 00:49:54.074 --> 00:51:03.000 Some of 'em are very nice. Yeah. You know, I don't think I use the president's bathroom at San Diego State, but I did see ours here. That was a little trivia. And, you know, people talk about, serving the campus community and you know, they usually talk about the amount of time that they spent, someone was here for 25 years. I had 24 and a half, 37 in this system. But you never really think about how many miles did you spend working for the CSU driving to work? Okay. How much money over your long tenure, if you are blessed enough to have a long tenure, did you spend on gasoline going to work? And most people don't think about that. Well, when you're in the fixed asset business, you deal a lot with numbers. You have, barcode numbers that you place on equipment. That piece of equipment has a serial number, it has a model number, it has a dollar value, it has a building number location, it has a room number location. There's a lot of numbers. There's-- 00:51:03.000 --> 00:51:05.000 And you just have quantities. 00:51:05.000 --> 00:52:17.000 Correct. So I got to thinking, it's like, well, okay, my brain thinks in numbers a lot. It's like, you know, I'm gonna really do quickly, I'm just gonna do the math. Because having lived in San Diego and working at San Diego State, well that was a short commute. But when I had to start traveling to San Marcos, all of a sudden I became a commuter and I was putting on a lot of miles. So I thought, well, how many miles did I put on driving like five different cars that I had in the course of my time here, 24 and a half years, how many miles did I drive? And I thought, well, okay, this is gonna be a little bit of fun math because you have to figure out a lot of different factors involved, right? So I figured, okay, 365 days in a year, but working days are only about 260 because you have your weekends, right? Well then you'd subtract from the 260 working days, the holidays, well, there's about 15 that come off. And then you figure out, okay, over time you accrued more vacation as you worked, you started with two weeks, you ended up with about five weeks. so I kind of rounded it off. Did some calculations and figured on average we work around 200 days a year. 00:52:17.000 --> 00:52:19.000 Right. I think it's between 200 - 220, depending-- 00:52:19.000 --> 00:53:29.525 Something. Sort of again, depending on vacation and, and how much sick leave you use. I looked at kind of my sick leave, 'cause I used to track it and I--most of my time off was like appointments. So you'd go to work, but you'd leave to go to your appointment and actual days I was actually sick, luckily, knock on wood, I was very healthy and didn't take too many days. So I subtracted that too. And again, it came out to around 200. So, for like the first, 16 years or something like that, I--my round trip to work was about 60 miles and then I moved once and it became maybe 55 'cause I didn't move too far. So I put that all in. And to make a long story short, I calculated that I drove to San Marcos about 286,000 miles. Back and forth over the course of my 24 and a half years. And figuring the price of gas somewhere, maybe averaging around $2 a gallon, I think it ended up like $23,000 worth of gas just driving to work. And it's amazing, you think about that, how far, I mean, people probably come from Temecula and may have put on even more miles. And they had the commute to San Diego State that might been another 30,000 miles. And another $3,000 worth of gas or something like that. 00:53:29.525 --> 00:53:30.364 Yeah. You are a numbers man. 00:53:30.364 --> 00:53:38.724 So it's definitely numbers, but it's just fascinating to think how many miles you put on. It's like 286, somewhere around there, thousand miles. Close to 300,000. 00:53:38.724 --> 00:53:40.795 Wow. No wonder you went through so many cars. 00:53:40.795 --> 00:53:44.324 Exactly. 00:53:44.324 --> 00:53:58.474 Yeah. But that also says something about our, our commuting system here. In San Diego still is not adequate to serve the needs of people. It's gotten better over the years. I mean, we've gotten the sprinter, we've gotten the coaster, things like that-- 00:53:58.474 --> 00:54:21.844 It's great for the students to be able to do that. The ones that either live here or can commute by using the Sprinter. And, I know our, our Parking Services tries to get the commuter information out to everybody. To have them take advantage of that whenever they can. But, yeah, we don't realize how much time we spend behind the wheel when we come to our jobs. So, it's fascinating to kinda look at that. 00:54:21.844 --> 00:54:24.565 Oh my gosh. 00:54:24.565 --> 00:54:25.514 A little trivia. 00:54:25.514 --> 00:54:26.844 Yeah. 00:54:26.844 --> 00:54:27.235 Absolutely. 00:54:27.235 --> 00:54:35.206 Well, at that point I will bring this interview to a close. I wanna thank you, Jim. That's been absolutely phenomenal. Just so much fun. 00:54:35.206 --> 00:54:36.706 Thank you, Judith. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en audio Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. Please see the related “Preferred Citation note” for language on citing materials from this collection.&#13 ; Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder.&#13 ; The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the library's materials.&#13 ; In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=CarrJim_DownieJudith_2017-09-26.xml CarrJim_DownieJudith_2017-09-26.xml https://archivesearch.csusm.edu/repositories/3/resources/19 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 Carr, Jim. Interview, September 26, 2017 Description An account of the resource Jim Carr spent 23 years at California State University San Marcos working for the Distribution Services team and was instrumental in implementing the first barcoded inventory tracking system for the University. Jim discusses his time working for CSUSM as part of Distribution Services and how his education and background led to him this job. Identifier An unambiguous reference to the resource within a given context SC027-091 Date A point or period of time associated with an event in the lifecycle of the resource 2017-09-16 Format The file format, physical medium, or dimensions of the resource audio Subject The topic of the resource Barcoding Distribution Services California State University San Marcos Fixed asset tracking San Diego State University Sustainability Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Diego (Calif.) San Marcos (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Jim Carr License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> https://archivesoralhistories.csusm.edu/files/original/00489b285627c9a6866f172944112fe8.jpg 35c5e00c18f7596b84d9e666d6751988 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 Aviation Cadet Description An account of the resource Williams dressed as an Aviation Cadet at an unknown location and unknown date https://archivesoralhistories.csusm.edu/files/original/cbae0566763ce0270fef5d0ce938bcf7.jpg 6cfb3c021344133fed396067d8844597 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 P105 in Saipan Description An account of the resource Williams posing with a P105 plane in Saipan, 1946 https://archivesoralhistories.csusm.edu/files/original/0282d85f8cb82816431c217d88442ad3.jpg c66638dba65f748b3e0953e8422311a5 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 Wedding Day Description An account of the resource Camilla and Elmer Royce Williams on their wedding day in Clinton, Minnesota, June 1, 1947 https://archivesoralhistories.csusm.edu/files/original/4a703a89795ad0efa0544261d8fd56e5.jpg 846e93989267282dbe4cfb29d90d9fdd 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 Christmas Dinner Description An account of the resource Mark, Elmer Royce, Bruce, and Craig Williams having Christmas dinner, December 25, 1962 https://archivesoralhistories.csusm.edu/files/original/6cb0bce3640d8b5336eeafafe1c22ca4.jpg cba0af63d47198f9508ab961b6e2ec14 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 Arrival of VF-33 Description An account of the resource Commander Neilsen T.L., Camilla Williams, and Elmer Royce Williams at the arrival of VF-33 from Key West, U.S. Naval Air Station Oceana, Virginia Beach, Virginia, January 2, 1965 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 Williams, Elmer Royce. Photographs, Various dates. Description An account of the resource Five photos related to the oral history of Elmer Royce Williams. Photograph #1 depicts Williams dressed as an Aviation Cadet at an unknown location and unknown date. Photograph #2 depicts Williams posing with a P105 plane in Saipan, 1946. Photograph #3 depicts Camilla and Elmer Royce Williams on their wedding day in Clinton, Minnesota, June 1, 1947. Photograph #4 depicts Mark, Elmer Royce, Bruce, and Craig Williams having Christmas dinner, December 25, 1962. Photograph #5 depicts Commander Neilsen T.L., Camilla Williams, and Elmer Royce Williams at the arrival of VF-33 from Key West, U.S. Naval Air Station Oceana, Virginia Beach, Virginia, January 2, 1965. Click on the thumbnails to view the full images in more detail. Date A point or period of time associated with an event in the lifecycle of the resource undated - 1962 https://archivesoralhistories.csusm.edu/files/original/60d04d09e3a166c4f22b5b1a4bd5c541.jpg ddd340034bb3c3d8eecf4efbfe47152f 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 Basic Training Description An account of the resource Forster II at basic training Lackland Airforce Base in 1967 https://archivesoralhistories.csusm.edu/files/original/a5072c5231a93bd4d71b6c041fd6235b.jpg 1282d05fdbfe1d268ea39500bc2d876a 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 Tech School Description An account of the resource Forster II at tech school at Sheppard Air Force Base, WIchita Falls, Texas, 1968 https://archivesoralhistories.csusm.edu/files/original/95110933944e95874d25d598da74b0ab.jpg bc4d7024608e94661981266062ceba94 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 C-47 Description An account of the resource A C-47 plane from flight squadron VC-470 at Davis-Monthan Air Force Base, 1969 https://archivesoralhistories.csusm.edu/files/original/1293751ab6c59ecd22abf820ca69bd04.jpg 17936bec27bc9104dbdd66278dcefcfb 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 Osan Air Base Description An account of the resource Forster II at Osan Air Base, South Korea, 1969 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 Forster, James Robert II. Photographs, Various dates. Description An account of the resource Four photos related to the oral history of James Robert Forster II. Photograph #1 depicts Forster II at basic training Lackland Airforce Base in 1967. Photograph #2 depicts Forster II at tech school at Sheppard Air Force Base, WIchita Falls, Texas, 1968. Photograph #3 depicts a C-47 plane from flight squadron VC-470 at Davis-Monthan Air Force Base, 1969. Photograph #4 depicts Forster II at Osan Air Base, South Korea, 1969. Click on the thumbnails to view the full images in more detail. Date A point or period of time associated with an event in the lifecycle of the resource 1967 - 1969 https://archivesoralhistories.csusm.edu/files/original/e60dc869cbce01c35fe843aa0a4ca62d.mp4 6ebe11ea2ac78a7b141b1066d32dad13 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 Oral history of David Shaffer, November 20, 2025 Creator An entity primarily responsible for making the resource David Shaffer Contributor An entity responsible for making contributions to the resource Jason Beyer Date A point or period of time associated with an event in the lifecycle of the resource 2025-11-20 Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. David Shaffer License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> Type The nature or genre of the resource Moving image Is Part Of A related resource in which the described resource is physically or logically included. San Diego Veterans History Initiative Description An account of the resource Captain David Shaffer served in Europe as an air traffic controller during the 1960s. Shaffer was raised in San Diego County where his father was an engineer for Convair. From a young age, Shaffer aspired to become a military pilot, a goal which his tall height prevented. As an air traffic controller, Shaffer spent most of his deployment in Portugal and West Germany during the Cold War. He designed forward airfields during the 1967 Arab–Israeli war, although the conflict was over before they could be used. After leaving military service, Shaffer taught high school industrial arts in North San Diego County. He used the G.I. Bill to gain his master’s degree from San Diego State College and his private pilot license. In this oral history interview, Shaffer tells stories from his military service and reflects on the importance of patriotism. Subject The topic of the resource US Air Force Captain Cold War Consolidated Aircraft B-24 B-32 Convair VJ Day Victory over Japan Day 2nd Pennsylvania Heavy Artillery Regiment American Civil War Prussian British American Revolution German American cavalryman Fort Bliss Galloping Goose Denver and Rio Grande Railroad Denver University San Diego State University marine engine mechanic Officers Training School Second Lieutenant air traffic controller Keesler Air Force Base TERPS Terminal Instrument Procedures forward airfield U.S. Army Corps of Engineers Six-Day War Sinai Peninsula Lajes Field Strategic Air Command General Curtis LeMay Officer in Charge Hahn Air Base B-36 B-36 Peacemaker A model B-36 engineer little people Lackland Air Force Base officer trainee club officers' club FAA Federal Aviation Administration ATC Navy Tinker Air Force Base TERPS BFS Bundesanstalt für Flugsicherung Jimmy Stewart World War II First Lieutenant 1634B AFSC Air Force Specialty Code 1634A airmen sergeant traveling childhood Davis–Monthan Air Force Base B-52 McGuire Air Force Base Colonel 50th Tactical Fighter Wing Ramstein Air Base Hitler Youth military police BMW Afrika Korps POW camp Marshall Plan R. J. Reynolds Tobacco Company Bundesrepublik Deutschland Federal Republic of Germany Bundeswehr West German Army F-100 Super Sabre Ground-Controlled Approach Tempelhofer Feld Berlin Tegel Airport C-130 Air France Sud Aviation Caravelle Stars and Stripes ADIZ Air Defense Identification Zone US Army Canadian Air Force the Pentagon Andrews Air Force Base Philadelphia Airport hippie protest family community draft dodgers teaching credentials high school teacher G.I. Bill pilot training VA Veterans Affairs ATP airline transport pilot private license San Diego State College Palomar Airport friendship skiing F-4 Phantom TACAN Tactical Air Navigation DME Distance Measuring Equipment German Air Force MiG Mikoyan Sukhoi Wild Weasel F-105 radar anti-aircraft Robert McNamara Lyndon Johnson Cuthbert A. Pattillo Fulda Gap patriotism Freemasonry draft Agent Orange Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Europe Colorado Springs (Colo.) Colorado San Diego (Calif.) California South Cheyenne Canyon Road (Colo.) Pikes Peak (Colo.) Balboa Park Texas Philippines Pennsylvania Cortez (Colo.) Denver University Shelter Island Azores (Portugal) Portugal Hahn (Germany) Germany North San Diego County San Antonio (Tex.) Oklahoma City (Okla.) Tucson (Ariz.) Arizona Mississippi New Jersey Israel Middle East Austria Bavaria Kastellaun (Germany) Koblenz (Germany) Hunsrück-Kaserne Libya North Africa United States Winston-Salem (N.C.) North Carolina Iowa Vietnam Berlin (Germany) Frankfurt (Germany) West Berlin Frankfurt Rhine-Main (Germany) East Germany West Germany Soviet Union Garmisch-Partenkirchen (Germany) Kitzbühel (Austria) Zweibrücken (Germany) Moscow (Russia) Munich (Germany) Philadelphia (Pa.) Ohio New Zealand Australia France Canada Carlsbad (Calif.) Fallbrook (Calif.) Arkansas Mount Rushmore Yellowstone National Park Community history San Diego Veterans History Initiative Veteran experience https://archivesoralhistories.csusm.edu/files/original/bf4f4b113bcc11eb37cf6ce6bdf0b1fc.pdf 8c4371b5c262998739da418766fb3436 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 Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. 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 Shaffer, David. Interview transcript, November 20, 2025. Creator An entity primarily responsible for making the resource David Shaffer Contributor An entity responsible for making contributions to the resource Jason Beyer Date A point or period of time associated with an event in the lifecycle of the resource 2025-11-20 Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. David Shaffer License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> Format The file format, physical medium, or dimensions of the resource Text Identifier An unambiguous reference to the resource within a given context ShafferDavid_BeyerJason_2025-11-20_transcript Is Part Of A related resource in which the described resource is physically or logically included. San Diego Veterans History Initiative Description An account of the resource Captain David Shaffer served in Europe as an air traffic controller during the 1960s. Shaffer was raised in San Diego County where his father was an engineer for Convair. From a young age, Shaffer aspired to become a military pilot, a goal which his tall height prevented. As an air traffic controller, Shaffer spent most of his deployment in Portugal and West Germany during the Cold War. He designed forward airfields during the 1967 Arab–Israeli war, although the conflict was over before they could be used. After leaving military service, Shaffer taught high school industrial arts in North San Diego County. He used the G.I. Bill to gain his master’s degree from San Diego State College and his private pilot license. In this oral history interview, Shaffer tells stories from his military service and reflects on the importance of patriotism. Subject The topic of the resource US Air Force Captain Cold War Consolidated Aircraft B-24 B-32 Convair VJ Day Victory over Japan Day 2nd Pennsylvania Heavy Artillery Regiment American Civil War Prussian British American Revolution German American cavalryman Fort Bliss Galloping Goose Denver and Rio Grande Railroad Denver University San Diego State University marine engine mechanic Officers Training School Second Lieutenant air traffic controller Keesler Air Force Base TERPS Terminal Instrument Procedures forward airfield U.S. Army Corps of Engineers Six-Day War Sinai Peninsula Lajes Field Strategic Air Command General Curtis LeMay Officer in Charge Hahn Air Base B-36 B-36 Peacemaker A model B-36 engineer little people Lackland Air Force Base officer trainee club officers' club FAA Federal Aviation Administration ATC Navy Tinker Air Force Base TERPS BFS Bundesanstalt für Flugsicherung Jimmy Stewart World War II First Lieutenant 1634B AFSC Air Force Specialty Code 1634A airmen sergeant traveling skiing childhood Davis–Monthan Air Force Base B-52 McGuire Air Force Base Colonel 50th Tactical Fighter Wing Ramstein Air Base Hitler Youth military police BMW Afrika Korps POW camp Marshall Plan R. J. Reynolds Tobacco Company Bundesrepublik Deutschland Federal Republic of Germany Bundeswehr West German Army F-100 Super Sabre Ground-Controlled Approach Tempelhofer Feld Berlin Tegel Airport C-130 Air France Sud Aviation Caravelle Stars and Stripes ADIZ Air Defense Identification Zone US Army Canadian Air Force the Pentagon Andrews Air Force Base Philadelphia Airport hippie protest family community draft dodgers teaching credentials high school teacher G.I. Bill pilot training VA Veterans Affairs ATP airline transport pilot private license San Diego State College Palomar Airport friendship F-4 Phantom TACAN Tactical Air Navigation DME Distance Measuring Equipment German Air Force MiG Mikoyan Sukhoi Wild Weasel F-105 radar anti-aircraft Robert McNamara Lyndon Johnson Cuthbert A. Pattillo Fulda Gap patriotism Freemasonry draft Agent Orange Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Europe Colorado Springs (Colo.) Colorado San Diego (Calif.) California South Cheyenne Canyon Road (Colo.) Pikes Peak (Colo.) Balboa Park Texas Philippines Pennsylvania Cortez (Colo.) Denver University Shelter Island Azores (Portugal) Portugal Hahn (Germany) Germany North San Diego County San Antonio (Tex.) Oklahoma City (Okla.) Tucson (Ariz.) Arizona Mississippi New Jersey Israel Middle East Austria Bavaria Kastellaun (Germany) Koblenz (Germany) Hunsrück-Kaserne Libya North Africa United States Winston-Salem (N.C.) North Carolina Iowa Vietnam Berlin (Germany) Frankfurt (Germany) West Berlin Frankfurt Rhine-Main (Germany) East Germany West Germany Soviet Union Garmisch-Partenkirchen (Germany) Kitzbühel (Austria) Zweibrücken (Germany) Moscow (Russia) Munich (Germany) Philadelphia (Pa.) Ohio New Zealand Australia France Canada Carlsbad (Calif.) Fallbrook (Calif.) Arkansas Mount Rushmore Yellowstone National Park Community history San Diego Veterans History Initiative Veteran experience