96 50 4772 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F50b62577d62052f764fafaef63e82383.pdf b74c0129352bac3c713f6b1d9481c9d8 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fa110a479d35481b7fe358ebcfd725115.jpg b2980397e23496a5adec4fa29846010d 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Paper copies from journalistic magazines. 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 What You Should Know About Fiesta Ware Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource This article provides information for Fiesta Ware owners regarding the use of these ceramic pieces, recommending they be used for display rather than dining due to safety considerations. The piece examines the history of uranium-glazed tableware from its 1930s origins, when manufacturers utilized uranium oxide to produce distinctive glazes, particularly the red-orange hues associated with the Homer Laughlin Company’s Fiesta line, through several decades of consumer use until scientific research on radiation exposure led the Nuclear Regulatory Commission to ban uranium glazes in the 1970s. The article's examination of how everyday household objects contained radioactive materials would have provided relevant context for Acord's artistic investigations into the relationship between nuclear technology and domestic life, offering concrete examples of how atomic materials were integrated into consumer products during the mid-20th century. Creator An entity primarily responsible for making the resource Noye, Carolyn B. Source A related resource from which the described resource is derived Country Living, February 1988, vol. 11, iss. 2, p. 90 Publisher An entity responsible for making the resource available Hearst Magazines, Inc. Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .pdf, .jpg Date A point or period of time associated with an event in the lifecycle of the resource February 1988 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Fiestaware Hanford James Acord Jim Acord Manhattan Project nuclear nuclear art nuclear materials performance art Richland sculpture sketch uranium extraction https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F7ebfcea71e2ee675e1e9ce952f19d369.pdf 2345ceb1fe9bc7a8b86ee3554264331c https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F5714ba77f8cfe30c2d4e6b8034781012.jpg 5908acaedd73d49074de96e1f49866f4 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Faa117aa00cafc3fddd5fe7c2e205841e.jpg 0d1fde284a30c37853f83531e623bbe5 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F9a854852706731ba8c40151a95efab46.jpg 12f75779634e7929d2a880d7e14711f0 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F049611806dbc07e2f8c3d32c56e55474.jpg 20798c7e68bb26a0d982e9af87079c34 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Use of Uranium in Ceramic Tableware Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource This U.S. Nuclear Regulatory Commission document from August 1978 examines uranium use in ceramic tableware, tracing its application in glassware manufacturing through the development of various uranium-containing formulations for consumer products. The study presents technical data including spectral analysis charts, radiation measurements, dose calculations for population exposure, and a table of radionuclides found in tableware with corresponding beta energy doses. The research incorporates field measurements from survey-meter readings of typical place settings and specific Fiestaware samples, with calculations indicating that extended contact with radioactive tableware could result in measurable radiation doses to users. Creator An entity primarily responsible for making the resource Simpson, Robert E. and F. G. D. Shuman Source A related resource from which the described resource is derived Radioactivity in Consumer Products Publisher An entity responsible for making the resource available U.S. Nuclear Regulatory Commission, Bureau of Radiological Health Date A point or period of time associated with an event in the lifecycle of the resource August 1978 Format The file format, physical medium, or dimensions of the resource .pdf, .jpg Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F51f604360394e0340250bc29bd17af48.pdf 944fed69673cee74b38cb55cc79b41d1 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fc462552f9d7abee611087f08563a3083.jpg a1cefa41ea77fd37a7da333e64971057 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fa6975f0bd947117a7d5df273d7b7c681.jpg 926805f5d15205bbfdfe52700e5f520b https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F89dc152310a22c893c2c5b303527525c.jpg f48bcdf32cd126d274621d376b9e6bd0 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F45c536fb0daf3bdc487af9231ba809e4.jpg cc520be9f01dcb560ac6da7f19e3a18c https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fc49471d8c47193094f9c1dff7ebc63e8.jpg e485fd7de71ee86ad736b5a122ef3a75 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F8d5d0f1e7239b829bad5968d2c88e60b.jpg e955c7d042b4743061a1fe944c342147 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F4aca1c9963972af619cc6cf0217ea55e.jpg 72499ac8caa1f1f41e80adeaf509643c 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Leaching of Uranium from Glass and Ceramic Foodware and Decorative Items Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource An examination of uranium leaching from glass and ceramic items, testing 35 uranium-containing samples including glassware and Fiestaware when exposed to acidic solutions. The study documents uranium content and leaching characteristics through detailed measurements, with particular focus on red-orange Fiesta ceramic pieces that showed significant uranium levels. The authors conclude that while uranium ingestion hazards are generally minimal under normal use, significant leaching occurs when acidic solutions contact uranium-bearing glazes, suggesting these items may be more suitable for display rather than food service. Creator An entity primarily responsible for making the resource Landa, Edward R. and Terry B. Councell Source A related resource from which the described resource is derived Health Physics: The Radiation Protection Journal, vol. 63, no. 3, Sept 1992 Publisher An entity responsible for making the resource available The Health Physics Society Date A point or period of time associated with an event in the lifecycle of the resource September 1992 Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource .pdf Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Fiestaware Hanford James Acord Jim Acord Manhattan Project nuclear nuclear art nuclear materials performance art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F671916021cf472a445e3f3ca503f8055.jpg 977a25237100cbd31ce6ac8cf9c74837 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph 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 Monstrance for a Grey Horse Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource A close-up photograph of James L. Acord's sculpture, "Monstrance for a Grey Horse." The sculpture features the carved skull of a horse, crafted from granite, resting atop a large rectangular pedestal. The work combines natural forms with monumental presentation, reflecting Acord's engagement with themes of nuclear materials and their cultural implications. Currently installed on the campus of Southwestern University in Georgetown, Texas, United States. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F119a1ca7172650c0c536d6a5e9fedf16.jpg a28789f0d0beae0e6da41ae1fd07c246 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, technical drawing Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource A technical drawing depicting a conceptual design of Monstrance for a Grey Horse. The drawings indicate the overall structure and design, and white measurement lines with numerical annotations (e.g., "8'-0"", "5'-0"") are present on both sides, indicating the planned dimensions of the sculpture. With uranium core represented with a red overlay. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Ff7771dd54cc342eb8af674c23f6ab7f3.jpg 2cfa826f773e6b2ada7198e7dd6f84f6 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, technical drawing Subject The topic of the resource Nuclear Science and Fine Art Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Description An account of the resource A technical drawing depicting a conceptual design of Monstrance for a Grey Horse. The drawings indicate the overall structure and design, and white measurement lines with numerical annotations (e.g., "8'-0"", "5'-0"") are present on both sides, indicating the planned dimensions of the sculpture. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F6354cda532a6cd94fdf92da781dca193.jpg 3a951639c1c4282dc25e722db77be4bd 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 fileDerivatives.strategyOptions.gravity = "north" 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, sketch Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource A sketch of Monstrance for a Grey Horse featuring and exploded view of the various components of the pedestal. With the uranium core insert indicated. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fba7d6907c74253a1c21ecfd904ce58b3.jpg d62b97df857fd098f331e3a04d16eb91 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Uranium Core insert for Monstrance for a Grey Horse Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource Sketch from 1987 depicting a design for the MKII cannister for use as the uranium core insert in Monstrance for a Grey Horse. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fd661075ea9251780bffc9d107d90092f.jpg 1e7baf784e2042c26f043c517430b7ce https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F3ea86e97bbbaff434d818cecde1a0e73.jpg 9bf68adb22b784207243c54307ce1a96 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F305bb9d009068449e70ffeba76cf727c.jpg ba849ccb9d1fae81fe0513037d68a5f4 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fa52b4b9c573f615feae39cdbda92f237.jpg 09d27ac6d2417ac579e949103468b0e0 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atomic Art Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource This collection of scanned newspaper pages comprises an article from the "Arts/Entertainment" section of The Seattle Times and Seattle Post-Intelligencer, published on Sunday, July 2, 1989. The prominent headline on the first page reads "ATOMIC ART," with a sub-headline stating, "SCULPTOR'S N-WASTE PROJECT MAY BE OF MONUMENTAL IMPORTANCE." The article, authored by Times Art Critic Deloris Tarzan Ament focuses on James Acord and his work, particularly his "nuclear-cored" sculptures and performance art, which engage with themes of nuclear waste and materials. Creator An entity primarily responsible for making the resource Ament, Deloris Tarzan Publisher An entity responsible for making the resource available The Seattle Times, Seattle Post-Intelligencer Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource Newspaper, .pdf Date A point or period of time associated with an event in the lifecycle of the resource July 2, 1989 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F3042c81994ecfdd89093e1fea317c852.jpg 7a23d6173b3c540814051047812d24f5 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse - Stored Outside Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource This photograph depicts the sculpture "Monstrance for a Grey Horse" situated outdoors beside Acord’s studio. The sculpture is staged among a collection of tumbleweeds and other sculptural or industrial materials. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F822382a58a5035b580525e2a80f4a7a9.jpg 7bbc6392f9a24c8ea1340a84687c0766 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, sketch Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource Conceptual drawing of "Monstrance for a Grey Horse" featuring the MK II cannister design for housing radio active materials. The detailed illustration indicates artistic planning stages Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Art atomic art drawing Hanford James Acord Manhattan Project nuclear nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fd45292cc3f856004c0fb0d31a116e7db.jpg c686641d3580a288ce6da6b8faf6ea8a 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, sketch (technical) Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource Technical drawing depicting the conceptual design of "Monstrance for a Grey Horse”. The illustration presents a front elevation view of the proposed sculpture with detailed measurements with the iconic stylized horse skull atop a multi-layered pedestal. Hand annotations specify the sculpture's dimensions. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). atomic art drawing Hanford James Acord Manhattan Project nuclear art Richland sculpture sketch https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F416fbe63752b580ad01bf07b7b67b6ca.jpg f21a77825a91a6b38961e2abaeaa9983 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monstrance for a Grey Horse, close-up Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource A detailed close-up photograph of James Acord's sculpture Monstrance for a Grey Horse. The image highlights the texture and natural patterns of the granite material, emphasizing the form and craftsmanship of the sculpture. The photograph underscores the artistic and conceptual qualities of the piece illustrating aspects of contemporary sculpture and stone art. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). atomic art Hanford James Acord Manhattan Project nuclear art nuclear materials Richland https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F5d3875df528fa4ea5f3ce3fbba8cc05f.jpg fa0e4217cdcf2101cc83034d752d658d 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The artist at work on Monstrance for a Grey Horse Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource Black and white photograph showing sculptor James Acord working on Monstrance for a Grey Horse in his workshop. The artist is bent over a large block of granite, using carving tools to shape what would become the horse skull sculpture. The granite block appears to be in an intermediate stage of carving, with the rough form of the horse skull beginning to emerge from the raw stone. The photograph captures the intensive, physical nature of stone carving, documenting the artist's process during the ten-year creation of this significant sculptural work that would later be installed at Southwestern University in Georgetown, Texas. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). atomic art Hanford James Acord Manhattan Project nuclear art nuclear materials Richland https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F0305cd1adf4742d55d3474e94ba8911e.jpg 2d896a81c7a87efe3005c6f4c7344591 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hood for Monstrance for a Grey Horse Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource Color photograph showing the right side of the hood fabricated as a conceptual component for his sculpture Monstrance for a Grey Horse. The hood features stylized forms echoing the horse skull design of the main sculpture. This element is not currently displayed with the sculpture at its Texas location, as the hood was never completed. The photograph was likely taken within Acord’s workshop, emphasizing the creative process and technical construction behind the work. The hood exemplifies Acord’s integration of form and nuclear art concepts. Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). atomic art Hanford James Acord Manhattan Project nuclear art nuclear materials Richland https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fda60a4b23b135f9cec4ca3f9d2911450.MP3 46de42bb16d7d0fde509dae03f25ad16 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fb8a77edfaf1c861bd50b6868dd98dd47.pdf 0dff133268801608f23d7836f0df93ff 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 Post-1943 Oral Histories Subject The topic of the resource Oral histories with residents about the Hanford area during and following the Second World War Description An account of the resource Oral histories with residents about the Hanford area during and following the Second World War Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed John Lucas Location The location of the interview Richland, WA Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:41:32 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192 kbps Hanford Sites Any sites on the Hanford site mentioned in the interview N Reactor, 300 Area, 117 Building, 105 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 Interview with John Lucas Subject The topic of the resource Hanford Site (Wash.) Description An account of the resource The interview with Jonathan Lucas details his work at Hanford’s N Reactor, describing duties ranging from fuel handling and reactor operations to writing new safety procedures after Chernobyl. He reflects on shift work, increased security in the 1980s, and strong camaraderie among staff, as well as the impact of the reactor’s eventual shutdown Creator An entity primarily responsible for making the resource Department of Energy Publisher An entity responsible for making the resource available Hanford History Project for the Department of Energy Date A point or period of time associated with an event in the lifecycle of the resource 4/4/1996 Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource audio/mp3 Identifier An unambiguous reference to the resource within a given context HASI.2001.025.3 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F0201c6a419701df4fe3ce6f136ca930e.mp3 fe664c5a4c01b98dbd5ad12fe2691c30 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F60ce3df185bf624b038774b97fe7937a.pdf ba5aa898ad477f5d5e9e685af3e27db4 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 Post-1943 Oral Histories Subject The topic of the resource Oral histories with residents about the Hanford area during and following the Second World War Description An account of the resource Oral histories with residents about the Hanford area during and following the Second World War Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Gwen Lith Location The location of the interview Hanford Site (Wash.) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audio/mp3 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:48:54 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbps Hanford Sites Any sites on the Hanford site mentioned in the interview N Reactor, CREHST, 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 N Reactor Opening Day Subject The topic of the resource Hanford Site (Wash.) Description An account of the resource The document covers the opening ceremony and reflections on Hanford’s N Reactor, highlighting its historic significance, technological innovation, and its roles in both national defense and civilian power production. Speakers discuss the importance of documenting and learning from Hanford’s legacy, to include President Kennedy’s original speech, and the ongoing community efforts to preserve and share this history through the CREHST exhibit. Creator An entity primarily responsible for making the resource Department of Energy Publisher An entity responsible for making the resource available Hanford History Project for the Department of Energy Date A point or period of time associated with an event in the lifecycle of the resource 03/30/1996 Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource audio/mp3 Identifier An unambiguous reference to the resource within a given context HASI.2001.025.2 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F3c413411ea8d1c48e6e84bda42239282.mp3 2575bc7fa8010f8e69011bf4d7f8bb42 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F4e1534c3267da10f21862c5e0b5e4285.pdf e2f6bd92000c64ce2cddf98f29040189 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 Post-1943 Oral Histories Subject The topic of the resource Oral histories with residents about the Hanford area during and following the Second World War Description An account of the resource Oral histories with residents about the Hanford area during and following the Second World War Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Mike Lawrence Location The location of the interview Richland, WA Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audio/mp3 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:28:38 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbps Hanford Sites Any sites on the Hanford site mentioned in the interview N Reactor, Basalt Waste Isolation Project (BWIP), 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 Interview with Mike Lawrence Subject The topic of the resource Hanford Site (Wash.) Description An account of the resource Discusses Hanford's N Reactor, addresses its unique dual mission as both a production and power reactor, the significance of safety upgrades post-Chernobyl, and the importance of openness and stakeholder engagement. Creator An entity primarily responsible for making the resource Department of Energy Publisher An entity responsible for making the resource available Hanford History Project for the Department of Energy Date A point or period of time associated with an event in the lifecycle of the resource 03/28/1996 Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource audio/mp3 Identifier An unambiguous reference to the resource within a given context HASI.2001.025.1 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F626a1e737491c3530315d7c59f0f07a7.jpg b4daf5ba699fa14f849f24f6a09a83db 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 James L. Acord, sculptor Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Leroy Acord (1944–2011) was an artist recognized for his work with radioactive materials. His artistic practice involved creating sculptures and events that engaged with the history of nuclear engineering and addressed questions surrounding the long-term storage of nuclear waste. The James L. Acord archival collection chronicles the life, career, and legacy of Acord, who was the only private individual to be licensed for the artistic use of radioactive materials. Acord’s work is characterized by his efforts to combine nuclear science with contemporary sculpture. His nuclear license number was tattooed on his neck. For 15 years, Acord resided in Richland, Washington, a community established for the Hanford Nuclear Reservation. While there, he developed a proposal to construct a "Nuclear Stonehenge" on a contaminated section of the Hanford site, which would have incorporated twelve uranium breeder-blanket assemblies. He also created the sculpture, "Monstrance for a Grey Horse," which is located at Southwestern University in Georgetown, Texas. Acord lectured at art and nuclear industry events in both the United States and the United Kingdom. He also organized forums that convened artists, activists, and nuclear industry experts. From 1998 to 1999, he held an Artist in Residence position at Imperial College London. He died in Seattle on January 9, 2011, at the age of 66. Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this collection should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for these items. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo 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 James Acord with Monstrance for a Grey Horse Subject The topic of the resource Nuclear Science and Fine Art Description An account of the resource James Acord stands with his back to the camera, revealing the neck tattoo of his nuclear materials handler's number, in front of "Monstrance for a Grey Horse." Creator An entity primarily responsible for making the resource Acord, James Publisher An entity responsible for making the resource available Hanford History Project at Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource .jpg Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Hanford History Project (HHP) operates under a sub-contract from Hanford Mission Integration Services (HMIS), who are a primary contract for the US Deparment of Energy's curatorial services for the Hanford Site. HHP proudly manages the Department of Energy's Hanford Collection, an artifact and archival collection that documents the Manhattan Project and Cold War history of the Hanford Site (1943-1990). https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F28b964a1a3d91527803d29815ddf6391.docx 73e70c30f75e0edafaf3f44fa06b8829 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 Latino/a Oral History Project Subject The topic of the resource Oral History Description An account of the resource An ongoing oral history project focusing on the history of the Latine/Latino community of the Tri-Cities, Washington area. Previously known as the WSU Tri-Cities Latinx Oral History Project headed by History faculty Robert Bauman and Robert Franklin. Hanford History Project made the decision in 2024 to use Latino/a instead of Latinx as the former more reflects the grammar and practical use and identification of Spanish speakers. We know that one term will not encompass all those identities. For example, Latine, a gender neutral pronoun and product of the queer Spanish community, was considered for use but we use Latino/a to reflect the prevalence of gendered pronouns in the Spanish language. However, we would like to acknowledge that the discourse around which term to use is complex and evolving. Every person has the right to use the term that captures who they are and that feels the most welcoming to them. Creator An entity primarily responsible for making the resource Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Language A language of the resource English; Spanish Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Robert Bauman Interviewee The person(s) being interviewed Artemo Benitez Solano Location The location of the interview Washington State University Tri-Cities Transcription Any written text transcribed from a sound 00;00;00;00 - 00;00;34;01 Robert Bauman My name is Robert Bauman. and I am a history professor here at WSU Tri-Cities. And we are conducting, oral history interview today. And it's Artemia. Artemia. Benitez Solano, is that correct? Okay. On July 20th, 2023, and the interview is being conducted on the campus of Washington State University Tri-Cities. So, if you could tell us about, when and why you decided to leave Mexico and that that process and how that came about. 00;00;34;04 - 00;01;02;21 Artemio Benitez Solano Okay, cuando you tenia ochoa anos tenia, un Como do that. una Como esta esperanza de Benita aqui Ortego porque yo we are muchos cantos Meredith Kevin Young al de temporada de del campo. 00;01;02;23 - 00;01;14;24 Translator (Yesenia Montes) Okay. So when I was eight years old I had a few doubts and hope, about coming here to work in agriculture with you. 00;01;14;27 - 00;01;33;15 Artemio Benitez Solano E? S s Esperanza with creciendo. Cuando in the three contortions. Mi vecino eta el k de la gente. Ortego. 00;01;33;18 - 00;01;45;15 Translator (Yesenia Montes) And that hope just kept growing about till the age of 1516, when his need for his neighbor helped cross some. 00;01;45;18 - 00;02;09;05 Artemio Benitez Solano EOP block Como vecino cuando tendria circuitry de se anos. Ella. Hey yo, can you have any con la la temporada del campo Emily Horne no, Joe has going to Papa tengo no yo tengo el permesso. Papa. 00;02;09;08 - 00;02;36;19 Translator (Yesenia Montes) So when he was 16, he talked to his neighbor and asked him if he could come work the season, in the agriculture fields, and his neighbor said, no, he was too young. And his parents didn't have permission, so he said no, that he had gotten his parents permission. 00;02;36;21 - 00;03;01;05 Artemio Benitez Solano He looked below Pennzoil. Those bases in Mexico. Okay, boy, esta nos vamos in no mess. Nos vamos a nomas easy to. Yeah. One. No Vamos. Then maybe Ozuna. He maybe ho mente. 00;03;01;08 - 00;03;16;10 Translator (name needed) Okay so he had talked about his talk to his neighbor and they decided that yes he would bring him. And a month later he gave him a he gave him a date. And then they resumed to set. 00;03;16;12 - 00;03;37;28 Artemio Benitez Solano EO a long term e of Consul Connell. You may be ho tengo cuanto papa necesario ya you me papaya medio permiso. Nos vemos. And then in a in del bus. 00;03;38;00 - 00;03;55;00 Translator (name needed) Okay. So then the date came and he had said that he wanted to speak with his father, and he said it wasn't necessary, but his dad had already given him permission. And so he just his neighbor just said, they would see each other at the bus stop. 00;03;55;03 - 00;04;16;22 Artemio Benitez Solano Maybe came a me ropa, if you will, in the station del bus in park and noona Mukilan those pantalones those committees. He said all the, dinero. 00;04;16;25 - 00;04;27;22 Translator (name needed) Okay, so he had told them to pack his bags, and he packed a backpack with two pairs of jeans, two tops, and no money. 00;04;27;25 - 00;04;58;25 Artemio Benitez Solano And he even was a solid cuando me papa Emilio on the bus. There we go. And I would go. Pedro! My papa Bernardo, the. They said me porque Los senora con el eran sus amigos. Mi papa him papa duo were with that in this area. You go. 00;04;58;27 - 00;05;19;06 Translator (name needed) Okay, so, he had finished packing. He was about to leave and his father asked him, where are you going? And he said to Oregon, and there is a few people coming back. And they were his father's friends. But his father was embarrassed to say that his son was leaving to Oregon. 00;05;19;09 - 00;05;50;18 Artemio Benitez Solano When we papa go see stubby and say, okay, give us a day to spare, please let me go another. This is Necesitas to to work today. Nacimiento. You know, say this in me pub. Pero me papa Diego and una bicicleta DC Agora la bicicleta e la casa e market. They talk to Nacimiento. 00;05;50;20 - 00;06;12;13 Translator (name needed) Okay, so his father, his father asked, what paper work he was bringing. And he responded with none. And then his father said, you need your birth certificate. And so his father had arrived on a bike and told him, take the bike, go home and ask your mother for your birth certificate. 00;06;12;16 - 00;06;22;15 Artemio Benitez Solano He even eat tomatoes in el bus to, a la Ciudad de Mexico. 00;06;22;18 - 00;06;28;21 Translator (name needed) And from there he took the bus to the, to Mexico City. 00;06;28;24 - 00;06;30;06 Robert Bauman Okay. 00;06;30;09 - 00;06;34;13 Artemio Benitez Solano So we got to the store where we stopped. Thank you. King. 00;06;34;16 - 00;06;46;11 Robert Bauman Okay, so then, how does the rest of the journey unfold from there? From Mexico City? How how do you get to Oregon. 00;06;46;13 - 00;07;00;09 Artemio Benitez Solano When yo tengo familia in Nevada de Mexico e e nada in Serbia. Kilo vanilla. 00;07;00;12 - 00;07;07;13 Translator (name needed) he had family in Mexico City, but nobody knew that he was on his way there. 00;07;07;16 - 00;07;33;26 Artemio Benitez Solano Me amigo. Mira. Si. No, a k l k measles. Firebaugh. Médico. Kill. Cuba. Yeah. Ellos gastos de me pueblo hasta origo. Either. Okay. Jump. I'll. Yes. Como sakala dia. 00;07;33;29 - 00;07;52;27 Translator (name needed) So he had a friend there who had told him that he would pay for his ticket. And from everything from his town to the city, and he felt like he had won the lottery because it was. 00;07;53;00 - 00;08;09;07 Artemio Benitez Solano Pero si no somos de de la ciudad de México, Tijuana. Hello. It was. See, most cuatro. Yes. 00;08;09;09 - 00;08;15;21 Translator (name needed) So they took the bus from Mexico City to Tijuana and they took about four days. 00;08;15;23 - 00;08;24;27 Artemio Benitez Solano The road e the Tijuana and. Yeah. 00;08;24;29 - 00;08;27;11 Translator (name needed) And in Tijuana that's where the nightmare began. 00;08;27;16 - 00;08;28;21 Robert Bauman 00;08;28;23 - 00;08;34;12 Artemio Benitez Solano 00;08;35;02 - 00;08;36;19 Artemio Benitez Solano she just continued. 00;08;36;26 - 00;08;43;29 Robert Bauman Yeah. Yeah. So you have no mind. No. This is really. 00;08;44;02 - 00;09;04;19 Artemio Benitez Solano Me amigo SLK Caruso and real Grupo. See your as soon. Su mano de su amigo ba q Camille q Tanya k k. 00;09;04;22 - 00;09;07;12 Artemio Benitez Solano Montenegro. Mr.. 00;09;07;14 - 00;09;25;29 Translator (name needed) So this friend was basically his friend basically crossed first and she was basically, as he explained, kind of his right hand where she would help. He would let him know, like feed him. And he was basically his eyes. 00;09;26;02 - 00;09;36;02 Artemio Benitez Solano Around Grupo de, they kin say todos sedang, senor. This Duran. 00;09;36;04 - 00;09;37;04 Robert Bauman In in. 00;09;37;04 - 00;09;46;06 Artemio Benitez Solano Luna. So they DC say Tainos kin say medio. 00;09;46;09 - 00;09;57;00 Translator (name needed) So his friend led a group of 15 adults and he was the youngest, about 15.5, 16 years old. 00;09;57;02 - 00;10;22;16 Artemio Benitez Solano No, no, no. Plateau de Cruzar Pedro de War. The Buna mother, Stuart okay. Two boys. They. Know. So are they know that to be wrong. El uno, uno de la Clara. El patron. 00;10;22;18 - 00;10;42;23 Translator (name needed) So his. He wasn't as lucky because, as they were crossing somebody told on him and basically let the officers know that he was the leader. And then he got caught. 00;10;42;25 - 00;11;12;29 Artemio Benitez Solano Todos. No. That to are on e. Army may separate on in in those who were not in those they may notice. He told me San Miguel was going you know the this pero yo tenia DCC sons yo no sabia qué pasando you. No. Not any. They are k kilo k. Thank grab. So. 00;11;13;02 - 00;11;39;02 Translator (name needed) Okay so they were all held captive. not whole captive but they were taken into custody and they were separated. He was separated into the juvenile old which is a younger, and the others were into the adult. And he couldn't wrap his head around how or what, how big of a deal this was being in the juvenile. 00;11;39;04 - 00;11;46;16 Artemio Benitez Solano No somos Tijuana, no charro. Pero nada mas. Ivana. I really saw. 00;11;46;19 - 00;11;52;13 Robert Bauman Involved. Okay? Just because it looks funny when you see it back, I know it's hard to think of it that way. 00;11;52;18 - 00;12;19;08 Artemio Benitez Solano No registration part. Tijuana. I mean, no me when me when they see estaba yo me por qué era me not even a Yamaha. No se Como la your faster algo ghetto mother position then not do that. 00;12;19;11 - 00;12;36;14 Translator (name needed) Okay. So they had been taken back to the Juana and they were going to take him. Well, they were going to leave him there and they were going to call, the foster system to let him stay. 00;12;36;17 - 00;12;52;20 Artemio Benitez Solano Pero a read a story to record the official case Johnson gave, or no a nino se VA conoce con su grupo. Nope. Y aqui solo. 00;12;52;22 - 00;13;10;01 Translator (name needed) he just remembered that there was an officer by the name Johnson who had stated that, no, he wasn't going to stay there. He was going to go, back to Tijuana with the rest of the group. Okay. 00;13;10;03 - 00;13;36;16 Artemio Benitez Solano So no nos estamos algo. Tell estaba nos perdido. No sabia no no se viendo said. Pero con nosotros iba una Romano de me amigo. me vecino el el hermano del kill Javier venido. 00;13;36;18 - 00;13;54;21 Translator (name needed) When they got to the hotel, they were lost. But one of his friends, one of his friends brothers was there. and he had already been through that process. He had already been there. So he kind of helped lead. 00;13;54;24 - 00;14;16;17 Artemio Benitez Solano And el hermano contacto mas in Los Angeles. But are muchos amigos, contacto una amigos thing in Los Angeles in this particular situation, he Los amigos like that on him. 00;14;16;19 - 00;14;29;17 Translator (name needed) So he got into contact with a few friends. He had two friends in Los Angeles, and he talked to them about what was going on, and they ended up helping. 00;14;29;20 - 00;14;38;16 Artemio Benitez Solano E la curiosities k uno de Los conocido enemy. Otro vecino. 00;14;38;18 - 00;14;48;01 Translator (name needed) And he thought it was curious that, one of the guys that helped him was also a neighbor. 00;14;48;03 - 00;14;54;13 Artemio Benitez Solano ETA et al. Where el esposo. They make other. 00;14;54;16 - 00;15;02;03 Translator (name needed) So he was the husband, his sister in law. 00;15;02;05 - 00;15;14;26 Artemio Benitez Solano He and in a nutshell, are those de la manana stubborn taekwondo. La puerta del hotel can see one porque todos nosotros. 00;15;14;28 - 00;15;24;01 Translator (name needed) So our night. It was about 2 a.m.. They were knocking at the door, because they were coming for them. 00;15;24;03 - 00;15;30;10 Artemio Benitez Solano S con console, Senor. So this to me was mas when a sweat. 00;15;30;12 - 00;15;40;25 Translator (name needed) And with those people, with the contact. they had much better, Look. 00;15;40;28 - 00;15;55;02 Artemio Benitez Solano Do we most el proceso, the the Juan de Los Angeles fueron did. But as the as. El dia de Los Angeles. 00;15;55;04 - 00;16;06;03 Translator (name needed) So their journey was a three day journey where on the third day they arrived, in Los Angeles from Tijuana. 00;16;06;05 - 00;16;27;13 Artemio Benitez Solano You see the casing marinating? No, nosotros. They. CF when in. La place. Kubo. They. 00;16;27;15 - 00;16;30;21 Artemio Benitez Solano Come for the past few days. 00;16;30;23 - 00;16;32;13 Translator (name needed) Just here. 00;16;32;15 - 00;16;43;14 Artemio Benitez Solano In la equipo de un nino de DCC anos de Pablito. The. 00;16;43;16 - 00;16;49;24 Artemio Benitez Solano The Cinco familias. Hijikata Alessi de Los Angeles. 00;16;49;27 - 00;17;06;24 Translator (name needed) So he would like you to for us to imagine, a young boy, arriving to Los Angeles, a little boy from, small town of about 50 families. 00;17;06;26 - 00;17;11;21 Artemio Benitez Solano E to Angeles. Como. 00;17;11;23 - 00;17;25;29 Artemio Benitez Solano Depends a lot on Miss buscando trabajo E. 00;17;26;01 - 00;18;49;13 Artemio Benitez Solano Sorry. Okay. 00;18;49;16 - 00;18;50;04 Artemio Benitez Solano Dropping out. 00;18;50;11 - 00;19;41;11 Robert Bauman You know, it's like. Take your time. There's no rush. Understand? 00;19;41;13 - 00;19;53;19 Robert Bauman Okay. 00;19;53;22 - 00;20;10;00 Robert Bauman So Los Angeles would have been a very different place. Yes, yes. Huge city. Yes. I wonder if you could talk about how long were you in Los Angeles and, before you went to Oregon, then. Okay. 00;20;10;03 - 00;20;24;21 Artemio Benitez Solano Do we most in Los Angeles? Circuito Dumas, Como buscando trabajo? Como es business con vecinos. Q estaba. 00;20;24;23 - 00;20;31;05 Artemio Benitez Solano Uno de Miss Bessie. Nos. Nos acaba camina todos Los dias. 00;20;31;07 - 00;20;48;01 Translator (name needed) So I was in Los Angeles for a month looking for work. with all of the neighbors and friends and group. And his neighbor would take them out to walk every single day to look for work. 00;20;48;03 - 00;20;59;10 Artemio Benitez Solano Porque el blankie, el blanket yo tengo vecino el or the El Vecino original trabajo. Jesse Corado. 00;20;59;12 - 00;21;10;20 Translator (name needed) So he had his original plan with his neighbor, the one who helped him cross had already finished. 00;21;10;23 - 00;21;24;02 Artemio Benitez Solano It. You know, the hero buscan trabajo aqui o this blessing Como pueden. 00;21;24;04 - 00;21;41;12 Translator (name needed) So they were told, they had to find a job then or right there, or they would have to basically figure it out on their own. 00;21;41;14 - 00;21;49;00 Artemio Benitez Solano Due to the journey. De la Esperanza. Okay, you gotta go. 00;21;49;02 - 00;21;59;12 Translator (name needed) He. I never lost hope of finding a job in Oregon. Heading, getting to Oregon this year. 00;21;59;14 - 00;22;10;10 Artemio Benitez Solano Toledo got me. Me, Esperanza. The hunter test for the SS. 00;22;10;12 - 00;22;19;26 Translator (name needed) Since the day I left home, my hope was to be able to pick strawberries. 00;22;19;29 - 00;22;39;13 Artemio Benitez Solano Were not. Whoa, whoa. Milagro. Okay. Are you going? Otro conocido hablo communist. Si. No. The cong mis amigos de Los Angeles. Okay, k Korean veinte trabajadores. They sing or they go. 00;22;39;16 - 00;22;53;12 Translator (name needed) So one of his, neighbors had spoken to his friends and, told them that somebody in Oregon was needing 20 pickers. 00;22;53;15 - 00;23;08;28 Artemio Benitez Solano And as the head on a una semana Western listos. Necesito veinte Elmo's. Ademas, Como desea says. 00;23;09;01 - 00;23;20;29 Translator (name needed) So they were told to, that they would be there in a week and to be ready they need because they needed 20 pickers and there was 16 of them. 00;23;21;01 - 00;23;32;16 Artemio Benitez Solano A yo pensé you know, they go, por qué si kid and Bantay e solamente somos. He says, seguro q ahi. 00;23;32;18 - 00;23;42;27 Translator (name needed) I thought to myself, I'm already in Oregon because they needed 20 and there was 16 of them. He had already made it. 00;23;42;29 - 00;23;53;18 Artemio Benitez Solano In East we don't know fueron dos qué fueron Los Angeles. 00;23;53;20 - 00;24;10;06 Artemio Benitez Solano Man. And they have an Lincoln Continental cada uno no existing and they, they Como Lincoln Continental or Centeno maybe you can. 00;24;10;09 - 00;24;24;26 Translator (name needed) There was two, two guys who had, the continental Lincolns who said 89, wondering if you know what it looks like if you imagine. Oh yeah, I eat. 00;24;24;28 - 00;24;36;05 Artemio Benitez Solano I can somos logics and nossos carros. Says, you know, when it was el rumbo, the Oregon. 00;24;36;07 - 00;24;43;06 Translator (name needed) All 16 of them were able to fit into those two Lincolns, and they were on their way to Oregon. 00;24;43;09 - 00;25;13;14 Artemio Benitez Solano Otra sorpresa nos cayo cuando iguanas cuando en las montanas de Oregon estaba la nearby. This is the alto e u e Gilman b k says so we are we stolen away. Okay, so la Esteban se Randolph freeway. 00;25;13;16 - 00;25;33;28 Translator (name needed) There was another surprise on the way to Oregon. passing the mountains. He saw three inch, three inches, three feet of snow. And he was so surprised because he had never seen this. And he thought to himself, what is this? 00;25;34;00 - 00;25;51;07 Artemio Benitez Solano Cerrado. El freeway e todo el al lop in in the State Patrol. The little stubborn poniendo Los Rosalia inos where they seal ustedes Calabria nabbing cruzar. 00;25;51;09 - 00;26;04;04 Translator (name needed) So the freeway was being closed and State patrol, was there. And I told them that they had to go up to the other side around because nobody was going to cross. 00;26;04;07 - 00;26;34;18 Artemio Benitez Solano We're not el al policia iba the un cara otro diciendo les cases per se pueden cinco de si sodas mientras limpia bungle freeway, pero me amigo dijo bueno Los young man handle is better. Take care, mother Lajos e Betty otra base freeway. Vamonos. 00;26;34;20 - 00;27;07;22 Translator (name needed) So, the police officer was going to each car and letting them know that they had to basically park because they would have to wait five hours until the freeway was cleared and the two drivers had been speaking to each other, and they had said that they were just going to wait a little longer for the police officer to go into the other vehicles, and they were going to try again and just go through the freeway. 00;27;07;25 - 00;27;26;23 Artemio Benitez Solano E esa where una otra. A road K they are in a car. Venia. Esta these sandos and el jello porque todos tabaco krdo. 00;27;26;26 - 00;27;38;04 Translator (name needed) That was another mistake because as they were going driving through the freeway, the car kept sliding on the slippery freeway. 00;27;38;06 - 00;27;56;21 Artemio Benitez Solano Pero giga digamos digamos could you Samuel Montanez e cuando Sabah no sin and Eugene, Oregon el manager said just what going. 00;27;56;24 - 00;28;11;10 Translator (name needed) So they kept driving to the freeway and, across the mountains. And once they were in Eugene, Oregon, Oregon, they were told that they had arrived in Oregon. 00;28;11;13 - 00;28;20;18 Artemio Benitez Solano The whole system was in Oregon. Pero no Stamos in that in Portland, per te VA knows no one knows a Portland. 00;28;20;21 - 00;28;28;20 Translator (name needed) They had arrived in Oregon, but they were not yet in Portland, is what they were told. 00;28;28;22 - 00;28;37;13 Artemio Benitez Solano Digamos, oh. Digamos a Portland. 00;28;37;15 - 00;28;48;09 Artemio Benitez Solano Enos J how in Rancho is tying Hillsboro? 00;28;48;11 - 00;28;57;11 Translator (name needed) So they arrived to Oregon and they were taken to a ranch called Boy Hillsboro. 00;28;57;15 - 00;29;09;15 Artemio Benitez Solano Yeah. Ethan Empezamos a trabajar por un cuarto tiempo. 00;29;09;18 - 00;29;23;03 Artemio Benitez Solano K Aparicio, owner mano a mano K severe have a needle e k this Aparicio por dos anos. Nosotros no Saviano on estaba. 00;29;23;05 - 00;29;39;23 Translator (name needed) So once they were at the ranch they, she had found seen a brother of his who had left two years prior and they hadn't heard back from him. 00;29;39;25 - 00;29;52;29 Artemio Benitez Solano On own Senor Médico to to witness de la familia Benitez chosen by your. 00;29;53;02 - 00;30;10;25 Translator (name needed) So a man approached him and asked them what family he was from and his, kin that he knew somebody, he knew where his brother was. And let him know that his brother was in New York. 00;30;10;28 - 00;30;16;23 Artemio Benitez Solano Cuando hermanos supercluster, Bango. They go. 00;30;16;25 - 00;30;39;16 Artemio Benitez Solano El estado by your. Porque yo tengo mucha familia aqui toda me familia until they come near you. Tengo familia in New York. En todo me primos. Mysterious. Mucha familia de Los. They me a pedo. We need. This is in New York. 00;30;39;18 - 00;30;56;25 Translator (name needed) So, when his brother found out he was in Oregon, he was surprised because he. They have a lot of family in new Jersey, a lot of cousins. And, they were heading me. 00;30;56;27 - 00;31;17;12 Artemio Benitez Solano Amir might not be no conmigo e eight to be more empezamos a trabajar. You in El mundo es de este anos de San Jose mas grande de cayo e y empezamos a juntos. 00;31;17;14 - 00;31;28;22 Translator (name needed) So his brother met with him in Oregon and they started working side to side with each other. And that's when they began working together. 00;31;28;24 - 00;31;50;20 Artemio Benitez Solano Pedro. Yo, they cuando digo. They go, you can be me. See, there's totalmente yo yo yo venir other campo de la fuerza. Pero Joel, you got go. Cambium is plan is totalmente that you trabajar el campo. Yo mas grande de. 00;31;50;22 - 00;32;11;08 Translator (name needed) When he arrived to Oregon he had, an idea of what he wanted. He wanted to pick strawberries. But once he was in Oregon, his ideas, his what he wanted completely changed. He wanted something more. He didn't want to work in the field. 00;32;11;11 - 00;32;34;00 Artemio Benitez Solano Todos Los race hermano. Medicine. No, El campo. Not el campo. Por qué es es lo vamos a hacer porque no somos meaning yes. No store. Somos campo. No campo. Pedro job. Now they go. And you know campo. 00;32;34;02 - 00;32;58;19 Translator (name needed) So his family, his brothers had told them to to not think that way, to work in the field because that's what they knew. That's what they were good at, he said. Looking back at his childhood, that's basically all they did field work. and he didn't want to do that. And he wanted. 00;32;58;21 - 00;33;22;25 Artemio Benitez Solano The Hillsborough no more Vamos para para Saint John. A Sunday at Mass in the in Portland. Huge burrow is up. What are the Portland common outside the city? no vimos dentro de la vida Como es otros otros amigos e episodio lo bueno. 00;33;22;27 - 00;33;39;18 Translator (name needed) From Hillsboro, he moved into Johnson, which is like, more into the city and then from there he. And being in the city, they that's where all the good stuff began to happen. 00;33;39;21 - 00;34;14;01 Artemio Benitez Solano Even I campo de las cuatro de la manana. Nos levantar cuatro la manana e Sabah no salas Dulce de la tala. Jigawa nos uma Barnaba nia ropa Olympia uma busca trabajo IBA. You may require mucho, una de gruchy pequena can you iba con el dicha no hito trabajo? 00;34;14;04 - 00;34;37;19 Translator (name needed) So he'd get up at two in the morning from two in the morning to 2 p.m.. He would be working in the doing field work, and right after that he'd go back home, take a shower, get ready, and there was a small grocery store where he would visit, and he would always talk to the owner and ask him to hire him. 00;34;37;21 - 00;35;02;29 Artemio Benitez Solano In El Nino de Siena. Does my roving. No, let me go. Ya tengo de Shinobi anos de say in cinema two two. Lee Sentia hota permiso. No! Let me go. No lo tengo these two permiso. It trabajo. UN permiso de disinhibition. You are so much easier to anos. 00;35;03;01 - 00;35;28;12 Translator (name needed) The owner would tell him no, that he wouldn't hire him because he was too young. And he's. He replied with no, but I'm 19. And he said the owner had replied with but come back when you have, a license or permit or something that tells me that you are 19 or at least 18 years old. 00;35;28;15 - 00;35;48;06 Artemio Benitez Solano Estaba anos viviendo nosotros todos a new era. No, say it was we. We are not told. We are not in Apartamento. They don't recommend us. Todos Los ninos tenian and three treinta is quaintance yo Tania Pena, he says. 00;35;48;08 - 00;36;06;04 Translator (name needed) So he was living in an apartment of two bedrooms with about 12 adults. They were all between the ages of 30 and 50, and he was only 16.5. 00;36;06;07 - 00;36;41;28 Artemio Benitez Solano It also passo por un ano después de un ano. See CMOs muchas applications until, say, until no can Como resume in nada this or antes de nos applications a mano y las el trabajo. He is an he semen muchas hicimos muchas la mayoria de me hermano con Los amigos. Yo this data yo. No, I mean no one. 00;36;42;00 - 00;37;06;11 Translator (name needed) So that was their living situation for about a year. And they he would go apply for some jobs. But since there wasn't resumes back then, they would have to fill out paper locations and drop them off. But that was mainly his brother and his friends because they were all over the age of 18. For him, it was a little more difficult. 00;37;06;13 - 00;37;44;17 Artemio Benitez Solano UN de Gregory, Somos de trabajo del campo. Total stubbornness in Abajo. The, in the in Nasrallah e vamos under your mother. The the, McDonald's Kuku Papa and those this is. Pero door sedan senoras e e nunca trabajar. The new restaurant Y cuando Yaman dijeron queremos dos trabajadores e todo saber uno otro. 00;37;44;20 - 00;38;07;08 Translator (name needed) So, one day there, they received a call while they were all at their apartment. And it was from McDonald's asking for two workers, and every adult that was in that room looked at each other, because none of them have had ever worked at a restaurant. 00;38;07;11 - 00;38;35;21 Artemio Benitez Solano E un unknown, muchacho. They would not. But they cinco anos dijo yo, we are in quimica conmigo. Not in Quito. Me hermano diseno nosotros no y contigo. No. Two. No, they 2000. We pequena they go. Yo boy, this thing. Bueno. No kidding me. They say Vamos. 00;38;35;24 - 00;38;57;29 Translator (name needed) So 33 year old had said I'll go. And nobody he asked is anyone else coming? But no one responded. And then he said, I'll come with you. And he looked at him and he said, no, not you. And then, he said, I'll come with you. So then he's like, oh, okay, come along to Taiwan. 00;38;58;02 - 00;39;35;16 Artemio Benitez Solano And digamos, digamos el, and McDonald's is a McDonald's around, solo venue. on the new privado, El Sol and Vista Ajo, you and me with senor me, me, amigo e el el senor de the un saying you the aqui cannot believe. is espanol El nino muy poquito. 00;39;35;19 - 00;40;00;19 Translator (name needed) When they arrive to the restaurant McDonald's. since it was a private owner, private owned McDonald's, the owner is the one that basically had the interview with them. He tried speaking Spanish, but he couldn't really speak too well. And that's how the interview went. 00;40;00;21 - 00;40;05;05 Artemio Benitez Solano In Mexico, when they say. 00;40;05;08 - 00;40;27;13 Artemio Benitez Solano El the training to El to trabajo between in and muchacho they say no sé porque you had a musica yadong in a si el mucha chico when they saying that we have a chance. Una semana. Do you say. 00;40;27;15 - 00;40;51;27 Translator (name needed) So? He looked over at the 33 year old and he said, okay, you you have a job. But I looked at him and he said, I don't know about the young ones, but since he said that he was shy, he was a little quieter. So it was a lot more difficult. But the owner ended up saying, it's okay, I'll give you a week. 00;40;52;00 - 00;41;30;23 Artemio Benitez Solano De nos nos. Rio de la Sokcho de la la la noche a trabajar. E yo yo me matera. They had el campo e trabajar in a restaurant area. You know, Campo, a restaurant one, don't they? and McDonald's have a campo de de las cuatro. La manana. Allah Allah. Una de las dos ye. And al McDonald's. De la soto al has dosi. 00;41;30;26 - 00;41;53;13 Translator (name needed) So he shifts where from 8 p.m. to midnight and he didn't want to work in the field anymore. So. But he continued working. He worked from 4 to 1 and then he would work, McDonald's from 8 to 12. 00;41;53;16 - 00;42;11;07 Artemio Benitez Solano Después de ahi debemos. Muchos muchos cambios me amigos I go rely on make yo trabajar con. 00;42;11;10 - 00;42;27;24 Artemio Benitez Solano Cada Vecchio iba al McDonald's yo demostrar y yo that me me calida or me? In today's the. 00;42;27;26 - 00;42;31;16 Artemio Benitez Solano Inca de trabajo. 00;42;31;19 - 00;42;48;11 Translator (name needed) him and his friend continued working there, but they had moved his friend and he kept working there. But every single shift he had there, he tried to demonstrate his capability and his interest in working there. 00;42;48;14 - 00;43;23;13 Artemio Benitez Solano Is to be eat, eat in El tiempo del campo. Yes. Estaba cuando un poquito. Yeah. Compassion manager. Yo yo make me me premier Coachella K tenia un us una Canada and we made you después me co-chair. Hasta un Pyongyang. Groening can you talk with reporters? Evie. Yo, Salia, buscar mas trabajos. 00;43;23;15 - 00;43;41;11 Translator (name needed) So we kept working. McDonald's and us a year, year and a half later, he was able to buy his own car and he would drive it to go find other employment. 00;43;41;14 - 00;44;02;21 Artemio Benitez Solano Me, segundo trabajo, even country. They. They bus boy. They limpia miss us in the restaurant. Little Puerto kid three yellow Recuerdos. The Yamaha long. 00;44;02;23 - 00;44;16;27 Translator (name needed) So the second employment and the second job was first boy at a restaurant and right near the airport. Still remember his name. 00;44;16;29 - 00;44;42;25 Artemio Benitez Solano El mismo tiempo. El mismo tiempo universal viendo de puesto en el McDonald's. El ano link abajo John waiter your cuando el McDonald's. You had a common dishwasher. Pero Como el trabajo de la ganas de trabajo had massive yo para casi neto de. 00;44;42;28 - 00;44;51;17 Translator (name needed) Where as as his. When he first entered working at McDonald's, he was a dishwasher and the owner saw. 00;44;51;20 - 00;44;56;21 Translator (name needed) His capabilities, his interest and his, you know, him. 00;44;56;21 - 00;45;00;11 Translator (name needed) Being a hard worker, he moved him up to be a, cooker. 00;45;00;13 - 00;45;42;09 Artemio Benitez Solano Like cook e cuando iso paso behind the hill, Campo de campo quedo Torres a trabajo en el restaurant del Puerto e Utrgv Harbor. And then and then McDonald's. Cambiar on May cambiar on the the. Then and maybe or the de las de las dos de villa until de las dos Como on say says and then Russia or Yemen and. 00;45;42;11 - 00;46;00;14 Translator (name needed) At this point had already left the field. He was no longer working there. He was working McDonald's from his shift was changed from 11 to 6 during rush hour. And then he kept working, the restaurant near the airport. 00;46;00;16 - 00;46;31;11 Artemio Benitez Solano And the restaurant. You travel. How about the city? City? Maria? dos de la gnocchi. E Como siempre yo siempre cada abajo. Hasta siempre debajo trabajo. Siempre trato de lo lo mejor 4K. Pues European. Qué said cuando uno trabaja. No, no K casa lo mejor. 00;46;31;13 - 00;46;50;13 Translator (name needed) his second job the restaurant he worked from 7:30 p.m. to midnight and he thinks that, every job you have, you have to try your best and do the best. And that's what he's done today. 00;46;50;16 - 00;47;22;26 Artemio Benitez Solano E después and then McDonald's and puesto sube. the course in narrow sube. Frank Connors el antes suitable right through microphone aqui giorno and escuela. You know, you're not pretending in escuela. Not them. You're not una classy here. Solamente. They low you see you the in the middle trabajar aqui. 00;47;22;29 - 00;47;43;10 Translator (name needed) So as he moved up from Latin cooking up to the drive through. And then he had his microphone. He didn't go to school. He didn't for English. He didn't learn English. He all of the English he knows was working with people and. 00;47;43;13 - 00;48;08;22 Artemio Benitez Solano E el mismo tiempo viendo puesto en el McDonald's driver's window. Puesto nel el restaurante. They the busboy. You get the, waiters. Esta macedo in el restaurant even may or may, may cambiar on banquets. fiestas badass. 00;48;08;25 - 00;48;25;10 Translator (name needed) So as he moved up at McDonald's, he also moved up, the restaurant. He went from busboy to waiter to planning for being, and it paid for him. 00;48;25;13 - 00;48;33;29 Robert Bauman And about how long did you then work at McDonald's and at the restaurant? 00;48;34;02 - 00;48;43;23 Artemio Benitez Solano those simple trabajar al mismo tiempo. Qué siempre. You have to wait until they kill me, Calzada. You simplemente two way Dorsey Terrace. Trabajo sul tiempo. 00;48;43;26 - 00;48;49;15 Translator (name needed) E cuanto tiempo trabajo. And those those restaurants. 00;48;49;17 - 00;49;00;20 Artemio Benitez Solano And then McDonald's European. So Cubanos tres cuatro anos Ian and Shiloh and el resto dang dos anos. 00;49;00;26 - 00;49;02;28 Robert Bauman 00;49;03;00 - 00;49;06;26 Translator (name needed) So he basically for 2 or 3 years. 00;49;06;28 - 00;49;25;08 Robert Bauman Yeah. Right. Yeah. at what point then, because we talk about when you moved from Portland to the Tri-Cities, you were married, right? And did you at what point when you there did you meet your wife? 00;49;25;10 - 00;50;00;10 Artemio Benitez Solano You may say, aqui otra vez la loteria. And then mcdonough's cuando me suppose I. Miss your, your tenia trabajando Como una uno dos anos. And then my. And then McDonald's. Cuando Diego un una muchacha Alta. Weather con soup lo medio cafe. Yo tener una uno Amiga. Si, senor. That's good thing the enemy acquired. Cuanto the owners to see? 00;50;00;12 - 00;50;10;04 Artemio Benitez Solano Where did you see you eat? Una senora? 16 the young unos cuarenta three anos. 00;50;10;06 - 00;50;40;07 Translator (name needed) So he won the lottery there as well? She was about. He was working at McDonald's. He. There was a tall, black, not blond, but like light. She was brunet. He walked in and he had some friends, some workers. They were about 40 years old there. And, she she walked in and he saw her. 00;50;40;10 - 00;51;14;22 Artemio Benitez Solano A few trabajo I had. I g go trabajar in la manana, you know, la vida mucho porque you have an el dia trabajo in la manana. UN dia men with money. Una is cuando yo la Kenosha. Image amigas la senora Kenosha. Maybe you must be ESA mucha in San Miguel. Maybe here on a se gusta la mucha mas grande. 00;51;14;22 - 00;51;18;00 Artemio Benitez Solano They get to. 00;51;18;03 - 00;51;47;03 Translator (name needed) So he she arrived there, looking for a job and she. But then she began working there. But she worked mornings and he worked the rush hour. So one day he was switched to morning. And his friend, we're telling him that the. You know, you like her, you like her. And then they told him that she was a little older than him. 00;51;47;06 - 00;51;48;25 Translator (name needed) Was it mas Alta? 00;51;48;27 - 00;51;50;29 Artemio Benitez Solano Must be. Must get the. 00;51;51;01 - 00;51;53;04 Translator (name needed) She was older than him. 00;51;53;07 - 00;52;28;04 Artemio Benitez Solano E m is a mega lady here on air. He was high to be most, Certainly most ever stay there if you must know. We also know Ricardo Q tiempo Queen was nervous. Pedro. Jorge. Siempre. Concentrate on me. Trabajo siempre tabaco. you know qué? And ademas said yesterday in Sunnyvale. Queria seguir mas. Are you okay? Yes. 00;52;28;06 - 00;52;31;22 Artemio Benitez Solano Seguida. Lando. Mars. 00;52;31;24 - 00;53;06;06 Translator (name needed) So he ended up taking her out. they went out a couple times. he doesn't remember how long they were together. But he does remember that when, while he was with her, she did always think about his job because he wanted to, you know, go up in life and have a better, better job. 00;53;06;08 - 00;53;07;17 Artemio Benitez Solano The, 00;53;07;19 - 00;53;14;17 Robert Bauman Oh, sorry. I was just gonna say she had brothers here in her family here in the Tri-Cities at that point. Right here. 00;53;14;20 - 00;53;29;12 Artemio Benitez Solano no, no, no, that time, I think, this después the su familiar siempre trabajar in construction and you said you'll be in Portland E Vivian in Vancouver. 00;53;29;14 - 00;53;31;06 Robert Bauman 00;53;31;08 - 00;53;41;04 Artemio Benitez Solano Yes. Okay. there was no no required cuanto most mmo con su familia. 00;53;41;06 - 00;54;02;07 Translator (name needed) So her family has worked in construction and since he was in Portland and they were in Vancouver, he does remember how many times they went out. But at a certain point she took them to meet his, to meet her family. 00;54;02;10 - 00;54;31;22 Artemio Benitez Solano I, not safe. Well, not otra dessa por k. Muy given me. But indeed, on your last familia, Danny Wallace. Pero suva su familias mas Como Dillingham muy especial. 00;54;31;24 - 00;54;47;09 Translator (name needed) So he that he took another surprise when he met her family because he thought all families were the same. But when he met her family, she knew that there were special. 00;54;47;12 - 00;55;15;02 Artemio Benitez Solano Do we must soon Toshi Barrios may present Super Pam a present. Tosa mama su said my nose todo yeah, yeah, yeah. If we most, There if we must know. Because Yahi. Yes, they. Ate, Ate. I'm, 00;55;15;05 - 00;55;42;05 Artemio Benitez Solano Mas muchos tiempos hunters. Pero yo yo también Jose estaba concentrating ng and buscar must trabajo if you're simply a. Yeah. Yeah we're not European so Cheetos getting mucho tiempo juntos yoga stim no mucho pero yummy. Pure idea that Ella también. You yum. Buscar mas trabajo okay. 00;55;42;07 - 00;56;14;11 Translator (name needed) So he met her mom, her father, her siblings. And from that point on they became a couple. And she really wanted to spend lots of time just like all couples do. But he doesn't think that he spent as much time because he was also he was also he was always concentrated on finding a job or like finding a better job. 00;56;14;13 - 00;56;52;02 Artemio Benitez Solano Yeah, he he said, Como parenthesis. Como una? break the I asked the q nacio me nino porque. No, no. Como comida. Bedouins are contar. They say punto. I don't did not hear me. Nino. So e yeah. Visao tiempo e e to be want nostro nino. If you say todavia, i.e. they are. 00;56;52;04 - 00;57;08;09 Artemio Benitez Solano I had the here McDonald's. McDonald's halfway. Yeah. Can you get your style? style tapas porque there right through there from Konrad. Thank you for the store manager. 00;57;08;11 - 00;57;28;11 Translator (name needed) Okay, so then he went on to say that, you know, he was with his wife, and then they had their son, and from there he was still working at store, and he just kept, going up hills at the front. And then a store manager. 00;57;28;13 - 00;57;52;17 Artemio Benitez Solano They had McDonald's. He todo. Yeah. You are very, otro trabajo in el downtown Portland. and then city parking. But yeah, about your, About carros de Los trabajo in those edificios. Estaba listo dejar el restaurant también. 00;57;52;20 - 00;58;09;04 Translator (name needed) So he left McDonald's and started working downtown. And Portland has like a valet parking, area. And then from there, he was also planning on leaving the second restaurant he worked at. 00;58;09;06 - 00;58;30;28 Artemio Benitez Solano An El restaurant. No. Maybe Hawaii. Porque yo Como dos anos dos anos. But do you see pasado mas de dos anos in those anos? Your siempre mercado del mais de llano Etna. Muchos premios. Okay, maybe here don't Q no me fuera. 00;58;31;01 - 00;58;44;23 Translator (name needed) So at the restaurant they were they didn't want him to leave because he had one so many employee of the month, employee of the year awards, and they were trying to do all they could to keep him from leaving. 00;58;44;25 - 00;58;53;06 Artemio Benitez Solano Pero lo mismo siempre yo queria algo mejor. I go major in here. Okay? You rando gente. 00;58;53;08 - 00;59;05;18 Translator (name needed) So he did continue to walk more. And so he was told that UPS was hiring and. 00;59;05;20 - 00;59;32;20 Artemio Benitez Solano Contact we. Yeah. Nice. So. Yeah. Nice. Entonces you. Yeah. No tenia until yo tenia preocupacion miedo abajo. Pero es una Giuliano tenia preocupacion miedo. Yo iba qualche lugares. Give me gusto up trabajo real ups e y appliqué e me me sit on me in vista. 00;59;32;22 - 00;59;58;12 Translator (name needed) So before he had always had fear or he wasn't as confident to approach these employment and ask for a job. But at this point he didn't fear, didn't he had the confidence enough to go anywhere and seek employment and ask for employment. And he was given, an interview with I. 00;59;58;15 - 01;00;21;09 Artemio Benitez Solano so cuando trabajo an in Los hermanos de Misano de se model patrol series. E cuando se murong la me senora casi todos Los dias. This seeing a desire to do it to posso mood and say para car. 01;00;21;12 - 01;00;45;08 Translator (name needed) So while he was working, he worked on UPS for about an hour now a year. So a year. And while he was working there is when her wife's brothers moved to the tri cities, and they called her every day. And told her to move down with her husband. 01;00;45;10 - 01;01;12;15 Artemio Benitez Solano Yo yo siempre pensé can miss me. Another aqui yo for the kilo entrada la construction porque toda so familia as hermanos primos. Todos yo no sabia a contradiction. Pero cuando yo no idea antes pero cuando yo soup de construction. Mientras muchisimo. 01;01;12;17 - 01;01;35;25 Translator (name needed) So at first he thought that his wife wanted him to go into construction, but he didn't even know what construction entailed or what it was. So once he found out and was like explained what they do and like in the can in construction, he said he became very interested in it. 01;01;35;27 - 01;02;05;08 Artemio Benitez Solano Lo pensé lo pensé poco porque you yiadom digamos job in this video, yo e John Kerry. a ladder construction pad or yo siempre, we, And then and then futuro the they mean iho senora la. 01;02;05;10 - 01;02;21;19 Translator (name needed) So he didn't really he thought about it, but he thought of himself as a city boy. And he did say that he always thought about his wife and his son's future. 01;02;21;22 - 01;02;51;27 Artemio Benitez Solano As a comic convention that he may dijo vamos a ver it the to see this most concern. Mano nos vamos he de helpless boy. but at that may we need your, tri series concert. Your memo de concert. Mano escondida por un nos as messages. Bebe conejos. 01;02;51;29 - 01;03;10;27 Translator (name needed) So his wife convinced him of coming down to visit. And then after that, he eventually moved down for a month with her brother and the sister in law, and lived for a month. 01;03;10;29 - 01;03;35;22 Artemio Benitez Solano In concert. Mano a mano es mare Kaya Como today's Cuatro annual Mallorca. Moving on. Buddy is going on. Buddy e. Ahi de the foundation. Hasta la terminado. 01;03;35;25 - 01;03;53;19 Translator (name needed) So he started working alongside his brother in law, who's a really great man, 3 to 4 years older than his wife. And they did everything from foundation work to all finishing touches. 01;03;53;21 - 01;03;58;14 Robert Bauman And, is this like residential construction, commercial. 01;03;58;21 - 01;04;06;16 Artemio Benitez Solano C residential hacemos puro residential. None of the commercial. No puro residential. 01;04;06;18 - 01;04;08;15 Translator (name needed) So it's all residential? 01;04;08;18 - 01;04;15;04 Robert Bauman No commercial. And then so you you and your your wife and son moved in 96, 97. 01;04;15;04 - 01;04;42;06 Artemio Benitez Solano And when are you okay? You move. They come. Those masses e e la vision me. That they de la uno author and mano there you they Are you ho e una todo lo q tenemos he Debian is unger mano de la la. You don't have todo noone you ho e se ve no Eric. 01;04;42;06 - 01;04;43;14 Translator (name needed) We're lucky. 01;04;43;17 - 01;04;47;03 Artemio Benitez Solano And then no and no. 2030. 01;04;47;06 - 01;05;03;08 Translator (name needed) So 97. He had called his wife and told her to ask for, brother to help her rent a U-Haul and fill it up with everything they had and drive down. 01;05;03;10 - 01;05;31;01 Artemio Benitez Solano Train to duplex in Marshall Street and Richland. Joe. Me me senora amigo. Alex tenia Como nano, but I assume. E todo lo trabajar con mano. Yeah. Buscando ho and noon and noon. 01;05;31;04 - 01;05;47;20 Translator (name needed) So his son Alex was one years old, and, he would work every day with, his brother in law. And his wife ended up finding a job at a gas station. 01;05;47;23 - 01;06;08;26 Robert Bauman So you mentioned earlier that the tri city sort of reminds you of where you grew up in Mexico. how how did you find the tri cities in terms of as a place to work, as a place to raise a family? 01;06;08;29 - 01;06;18;26 Artemio Benitez Solano It's muy es muy comodo. Es muy, 01;06;18;28 - 01;06;35;00 Artemio Benitez Solano Como libreria muy seguro. Es muy seguro. Aqui e todo esto una no I trafico otra vez. No antes Oleta. Yes. Diferente. 01;06;35;03 - 01;06;47;16 Translator (name needed) So it's very comfortable very safe. And he says the no traffic. Well at least at first there is no traffic. 01;06;47;19 - 01;06;58;20 Robert Bauman Yeah. More now than that. Yeah, yeah. and then so you've worked in your whole time here in the Tri cities, construction with. Yeah. 01;06;58;22 - 01;07;24;01 Artemio Benitez Solano See you. El tiempo construction trabajo me those, Joey e e de nos trabajadores de me otro lado. Me el mas grande de in el mejor de la familia. And you start, so to say, they used to bang in Longview and use Costa Rica and Longview. 01;07;24;03 - 01;07;53;11 Translator (name needed) So at first they, him and his brothers in law worked for his other brother in law, which is the oldest brother of his wife. And his basically who it was a I think long mill where they constructed and like their main office before working with this place throw a whole going to also you know. 01;07;53;13 - 01;07;58;27 Artemio Benitez Solano You know el kuno mas grande de es el bueno de la compania de la compania. 01;07;59;00 - 01;08;02;15 Translator (name needed) so the oldest is the owner of the company. 01;08;02;18 - 01;08;16;29 Artemio Benitez Solano E ya empezamos a trabajar de todo el tiempo. Yo tengo navia, yo quiero gigaton al nivel. Questa mas grande. La compania. 01;08;17;01 - 01;08;38;15 Translator (name needed) So once he started working with his brothers in law and saw how they basically did everything in the construction, he thought himself that he wanted to be like his brother in law. He wanted to be at that level. 01;08;38;17 - 01;08;56;26 Artemio Benitez Solano But hey, poor Uno, no recuerda uno cinco anos satanas con el pero la compania de me kuno UK. Just to buy listo. You say un una propuesta me kuno. 01;08;56;28 - 01;09;19;13 Translator (name needed) Yeah. So he worked with his brother in law for six years for the company, and then he, he sent here, he showed his brother in law and kind of, like, not an offer, but an idea of the sort. 01;09;19;16 - 01;09;54;28 Artemio Benitez Solano Yeah, yeah, yeah. Porque Joe simple make considerable. Well, not always say you may consider one bueno trabajadores todo he maybe he don't. Eaglehawk New York. I sell me propio negocio in construction e you know, maybe he don't know two things con nosotros they got no yo quiero I said Como independent me here on Nardi say see independent. He said peerless el trabajo. 01;09;55;00 - 01;10;18;07 Translator (name needed) So he said that's when another nightmare began. Because he had showed them the offer he wanted to create his own business, but they had basically shut down the idea and said no, that if he wanted to continue and do that, he could he would lose his job. 01;10;18;10 - 01;10;45;21 Artemio Benitez Solano Pero Jonasson you yeah. Kenosha muchos in that in the drama de construction. You know Kenosha. No me familia familia Zayas. But he most amigos todos. Yeah Kenosha. You'll see. Oh boy said went on k sus amigos de ellos siempre main trabajar con Dios. 01;10;45;23 - 01;11;06;26 Translator (name needed) So at this point, he had already known he had a lot of connections within the construction world. He had a lot of cousins and friends of his wife's family, and he was known for being a hard worker and working alongside with them as well. 01;11;06;28 - 01;11;31;20 Artemio Benitez Solano He may be here now. Okay. No. As to compania pero not trabajo con nosotros esto. Para me Teddy grace mas grande de okay. No yo quiero me compania. Yo quiero said Dwayne de me compania. 01;11;31;23 - 01;11;49;14 Translator (name needed) So they basically said okay, you can go on and do that or and lose your job, or you can just stay here and we'll give you a raise. But he didn't want to raise. He wanted his own company, his own business. 01;11;49;16 - 01;11;53;00 Robert Bauman And so about when was this that roughly. 01;11;53;02 - 01;11;59;20 Artemio Benitez Solano Two those meals Cinco those meals says see. 01;11;59;23 - 01;12;01;22 Translator (name needed) 2005. 01;12;01;25 - 01;12;02;19 Artemio Benitez Solano Yeah. 01;12;02;22 - 01;12;05;17 Robert Bauman And so you started your own company at that point. 01;12;05;19 - 01;12;50;15 Artemio Benitez Solano But me come companion el dos mil cinco. Those mil says, pero cuando me compania way uno maybe you uno the the problemas but does it tomar trabajo. Pero me me song Como. Europeans okay. No, no song LLC no serious symptoms in la familia. Maybe he don't see no tiene hockey pero we on. Maybe he don't. Okay. This to compania two was a Finnish word para nosotros. 01;12;50;18 - 01;13;22;08 Translator (name needed) Okay. So he said it was difficult for about half for years finding work. But he doesn't think his. Well his brothers in law aren't bad people. They just really they look they care for their family. So right after they told them about him losing his job, they they went and they told him that he would do the finishing touches for them. 01;13;22;10 - 01;13;45;15 Artemio Benitez Solano S cuando se yeah me compania the iem trabajar conejos es una companion muy grandi and using. And today the owner's circuitry wants to send out yo yo yo yo todo la carpinteria. Yo so soy carpenter. 01;13;45;18 - 01;14;04;27 Translator (name needed) So his. They have a really big company. So they do about 6080 houses a year. And he does like the carpentry aspect of it. So he says he's, he's a carpenter. 01;14;05;00 - 01;14;26;23 Robert Bauman so one question that I've been asking people that we talked to is sort of the impact of Covid on themselves, family, community. and so in what ways did Covid impact, your work or or did you see any impacts in the community or so? 01;14;26;23 - 01;14;39;27 Artemio Benitez Solano See, see more on the in in a selection. Especially in those, in those orders. Get the order. 01;14;39;29 - 01;14;49;25 Translator (name needed) So really big branches construction was affected during Covid specifically those who get paid by the hour. 01;14;49;27 - 01;15;12;22 Artemio Benitez Solano Nosotros Como compania. Si. No I don't. Pero no more. Good. Yeah. No mucho Como trabajadores Puerto de por qué. Cuando no tiene un negocio. Uno siempre B para el futuro e necesito. No ahora. 01;15;12;25 - 01;15;37;21 Translator (name needed) He said not for him. Not we didn't really expect as an hourly employee. More like saving money for the, you know, future for any specific. Occasion that would happen and any time he would need money. 01;15;37;24 - 01;16;08;28 Robert Bauman You know, so one last question for you, and that is, so you been here for going 25 plus years? so you talked about the traffic change, more traffic. I'm curious of, you know, especially in terms of the Hispanic community, sort of changes maybe you've seen in the time since you moved here in the 1990s. 01;16;09;01 - 01;16;17;28 Artemio Benitez Solano muchas m eastern. Muchas in, sentido, the. 01;16;18;00 - 01;16;48;22 Artemio Benitez Solano Nosotros somos laws de la talvez no otro single molecule para Los padres K Como yo. Given the most the del pueblo e una familia aqui e tenemos e horse e tal base Como not not tenemos not tuvimos educacion in me pueblo. No knowledge, no list. Hemos la. 01;16;48;25 - 01;16;54;09 Artemio Benitez Solano La educacion correct de nuestros hijos. Aqui no todos unos. 01;16;54;12 - 01;17;27;20 Translator (name needed) So being from a small town, he thinks that as a parent, not all parents, but some that since they he is from a small town and the education is very limited, he doesn't have as much education. But coming here to the United States and having children and, giving their children the correct education or the education needed. 01;17;27;23 - 01;18;02;28 Artemio Benitez Solano Yes. You mean machine. Okay, Los cambios k aqui and and and tri series song. Como Los Los papas. No no se me open opinion can always damos when educacion nuestro seahorse. Your son knows k I think can be a, a la sfida ING bueno for them in my la forma. 01;18;03;00 - 01;18;20;19 Translator (name needed) So in his opinion, there are those parents who don't give them like a good education. And so it can go both ways. Either can cause good changes for the city or bad changes. 01;18;20;22 - 01;18;39;17 Artemio Benitez Solano Me amigo or me Vecino tengo medici. They they very indigenous. Edu Carlos Como nos edu nosotros eBay e various kittens. We una sweetheart segura. E when. 01;18;39;20 - 01;18;56;22 Translator (name needed) So his friend neighbor says, they should let them educate their kids. And that way they would have a good safe city. 01;18;56;24 - 01;19;23;29 Artemio Benitez Solano Pero eso not Sally uy es muy. Diagnostic. Como esta soy, Pedro. La vamos mucho Alberta a seahorse Jimmy Como yo me. In my opinion do we de nos algo k no Livia Ramos. Tanta libertadores seahorse. 01;19;24;02 - 01;19;44;21 Translator (name needed) So in his opinion a lot of liberty a lot of freedom is given to. De I mean to children or kids. And that in his opinion he wouldn't give as much freedom. 01;19;44;23 - 01;19;58;10 Robert Bauman I think those are the questions I have for you. Is there anything that, I didn't ask you or that you didn't get a chance to talk about, that you would like to, mention or. 01;19;58;12 - 01;20;24;27 Artemio Benitez Solano No. No, we can do second, once you have a chance. Next time. I have a song. I have a song. 21 year old, I hope. And she don't give in there, but I have a song. 20. Well, you know, he's studying, what? He's studying computer science. And he told me, hey, soon I get a job, and soon I make a big money. 01;20;24;29 - 01;20;32;18 Artemio Benitez Solano And I hope and you don't get to all. I mean, go hiring somebody. Can you, write you a book? 01;20;32;21 - 01;20;34;29 Robert Bauman there you go. Yeah. 01;20;35;02 - 01;20;58;04 Artemio Benitez Solano Hey. I'm being I'm being writing a little way before I forget, you know, because I think the older you get forgetting. Right? So sometimes in my free time, I'm in. Right? Things like, you know, when I leave the time and things, things like this. So many things. So see here we're hopping, you know, see here. We made that thing. 01;20;58;07 - 01;21;02;10 Artemio Benitez Solano I mean, I can just show hang by that. That's great. 01;21;02;10 - 01;21;05;18 Robert Bauman And that's also you can share it with your children. 01;21;05;22 - 01;21;20;24 Artemio Benitez Solano Yeah. Yeah, that's pretty much my goal. I like to, you know, in the future. See, she get kids, you know, say he's grandpa's life or whole story. Yeah. 01;21;20;27 - 01;21;44;19 Robert Bauman Yeah, absolutely. Yeah. Well, thank you so much for being willing to come in here and talk to us and share your story. Life story is really interesting. I appreciate it. and, Yeah. no problem. And thank you. And Liz, thank you. And for for suggesting it, I appreciate that. Thank you very much. And and it's great to meet you and. 01;21;44;19 - 01;21;56;28 Artemio Benitez Solano To me too. Yeah. And like you say, we, we bcba, you know, any time, any just, you know, like, like you say we I want company. I can take it. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:21:57 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 Interview with Artemo Benitez Solano Subject The topic of the resource Oral History; Latin American; Hanford Site; Richland, WA, USA Description An account of the resource Artemio Benítez Solano was born and raised in a small rural town in Mexico, where from an early age he dreamed of coming to the United States to work in agriculture. At sixteen, with his father’s reluctant permission, he left home with little more than a backpack and traveled by bus to Mexico City and then to Tijuana, where he crossed into the United States with a group of migrants. After a difficult journey through Los Angeles and Oregon, he found work picking strawberries near Hillsboro before eventually moving to Portland, where he held jobs at McDonald’s and local restaurants. In the 1990s, Benítez Solano settled in Washington’s Tri-Cities region, where he worked in construction alongside his brothers-in-law and later founded his own company. Over his decades in the United States, he built a family and contributed to the growth of the local Hispanic community. Reflecting on his life, he expresses pride in his children’s education—especially his son studying computer science—and hopes that his story will inspire future generations to value hard work, family, and perseverance. View the oral history on <a href="https://youtu.be/kt-MH4xHKLg">YouTube</a> Creator An entity primarily responsible for making the resource Hanford Oral History Project at Washington State University Tri-Cities Publisher An entity responsible for making the resource available Hanford Oral History Project at Washington State University Tri-Cities Date A point or period of time associated with an event in the lifecycle of the resource July 20, 2023 Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource video/mp4 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fd309633d2b2e913ecba13bcd1e5e7abf.docx 386db21301d4c7feee86f43e67c34188 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F18b2ebcb86c3cc7b88b710c4ce32e2d1.docx fc2068d66a2bbfee22d4a58978703e04 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2F7c7ef3041ca31eb999b89815db29df5b.mp4 9e3bb692d058a2136c73fbfc9d100517 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 Latino/a Oral History Project Subject The topic of the resource Oral History Description An account of the resource An ongoing oral history project focusing on the history of the Latine/Latino community of the Tri-Cities, Washington area. Previously known as the WSU Tri-Cities Latinx Oral History Project headed by History faculty Robert Bauman and Robert Franklin. Hanford History Project made the decision in 2024 to use Latino/a instead of Latinx as the former more reflects the grammar and practical use and identification of Spanish speakers. We know that one term will not encompass all those identities. For example, Latine, a gender neutral pronoun and product of the queer Spanish community, was considered for use but we use Latino/a to reflect the prevalence of gendered pronouns in the Spanish language. However, we would like to acknowledge that the discourse around which term to use is complex and evolving. Every person has the right to use the term that captures who they are and that feels the most welcoming to them. Creator An entity primarily responsible for making the resource Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Language A language of the resource English; Spanish Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Robert Bauman Interviewee The person(s) being interviewed Ruben Peralta Location The location of the interview Washington State University Tri-Cities Transcription Any written text transcribed from a sound 00;00;00;00 - 00;00;19;23 Robert Bauman First of all, my name is Robert Bauman. I'm conducting this oral history interview with Nathaly Mendoza on July 20th of 2023. We're doing this interview on the campus of Washington State University, Tri-Cities. So, Natalie, again, for administrative purposes, could you please say and spell your full name, please? 00;00;19;24 - 00;00;37;14 Nathaly Posada Yeah, of course. Do I look over there laughter]? My name is Natalie. Spelled N-A-T-H-A-L-Y. last name Mendoza-Posada, M-E-N-D-O-Z-A. The other last name, P-O-S-A-D-A. 00;00;37;16 - 00;00;38;11 Robert Bauman Is there a hyphen or? 00;00;38;15 - 00;00;38;26 Nathaly Posada No. 00;00;39;03 - 00;00;59;05 Robert Bauman Okay. Thank you. Let's start our chat here by... If you could talk to us about your family and essentially your family's migration story, when and why you came to the tri cities, that sort of background? 00;00;59;06 - 00;01;24;15 Nathaly Posada Yeah. Of course. It first started with my grandma. I believe that this was before I was born. She moved here. She had six kids. As a single mother, she had to move to the United States, while her parents took care of her kids. Also, there were older kids as well. They took care of each other. She moved to the Tri-Cities first. She first moved to Florida, then she moved to Chicago, and then she moved to Washington. Why? How? Probably work related. A few years later, when I was about 9 or 10, my mom and I moved to the United States here to Pasco, because my grandma was already there. I was 9 or 10. We moved as well, because the financial situation in Mexico was continuously getting worse. A way for my mom to continue to provide for her, for myself, but also her two older children that were in Mexico was to make the leap and move here. 00;02;24;11 - 00;02;41;26 Robert Bauman Okay. Coming to the Tri-Cities was in part because of your grandmother. Nathaly Posada Yes. Robert Bauman Okay. When you left Mexico, were you able to come straight here? Did you have to stop anywhere else on the way, or did you stop anywhere else on the way? 00;02;41;29 - 00;02;59;07 Nathaly Posada As far as the crossing, we stopped at... I want to say in Arizona, and I was there for a little bit, probably a week as I waited for my mom. Then, we just came over here. Straight over here. 00;02;59;09 - 00;03;02;11 Robert Bauman What part of Mexico was your family from? 00;03;02;13 - 00;03;26;04 Nathaly Posada Kind of all over. My grandma was from Hidalgo, Guerrero. My mom also lived there for a long time, but I was born in Silao, Guanajuato, when my mom moved. And then from there, we kind of went over here. 00;03;26;07 - 00;03;28;18 Robert Bauman And you mentioned you had two younger siblings? 00;03;28;21 - 00;03;29;22 Nathaly Posada Older. 00;03;29;27 - 00;03;33;07 Robert Bauman Did they come here as well at some point? 00;03;33;09 - 00;03;56;06 Nathaly Posada No. They were already in their university years. They decided to stay and continue going to school over there. Both of them had their careers over there, so they never came back. They come to visit, but they stayed over there. 00;03;56;09 - 00;04;03;24 Robert Bauman What sort of work or labor did your grandmother, and then your mother find, when they came here to the Tri-Cities? 00;04;03;25 - 00;04;29;26 Nathaly Posada It's all field work. So, my grandma ended up doing all kinds of field work, especially because she migrated from Florida. She did orange fields over there. I want to say that in Chicago, she worked in factories, and when she came here, it was apple, cherry, basically all of the orchards in the Tri-Cities has to offer. 00;04;29;29 - 00;04;31;01 Robert Bauman And your mom then similar? 00;04;31;07 - 00;04;33;18 Nathaly Posada Yes. Yeah. 00;04;33;21 - 00;04;51;16 Robert Bauman You were nine when you came here. As a nine-year-old, what was that transition like? Did you know English? How was transitioning to school here? Could you talk about that? 00;04;51;17 - 00;05;17;09 Nathaly Posada It was hard. I didn't know any English from Mexico to then. So luckily, I was able to find teachers that were bilingual. I ended up going to Longfellow Elementary School. I don't know if there were any ELA classes at that time, but I wasn't put in an ELA class. It's just straight English, but my English teacher was bilingual, and I didn't have any issues with math. That transition was hard, because of the language barrier, but I was able to get a hang of it and maybe understand within a year and communicate a little bit after a year. 00;05;40;28 - 00;05;46;16 Robert Bauman What sort of housing were you able to find, when you first came here? 00;05;46;20 - 00;05;52;09 Nathaly Posada Well, we lived with my grandma. At that time, she already had her house, so we just stayed with her. 00;05;52;17 - 00;06;15;18 Robert Bauman Okay. Right. After you were able to sort of make that transition, what was growing up in Pasco and the Tri-Cities like for you? What sorts of memories or things about the Hispanic community here in the area? 00;06;15;25 - 00;06;46;27 Nathaly Posada I think that now that I look back and communicate with my peers who are also part of the community are shared... Not only Hispanic community, but also other immigrant communities, is that our parents were always working in order to make sure that we could survive. A lot of it was sort of—not taking care of ourselves—but definitely finding emotional support within our friends or all of their little friends as other ten-year-olds. But, it was nice. I did have cousins here as well that were older. Overall, it was just about finding my way, finding myself here in a sense, and trying to assimilate and adapt into a culture and a new country. 00;07;08;29 - 00;07;23;13 Robert Bauman Sure. What led you to come to WSU Tri-Cities? Was getting higher education and college degree something that was always really important to you and your family? 00;07;23;16 - 00;07;46;13 Nathaly Posada Well, both of my siblings ended up going to college and higher education. That was always instilled in me. Not as in a, “You need to do this...” But like, “This is the way that your siblings have paved the way.” Obviously, my mom not having a college degree was always a factor. As far as making sure that she gave us the opportunities for us to be able to do that for ourselves. Going to WSU Tri Cities was because I wanted to stay close to my mom. I guess the overall history is that we've always been together, and so, I didn't want college not to be a part of that. It was nice to come to WSU Tri-Cities. I made a lot of great memories here. I was involved in a lot of leadership positions within the university, and overall, it was a nice steppingstone and a way of growing into my future endeavors. 00;08;28;04 - 00;08;38;06 Robert Bauman Yeah. So, talk about that. What led you to getting involved in student government and other groups and activities on campus? 00;08;38;07 - 00;09;01;29 Nathaly Posada Well, it was during Covid that I was getting involved. Overall, I was very timid. I was definitely stuck in my comfort zone for my freshman and sophomore year here. I also did Running Start here. It was that transition as well. During Covid, it was like, “What do I have to lose?” That was definitely the question that I asked myself. I was like, “Why not?” It led me to get connected into student government, but also other clubs and organizations. It was worthwhile to take that initiative and take that leap. 00;09;25;03 - 00;09;47;25 Robert Bauman Yeah. So, as you mentioned, a lot of that was during Covid. I wonder if you could talk about that a little more. Like what were some of the challenges of being involved in student government during Covid in terms of communicating with students and having events and that sort of thing? 00;09;48;21 - 00;10;16;09 Nathaly Posada I think that the hardest part... I was also part of the MOSAIC Center for Student Inclusion during that year. The biggest struggle was like, “How do we make WSU Tri-Cities feel like a community without being together?” That was the biggest struggle. We would send out emails through the MOSAIC Center. We would host events and just hope that somebody would show up. It's definitely easier to do school at home, but you kind of lose the sense of the campus and the college experience because you're at home all the time. In comparison to being on campus, like our students would be waiting in between classes. They would see an event. They would see food. They would go into the room. That wasn't a possibility during Covid. That was the biggest issue. I think not only for us, but for all of the other departments here at Tri Cities and for, you know, other colleges around the nation. I am definitely glad that our student population that showed up did show up, because it was just able to launch when we did come back in person. Our students knew that these resources were available to them. 00;11;22;04 - 00;11;58;09 Robert Bauman Yeah. One of the things that some of our students had issue with was internet accessibility, right? When we were completely online from March of 2020 through spring of 21. What other issues do you remember, when you're involved in student government, that you had to address or dealt with or tried to work on? 00;11;58;11 - 00;12;31;03 Nathaly Posada Yeah. During that year, I remember that one of the biggest issues were also not only internet but also computer accessibility. I had many computer issues within my own experience. That was something that student government... That year the president was Robin and Stephanie. They developed the program for students to be able to rent out computers if they needed them. That was definitely another issue that I saw. I think that I had, at the time, a pretty okay computer system, but it failed me many times. But, I can imagine what other students with either no internet access or no computer access were going through in an all-virtual learning experience. 00;12;56;14 - 00;13;02;17 Robert Bauman Right. And then of course, the following year, coming back, there were new challenges. Everyone having to wear masks and also some students that were hesitant to come back. Some courses were completely virtual and some were hybrid and some were... I wonder if there are any issues related to that, things you remember as being involved with the student government that you were trying to work with there... 00;13;29;20 - 00;14;03;15 Nathaly Posada Yeah. The biggest issue was... During Covid, the whole university did a restart, because we hadn't been here for a long time. We kind of didn't know how to how things operated or what was the norm. For us, it was bringing life to campus again, making it feel like a campus again, when a lot of our students, especially our freshman that had spent a year virtual already, like, what are they going to experience? What are they going to remember within their first year? Not only back on campus, but also probably their freshman year of university. That was the biggest hurdle for me personally. It was just adapting to the continuous new learning methods that I needed from being totally virtual to trying to be better at time management to being in a classroom where I feel like I hadn't done that in a long time. The hybrids that were always just weird. Definitely a planner. The planner was a lifesaver. 00;14;49;05 - 00;14;52;26 Robert Bauman Well, yeah. Between your classes and then all your responsibilities, student leadership. Yeah. I'm sure having everything planned out was very helpful. So, you talked about how you were a little timid. I am wondering what your involvement in student leadership gave you going forward. What did you learned from that and what have you taken away from that? 00;15;18;12 - 00;15;45;13 Nathaly Posada I mean, it definitely taught me that it's okay to talk to everybody. It will bring me new experiences. The more that I network, the more doors I open for myself. I feel like that's something that's not necessarily talked about for other students within our community. We're not taught to network. We're not taught to do all of these things. And so, definitely student government enabled me to be able to branch out more, be able to tell my story. My mentor, during my year, Ian, always pushed that on us. As far as me and Isaac, my vice president, it was continue to network, continue to talk to various donors, even though it was a little uncomfortable to be in these spaces, because they were new. Moving forward, what I learned was to just get out there and talk to other people. I probably don't give myself enough credit in that I also have a lot of people to support me and to ask for help. That's the biggest thing, asking for help with something that I took on. 00;16;51;13 - 00;17;16;20 Robert Bauman Yeah, it's a good lesson to learn. Yeah. So, you talked about talking to donors... What other sort of responsibilities? When I think of ASB president, I always think of working with students and things on campus and you talk about some of the challenges of that. What other responsibilities came along with that position that I probably wouldn’t think of or others either? 00;17;20;02 - 00;17;56;15 Nathaly Posada Of course. The Student Body President at WSU Tri-Cities is supposed to be the liaison for administration and students. It was working with a lot of administration, having monthly meetings, weekly meetings, to talk about the challenges that our students were facing. Sometimes the biggest hurdles of that was that our students want and demand things very quickly and rightfully so, because they're only here for 4 to 5 years, if not shorter. Making changes takes money and takes time. Sometimes in higher education, the clock moves slower than how we want students to... How we want students to sort of see the change. That was part of my responsibilities. I also had the opportunity to work with Anna Plemons and Chancellor Haynes. I was able to share my story with donors at the WSU Foundations, talking with President Kirk. So, a lot of administration and a lot of audiences that I wasn't used to talking to or sharing my experience with, but also learning the ins and outs of that. And sometimes, we did have unwanted reactions. And so, seeing how Chancellor Haynes would like deal with that was also helpful for me to see. 00;19;07;23 - 00;19;22;19 Robert Bauman Some might have a sort of negative reaction in response to that... Did any of those audiences you talked... Were you involved at all in talking with prospective students, groups that either on campus or out in the community? 00;19;22;26 - 00;19;49;21 Nathaly Posada Yes. definitely prospective students. Every tour, ASBWSU were here for our outreach events. We would talk to them. We talked a lot to alumni as well, sort of the ones that we knew and that would constantly visit our campus. 00;19;49;24 - 00;19;58;08 Robert Bauman In those talks, would you share your story, your family's story, and also then talk about the campus? 00;19;58;09 - 00;20;31;03 Nathaly Posada Yeah. So it was like, “This is why I decided to go to the Tri-Cities. It was because of my family, because I was able to commute here and still live at home while having great resources to a great education.” That was definitely one of them. The other things that the campus had to offer to entice other students or other prospective students to attend here. Robert Bauman I wonder how all these experiences, your family experiences, your educational experiences... Now, as you're going to be heading off for graduate school, another job in a new place, Seattle... What do you think those experiences have... How have they helped prepare you for the future? Nathaly Posada Yeah. I mean, they have prepared me so much. If I wasn't part of student government, I don't think that I would have... I would be able to say that. I am definitely really comfortable with stepping into new places, because of what I've done basically my whole life. Adapting and changing, adapting with everything that's changing around me is something that's very natural and comes really natural to me. Being student body president, going into graduate school and other opportunities that I have, definitely enables me to use everything that I learned here. I did supervise other students, so I do have that experience. I was able to work with stakeholders and donors and talk to them. That is also something that I take on with me in my professional career. Definitely, student government is a must for students that are wanting to get involved, in my opinion. 00;22;11;11 - 00;22;35;26 Robert Bauman Is there anything that, either about your family's experience or your personal educational experience, or growing up in Pasco, in the community, that we haven't asked you about or we haven't talked about that you think would be helpful or important to share? 00;22;35;29 - 00;22;41;19 Nathaly Posada I guess... That's a good question. I think that something that... I was having this conversation with my partner's younger sister. She's only in middle school, but we were talking about higher education and if she wanted to go to college. I brought up the fact that sometimes... She would be also a first-generation student. I was letting her know. I was like, “Look. I understand that sometimes, maybe not now, but once you get to that stage, high school, where you're thinking about what you want to do—if you want to go to college, if you want to go to a technical school—it's definitely daunting for a first-generation student that hasn't experienced that to go through the process.” I guess that's just kind of it. With my experience in the in the Tri-Cities campus, I was able to gain some knowledge about the system, making it easier for me to attend graduate school. I kind of know what higher education, how higher education actually looks like. I was talking to her about that and how sometimes it's daunting. But luckily for her, she has multiple people, that she can ask for help in navigating the systems. 00;24;13;28 - 00;24;44;22 Robert Bauman And someone that is a role model, right? I thought of that too, as you're talking. Our student population, roughly 50% in first-gen, roughly 50% Latinx. It's the most diverse of the WSU campuses. Have you thought about that in your role as SABWSU Tri-Cities President, being a role model, potentially? 00;24;45;23 - 00;25;14;09 Nathaly Posada Yeah. I have. I mean, I talked to a lot of people and even so now. I do remember this experience, where one of my fellow class... Well, he wasn't a classmate, but we worked in the same space, but he wasn't in student government. He told me that he looked up to me and that I pushed him to get out of his comfort zone and join more clubs and so and stuff. I mean, I do, but I kind of don't. I see my impact in other people, but I definitely feel like we're all moving towards greatness together. Not necessarily in a role model. 00;25;32;05 - 00;25;41;26 Robert Bauman Yeah, sure. Great. Well, I don’t think I have any other questions for you. Do you have anything else that we haven’t touched on? 00;25;41;28 - 00;25;44;19 Nathaly Posada I don't think so. 00;25;50;17 - 00;25;53;00 Unknown I have other questions, if that is okay? I was just wondering if you could talk about some of your hobbies or passions or interests outside of school or whatever just comes to mind? And whatever you are comfortable sharing about your future plans, your next steps? And maybe, if there is any message you would like to leave for your community as you take on a new path? 00;25;53;00 - 00;25;58;13 Nathaly Posada Well, yeah. I think that my passions and my hobbies... I love nature. I love being outdoors. As far as passions, definitely public service. That's something that I've always been passionate about, but it has evolved during the years of thinking about my career. Public service is everything to me. I hope to inspire others to continue or give to others. One of my passions is just talking about love. I feel like our world systems, our governments, revolve around fear. We're not leading necessarily with love and compassion. We're just fearful of each other. And so, that's a that's my message. Lead with love. My hobbies are reading. It's funny because once I graduated, I feel like I read so much more than when I was in school. 00;27;38;01 - 00;27;40;08 Robert Bauman When you are not being forced to...? [laughter] 00;27;40;10 - 00;27;58;00 Nathaly Posada Yeah. I love reading. I love nature. As far as my future endeavors, I will be getting a master's degree at the University of Washington. I'm not betraying. I'm not betraying WSU, but I'm just another liaison. 00;27;58;07 - 00;27;59;24 Robert Bauman It’s a Masters in Public Administration, right? 00;27;59;25 - 00;28;15;23 Nathaly Posada Yes. A master's in public administration at the Evans School of Public Policy. As far as my future, I hope to be a policy analyst. I'd love to work for the government one day. 00;28;15;25 - 00;28;24;13 Speaker 4 Okay. Would you mind saying, the part about my messages with love, but you had looked over at me, and that will look kind of... 00;28;24;14 - 00;28;25;13 Nathaly Posada Okay. Okay. 00;28;25;20 - 00;28;29;15 Speaker 4 So just look at him. and say that that piece again about your message. That was really powerful. But I'm afraid if you look off that it is going to look... [?] Nathaly Posada So, I feel like we lead or we survive... We are in this constant survival mode of fearing one another. I think that one of the steps to get through that is leading with love and living through love. Loving each other through adversity. And, in the same sense of being open-minded to everything. That is my message. 00;29;11;18 - 00;29;17;24 Robert Bauman Well, thank you again very much. I'm glad we were able to set this up before you move. It's good to see you again. 00;29;17;27 - 00;29;20;19 Nathaly Posada Yeah. Of course. Robert Bauman Thank you. Nathaly Posada Likewise. Robert Bauman: Antes que nada, mi nombre es Robert Bauman. Estoy conduciendo esta entrevista oral de historia con Nathaly Mendoza en julio 20 del 2023. Estamos haciendo esta entrevista en el campo de Washington State University en Tri-Cities. Entonces Nathaly una vez más por propósitos administrativos podrías por favor decir y deletrear tu nombre completo por favor. Nathaly Mendoza Posada: Si, por supuesto, ¿miro hacia allá? Mi nombre es Nathaly, se deletrea N-A-T-H-A-L-Y, apellido Mendoza Posada, M-E-N-D-O-Z-A, el otro apellido P-O-S-A-D-A. Bauman: ¿Ahí un guion? Mendoza: No. Bauman: Okey, gracias empecemos nuestra conversación con, si nos pudieras hablar sobre tu familia y esencialmente la historia de inmigración de tu familia. Cuando y porque vinieron a Tri-Cities esa especie de historia. Mendoza: Si, por supuesto. Al principio empezó con mi abuela creo que fue antes de que yo naciera ella se mudó aquí. Ella tenía seis hijos, como madre soltera tuvo que mudarse a los Estados Unidos mientras sus padres cuidaban a sus hijos. También había niños mayores igualmente se cuidaban los unos a los otros. Ella se mudó a Tri-Cities primero. Primero se mudó a Florida, luego se mudó a Chicago y luego se mudó a Washington. ¿Por qué? ¿Como? Probablemente por trabajo. Uno años después cuando yo tenía nueve o diez mi mama y yo nos mudamos a los Estados Unidos aquí a Pasco porque mi abuela ya estaba aquí. Yo tenía nueve o diez, nos mudamos igual por la situación financiera en México que continuaba empeorando. Un modo en que mi madre podría proveer para ella y para mí, pero también sus dos hijos mayores que estaban en México e iban a dar el salto para mudarse para acá. Bauman: Okey, venir aquí a Tri-Cities fue en parte por tu abuela. Mendoza: Si. Bauman: Okey, cuando dejaste México, ¿pudiste venir directamente aquí? ¿Tuviste que parar en algún lugar en tu camino o paraste en otro lado? Mendoza: Conforme la pasada paramos quiero decir que, en Arizona, y estuve ahí por un poco, probablemente una semana mientras esperaba a mi mama. Entonces venimos aquí, derecho aquí. Bauman: ¿De qué parte de México es tu familia? Mendoza: Como de todos lados, mi abuela era de Hidalgo, Guerrero mi mama vivió por mucho tiempo ahí, pero yo nací en Silao, Guanajuato cuando mi mama se mudó. Y luego de ahí medio venimos para acá. Bauman: ¿Y mencionaste que tenías dos hermanos menores? Mendoza: Mayores. Bauman: ¿También vinieron para acá en algún punto? Mendoza: No ellos ya estaban en sus años de universidad, ellos decidieron quedarse y continuar yendo a la escuela allá. Ambos tenían su carrera allá entonces nunca volvieron. Vienen a visitar, pero se quedaron allá. Bauman: ¿Qué tipo de trabajo o labores tu abuela y luego tu madre encontraron cuando vinieron aquí a Tri-Cities? Mendoza: Todo era trabajo en el campo así que mi abuela termino haciendo toda clase de trabajos en el campo especialmente porque emigro desde Florida. Hizo campos de naranja allá, quiero decir que en Chicago trabajo en plantas y cuando vino aquí fue manzana, cereza básicamente todas las huertas que Tri-Cities tiene para ofrecer. Bauman: ¿Y fue similar para tu mama? Mendoza: Si. Bauman: ¿Tu tenías nueve cuando viniste aquí, como una de nueve años como fue la transición? ¿Sabías inglés? ¿Como fue la transición de la escuela aquí? ¿Podrías hablarnos de eso? Mendoza: Fue difícil, no sabía nada de inglés de México por suerte tuve maestros que eran bilingües. Termine yendo a la escuela primaria Longfellow, no sé si había clases ELA en ese tiempo, pero no me pusieron en ELA clases. Era solo inglés, pero mi maestra de ingles era bilingüe y no tenía problemas con matemáticas. La transición fue difícil por la barrera del lenguaje, pero logre hallarle el modo y tal vez entenderlo en un año y comunicarme un poco después de un año. Bauman: ¿Qué clase de alojamiento pudieron encontrar cuando llegaron al principio? Mendoza: Bueno, vivíamos con mi abuela en eso tiempo ella ya tenía su casa así que nos quedamos con ella. Bauman: Okey, cierto. ¿Después de medio lograr esa transición, como fue crecer en Pasco y Tri-Cities para ti? ¿Qué clase de memorias o cosas de la comunidad hispana había en el área? Mendoza: Pienso que ahora que veo hacia atrás y me comunico con mis compañeros que también son parte de la comunidad, no solo la comunidad hispana pero también otras comunidades inmigrantes es que nuestros padres siempre estaban trabajando para poder asegurarse de que pudiéramos sobrevivir. Gran parte era no cuidarnos a nosotros, pero definitivamente encontrar apoyo emocional con nuestros amigos o con todos los amiguitos como otros de diez años, pero estaba bien. Tenía primos aquí que eran mayores. En general se trataba de encontrar mi camino, encontrarme a mí misma de cierto modo y tratar de asimilar y adaptar en la cultura y en un país nuevo. Bauman: Claro, ¿qué te llevo a venir a WSU Tri-cities? ¿Conseguir una educación mayor o diploma de universidad fue algo que era importante para ti y tu familia? Mendoza: Bueno mis dos hermanos terminaron yendo a la universidad y con educación mayor. Eso siempre fue inculcado en mí, no en el modo que “Tienes que hacerlo” pero más como “Este es el modo que tus hermanos pavimentaron el camino.” Obviamente que mi mama no tuviera un certificado de universidad fue un factor. Se aseguro de que tuviéramos las oportunidades para que lo pudiéramos hacer por nosotros mismos. Ir a WSU Tri-Cities fue porque me quería quedar cerca de mi mama. Supongo que la historia en general es que siempre hemos estado juntas y en parte por eso no quería ir a la universidad estuvo bien venir a WSU Tri-Cities. Hice muchas grandes memorias aquí, estuve involucrada en muchas posiciones de liderazgo dentro de la universidad y en general fue un buen peldaño y un modo de crecer en mis futuros esfuerzos. Bauman: Si, entonces háblame de eso. ¿Qué te llevo a envolverte en el gobierno estudiantil y otros grupos y actividades en el campo? Mendoza: Bueno fue durante COVID cuando me estaba involucrando en general era muy tímida, estuve atascada en mi zona de comodidad en mi primer y segundo año aquí también estuve en Running Start aquí, también fue una transición. Durante COVID fue como, ¿“Que tengo que perder?” esa fue la pregunta que me hice definitivamente, estaba “porque no?” me llevo a conectarme con el gobierno estudiantil pero también con otros clubs y organizaciones. Valió la pena tomar la iniciativa y dar el salto. Bauman: Si, entonces como mencionaste mucho fue durante COVID. Me pregunto si podrías hablarme sobre eso un poco. Como cuales fueron algunos de desafíos de estar involucrada en el gobierno estudiantil durante COVID en términos de comunicarse con los estudiantes y tener eventos y esas clases de cosas. Mendoza: Creo que la parte más difícil… también área parte MOSAIC center para la inclusión de estudiantes durante ese año. La lucha más grande era “Como hacemos que WSU Tri-Cities se sienta como una comunidad sin estar juntos”. Esa fue la lucha más grande. Enviábamos correos electrónicos a través del MOSAIC center. Organizábamos eventos y esperábamos que alguien se presentara. Es definitivamente mejor tener clases en el hogar, pero pierdes el sentido del campo y la experiencia de la universidad porque estas en tu hogar todo el tiempo. A comparación de estar en el campo, como nuestros estudiantes que esperan entre clases, irían al evento, verían comida, entrarían al cuarto. Eso no era una posibilidad durante COVID, ese era el problema más grande. Pienso que no solo para nosotros, pero para todos los otros departamentos aquí en Tri-Cities y para, tú sabes, otras universidades en la nación. Estoy definitivamente contenta de que nuestra población estudiantil que, si se presentó, hiso que se lanzara cuando volvimos en persona. Nuestros estudiantes sabían que estos recursos estarían disponibles para ellos. Bauman: Si, una de las cosas que nuestros estudiantes tenían problemas era acceso a internet, ¿cierto? Cuando estábamos completamente en línea desde marzo del 2020 hasta primavera del 2021. ¿Cuál otro problema recuerdas, cuando estabas involucrada con el gobierno estudiantil del que tenías que arreglar o atender o tratar de trabajar en ellos? Mendoza: Si, durante ese año recuerdo uno de los problemas más grandes no era solo el internet, pero también el acceso a una computadora. Yo también experimente muchos problemas con la computadora. Eso fue algo que el gobierno estudiantil… ese año los presidentes eran Robin y Stephanie. Ellas desarrollaron el programa para que los estudiantes pudieran rentar computadoras si las necesitaban. Ese fue definitivamente otro problema que mire. Pienso que tenía en ese momento un sistema de computadora más o menos bueno, aun así, me fallo muchas veces. Pero me imagino lo que otros estudiantes sin acceso a internet o acceso a computadora podrían haber pasado en una experiencia donde todo el aprendizaje era virtual. Bauman: Cierto, y luego por supuesto el siguiente año al volver hubo nuevos desafíos. Todos tenían que usar máscaras y también algunos estudiantes se resistían a volver. Algunos cursos eran completamente en línea, otros híbridos y algunos eran… me pregunto si hubo problemas relacionados con eso. Cosas que recuerdes que estén relacionadas con el gobierno estudiantil en lo que tratabas de trabajar ahí. Mendoza: Si, el desafió más grande fue… durante COVID, toda la universidad se reinició porque no habíamos estado aquí por mucho tiempo. No sabíamos cómo o como las cosas operaban, o cuales eran las normas. Para nosotros fue traer la vida de regreso al campo, hacerlo sentir como un campo de nuevo, cuando muchos de nuestros estudiantes, especialmente los de primer año que ya habían pasado un año en clases virtuales, ¿cómo sería su experiencia? ¿Qué es lo que van a recordar dentro de su primer año? No solo de regreso al campo, pero su primer año de universidad. Ese fue el obstáculo más grande para mí en lo personal. Era adaptarse a los continuos métodos nuevos de aprendizaje que necesitaba. De ser totalmente virtuales a intentar manejar mi tiempo mejor a estar en el salón donde sentía que no lo había hecho en mucho tiempo. Las hibridas siempre fueron raras. Definitivamente la agenda fue un salvavidas. Bauman: Bueno si, entre tus clases y luego todas tus responsabilidades como líder estudiantil. Si, estoy seguro de que tener todo planeado fue muy útil. Entonces hablaste sobre como eras un poco tímida, me pregunto cómo tu involucración con el liderazgo estudiantil te llevo a avanzar. ¿Qué aprendiste de eso y que te has llevado de eso? Mendoza: Me refiero que definitivamente me enseno que está bien hablar con todos. Me traerá nuevas experiencias. Mientras más conexiones haga, más puertas se abren para mí. Siento que eso es algo de lo que no necesariamente se habla con otros estudiantes en nuestra comunidad. No nos enseñan a hacer conexiones, no nos enseñan hacer todas estas cosas y definitivamente el gobierno estudiantil me capa tizó para expandirme más y poder contar mi historia. Mi mentor durante mi año, siempre no impulso a eso. Con forme a Isaac y a mí, mi vicepresidente era continuar conectándonos, continuar hablando con varios donadores, incluso si era un poco incomodo estar en estos espacios, porque eran nuevos. Avanzando hacia adelante lo que aprendí fue salir y hablar con otra gente. Probablemente no me doy suficiente crédito en eso, también tengo mucha gente que me da su apoyo y ala que le pido ayuda. Eso es lo más grande, pedir ayuda con algo que yo tome. Bauman: Si, es una buena lección para aprender. Hablaste sobre hablar con donadores, ¿qué otra clase de responsabilidades? Cuando pienso en presidente de ASB, siempre pienso en trabajar con estudiantes y cosas en el campo y tu hablaste de algunos de los desafíos de eso. ¿Cuáles otras responsabilidades salieron en esa posición que tal vez yo no imagino u otras? Mendoza: Por supuesto, el presidente del cuerpo estudiantil en WSU Tri-Cities se supone que debe ser un enlace entre la administración y los estudiantes. Fue trabajar mucho con la administración teniendo juntas mensuales, juntas semanales para hablar sobre los desafíos que nuestros estudiantes enfrentaban. Algunas veces los desafíos más grandes era que los estudiantes querían y demandaban las cosas rápidas y correctamente porque solo están aquí por cuatro o cinco años si no es que menos. Hacer cambios toma dinero y toma tiempo. Algunas veces en la educación avanzada el reloj se mueve más lento de como los estudiantes queremos que… de cómo queremos que los estudiantes vean el cambio. Eso era parte de mis responsabilidades, también tuve la oportunidad de trabajar con Anna Plemons y el canciller Hyanes, pude compartir mi historia con los donantes en la fundación de WSU y hablar con el presidente Kirk. Así que mucha administración y muchas audiencias a las que no estaba acostumbrada a hablar o a compartir mi experiencia con, pero también aprendí el modo de entrar y salir de eso. Algunas veces teníamos reacciones no deseadas y ver como el canciller Haynes trataba con eso me sirvió de mucho. Bauman: Algunos podrían tener reacciones negativas en respuesta a eso. ¿En algunas de esas audiencias en las que hablaste… estuviste involucrada en hablar con prospectos de estudiantes, grupos que ya fuera en el campo o afuera en la comunidad? Mendoza: Si, definitivamente con prospectos de estudiantes. Cada recorrido, ASBWSU estuco aquí para eventos de conexiones. Hablábamos con ellos, hablábamos con los alumnos también, con los que conocíamos más o menos y que constantemente visitaban el campo. Bauman: En esas conversaciones, compartías tu historia, ¿la historia de tu familia y también hablabas del campo? Mendoza: Si, entonces era como, “Por eso decidí ir a Tri-Cities”. Fue por mi familia, porque podía viajar a diario y vivir en mi casa mientras tenía las herramientas para una gran educación. Eso fue definitivamente una de las razones, la otra cosa era lo que el campo tenía para ofrecer para atraer a otros estudiantes u otros estudiantes prospectos de estudiantes para asistir aquí. Bauman: Me pregunto si todas estas experiencias, las experiencias de tu familia, tus experiencias de educación… ahora mientras te diriges a la escuela de postgrado, otro trabajo en un lugar nuevo, Seattle. ¿Qué piensas que estas experiencias tienen… como te han preparado para el futuro? Mendoza: Si, me refiero, creo que me han preparado tanto. Si no fuera por mi parte en el gobierno estudiantil, no creo que hubiera podido decir eso. Estoy definitivamente muy confiada a entrar a nuevos lugares porque lo que he hecho básicamente toda mi vida, adaptarme y cambiar. Adaptarme con todo lo que está cambiando a mi alrededor es algunas veces algo muy natural y me sale natural. Siendo presidente del cuerpo estudiantil, yendo a la escuela de postgrado y otras oportunidades que tengo, definitivamente me permite usar todo lo que he aprendido aquí. Supervise a otros estudiantes, así que tengo experiencia en eso. Pude trabajar con partes interesadas y donadores y hablar con ellos eso es algo que me llevo conmigo en mi carrera profesional. Definitivamente el gobierno estudiantil es algo que los estudiantes deben hacer si están interesados en involucrarse, es mi opinión. Bauman: Hay algo que ya sea de las experiencias de tu familia o tus experiencias educacionales personales o al crecer en Pasco, en la comunidad por las que no te hemos preguntado al respecto o que no hemos hablado de que tu creas que podrían ser de ayuda o importantes para compartir. Mendoza: Supongo… esa es una buena pregunta, creo que algo es de eso es tener esta conversación con la pareja de mi hermana menor. Ella está en la secundaria solamente, pero hemos hablado de educación superior y si ella quería ir a la universidad. He sacado el hecho varias veces, ella igual seria estudiante de primera generación. Le estaba diciendo, “mira entiendo que algunas veces, tal vez no ahora pero cuando estes en esa etapa, en preparatoria, cuando estás pensando en lo que quieres hacer, si quieres ir a la universidad, o si quieres ir a una escuela técnica, es definitivamente desalentador para un estudiante de primera generación que no ha experimentado lo que es pasar por el proceso.” Supongo que eso es todo. Con mi experiencia en el campo de Tri-Cities pude obtener algo de conocimiento en el sistema haciéndolo más fácil para mi asistir a la escuela de postgrado. Tengo una idea lo que es educación superior, como la educación superior luce. Estaba hablando con ella sobre eso y como algunas veces es desalentador, pero por suerte para ella tiene varias personas a las que les puede pedir ayuda para navegar los sistemas. Bauman: ¿Y alguien que es un modelo por seguir, cierto? Pensé eso también mientras hablabas. Nuestra población estudiantil es de 50% más o menos de primera generación, más o menos 50% Latinx, es el más diverso campo de WSU. Has pensado es eso un tu papel como presidente de SABWSU de Tri-Cities, ser un modelo para seguir posiblemente. Mendoza: Si, lo he hecho, me refiero que he hablado con mucha gente incluso ahora. Recuerdo esta experiencia donde uno mis compañeros de clase, bueno no era un compañero de clase, pero trabajábamos en el mismo espacio, pero él no estaba en el gobierno estudiantil. Me dijo que me veía y yo lo alentaba a salir de su zona de comodidad y unirse a más clubs y así y más cosas. Me refiero que sí, pero no lo pienso, veo mi impacto en otras personas, pero definitivamente siento que todos avanzamos hacia la grandeza juntos. No necesariamente un modelo a seguir. Bauman: Si, seguro. Grandioso, bueno no creo tener otras preguntas para ti. Tienes algo más que no hemos tocado aun? Mendoza: No creo. Orador 3: ¿Yo tengo otras preguntas, si está bien? Me preguntaba si podrías hablar sobre algunos de tus pasatiempos o pasiones o intereses fuera de la escuela o lo que sea que te venga a mente. ¿Lo que sea que te sientas cómoda compartiendo sobre tus planes futuros, tus próximos pasos? ¿Y tal vez si hay un mensaje que le gustaría dejarle a tu comunidad mientras tomas un nuevo camino? Mendoza: Bueno, sí creo que mis pasiones y mis pasatiempos… me encanta la naturaleza, amo estar afuera, tanto a mis pasiones definitivamente el servicio público. Eso es algo que siempre me ha apasionado, pero ha evolucionado durante los años que he pensado en mi carrera. Servicio público lo es todo para mí, espero inspirar a otros a continuar o dar a otros. Una de mis pasiones es hablar sobre amor. Siento que los sistemas de nuestro mundo, nuestro gobierno gira alrededor del miedo, no estamos dirigiendo necesariamente con amor y con compasión, solo nos tememos los unos a los otros. Ese es mi mensaje, lideren con amor. Mi pasatiempo es leer, es gracioso porque una vez que me gradué siento que leo mucho más que cuando estaba en la escuela. Bauman: ¿Cuándo no te están forzando? Risas. Mendoza: Si, amo leer, amo la naturaleza. Por mis futuros esfuerzos, sacare mi maestría en la universidad de Washington. No estoy traicionando, no estoy traicionando WSU, pero es solo otro enlace. Bauman: ¿Es una maestría en administración pública, cierto? Mendoza: Si, es una maestría en administración pública en la póliza publica de la escuela Evans. Con respecto a mi futuro espero ser una analista de pólizas. Me encantaría trabajar para el gobierno algún día. Orador 3: Bien, te importaría decir, la parte de mis mensajes con amor, pero es que me miraste a mí y eso no se mirara bien. Mendoza: Esta bien, bien. Orador 3: Entonces míralo a él y repite esa parte de tu mensaje de nuevo. Eso fue muy poderoso, pero me temo que si miras a un lado se va a ver… Mendoza: Entonces, siento que lideramos o sobrevivimos… estamos en esto modo de sobrevivencia constante de temer el uno al otro. Creo que uno de los pasos para sobrepasar eso es liderar con amor y vivir a través del amor. Amándonos unos a los otros a través de la adversidad y en la misma esencia de ser de mente abierta a todo, ese es mi mensaje. Bauman: Bueno, muchas gracias de nuevo, estoy contento de que pudiéramos organizar esto antes de que te muevas. Fue bueno verte de nuevo. Mendoza: Si, por supuesto. Bauman: Gracias. Mendoza: Igualmente. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:29:20 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 Interview with Nathaly Posada Subject The topic of the resource Oral History; Latin American; Hanford Site; Richland, WA, USA Description An account of the resource Nathaly Mendoza Posada was born in Silao, Guanajuato, Mexico, and immigrated to the United States at the age of nine, settling in Pasco, Washington, with her mother and grandmother. Her grandmother, a single mother of six, had first migrated to the U.S. for field and factory work, paving the way for later generations. Growing up in the Tri-Cities, Posada faced the challenge of learning English and adapting to a new culture while her family worked in agriculture. A first-generation college student, she attended Washington State University Tri-Cities, where she earned her degree and became deeply involved in student leadership, eventually serving as Student Body President during the challenges of the COVID-19 pandemic. Through her leadership, she worked to strengthen campus community, promote inclusion, and expand student resources. Passionate about public service and equity, Posada is pursuing a Master’s in Public Administration at the University of Washington’s Evans School of Public Policy, with the goal of becoming a policy analyst. She hopes to inspire others by her message to “lead and live through love,” emphasizing compassion and open-mindedness in the face of adversity. Creator An entity primarily responsible for making the resource Hanford Oral History Project at Washington State University Tri-Cities Publisher An entity responsible for making the resource available Hanford Oral History Project at Washington State University Tri-Cities Date A point or period of time associated with an event in the lifecycle of the resource July 20, 2023 Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource video/mp4 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fdbaab38171ade9f70f4301d5240b8eef.docx cc04ffe582f151265e64fefa11baf938 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Fd310f4bfab6bf92f6da41aef0de3720a.docx e71ce767a8834facf3c971788cdb7e90 https://s3-us-west-2.amazonaws.com/omeka-hhp%2Foriginal%2Ffaf10295f80665cdf34e2e454f0348f9.mp4 c7d53f3ac3326163059fabb82970c910 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 Latino/a Oral History Project Subject The topic of the resource Oral History Description An account of the resource An ongoing oral history project focusing on the history of the Latine/Latino community of the Tri-Cities, Washington area. Previously known as the WSU Tri-Cities Latinx Oral History Project headed by History faculty Robert Bauman and Robert Franklin. Hanford History Project made the decision in 2024 to use Latino/a instead of Latinx as the former more reflects the grammar and practical use and identification of Spanish speakers. We know that one term will not encompass all those identities. For example, Latine, a gender neutral pronoun and product of the queer Spanish community, was considered for use but we use Latino/a to reflect the prevalence of gendered pronouns in the Spanish language. However, we would like to acknowledge that the discourse around which term to use is complex and evolving. Every person has the right to use the term that captures who they are and that feels the most welcoming to them. Creator An entity primarily responsible for making the resource Washington State University Tri-Cities Rights Information about rights held in and over the resource Those interested in reproducing part or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Language A language of the resource English; Spanish Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Robert Bauman; Robert Franklin Interviewee The person(s) being interviewed Ruben Peralta Location The location of the interview Washington State University Tri-Cities Transcription Any written text transcribed from a sound Robert Bauman: My name is Robert Buman and I am here with my colleague Robert Franklin and we a are here today to conduct an oral history interview with Mr. Ruben Lemos. Today’s date is June 7th, 2022 and this interview is being conducted on the campus of Washington State Univerity Tri-Cities. So, first things Mr. Lemos can you please say and spell your first and last names for us. Ruben Lemos: Ruben Lamos. R-U-B-E-N and last name is L-E-M-O-S. Robert Bauman: Great, thank your very much. Well, first of all thanks for coming here today and uh talking with us. I wonder if we can start the interview just by having you talk a little bit about yourself, your family, when you your family came to the Tri-Cities I need that story. Ruben Lemos: Well, my background is from I come from a migrant farm working family. I was born in Texas Edinburg,Texas and in 1952 my family migrated up to Washington state and for the next ten years we went the migrant cycle all throughout Washington, Idaho, Oregon, Arizona, California and tk Texas we did that for ten years. 1961 I believe was the last year that we migrated. And I came to the Tri-Cities I came to Pasco after I came out of the military I got drafted during Vietnam era 1966 served my country proudly, and been when I was getting ready to be separated from the military I found out about a program that was being offered to military personnel that if you attend college you could be released as much as ninety days prior to your date of separation. So I at that time um applied at Columb(ia) Basin College so my wife and I came to Pasco in 1968 and I did my two years here at CBC ahh did my additional two years at Central Washington, I graduate with a degree from Central Washington then I did a master’s degree from Whitworth University. In the meantime my wife was right behind me she did her two years at CBC ahh she graduated from Central Washington as well, two years later and then she got her ahh academic she got her principle credentials through Washington State University in Pullman. And so we’ve been here pretty much ever since since 1968. Robert Franklin: What what made you choose Pasco and CBC? Ruben Lemos: Um..pas Pasco because CBC was here and CBC because that was the only community college that I was aware of. I knew about Yakima Valley community college but I thought that for us it might be a better fit over here in the Tri-Cities. So I grew up in the Yakima valley um I graduated from Granger High School and um then-- we decided to move over here to Pasco, right out of the military. I did my basic training in Fort Louis, my advanced infantry training Tigerland Fort Polk, Louisiana and then I ended up working in personnel at Fort Sam Huston, Texas before I got released. Robert Bauman: Now, going back to talking about your your family migrating every year had--did you did you do work in the region? Ruben Lemos: Yes, we harvested just about every kind of crop that you can imagine in the Yakima valley potatoes, every kind of fruit. And then, back in the back in the sixties they didn’t allow too many hispanic people--well, first of all there weren’t that many of us but then they didn’t allow us to work pick apples it was not until the last sixties that they finally started allowing hispanic to go into the apple orchards. But we picked prunes, apples, cherries, we cut asparagus every morning for ten years before going to school and then from here we would go to Mountain Vernon Washington north of Seattle to pick strawberries, once the strawberry season was over we would go South to Puyallup to pick raspberries from there we would go South towards Salem, Oregon to pick green beans and cucumbers and then we would come back over here to pick potatoes and then the whole cycle would start again. We would go to Idaho to pick potatoes, and uh from there we would go to Arizona to pick cotton and we just mits migrate circle. Robert Bauman: Were there lot of other families at that time coming from Texas coming through the area? Ruben Lemos: There were a lot in the real early fifties because in 1951 there was a big freeze so my dad was not able to find employment picking citrus fruits, everything froze. And so that was the year he decided that we should come north. Robert Bauman: And, what were um the housing situation for migrant workers at that time like what was that. Ruben Lemos: Well, if housing situation was really bad, my dad would pay a $1.50 a week for the cabin that we would live of course it didn’t have indoor plumbing, one light bulb in sight. We didn’t have indoor plumbing and we had communal showers and baths bathrooms and so when we showered we walked to that com com-- there were actually, there were kind of like former military base--not bases but camps and so uh but when they get rid of that then they started renting them to migrant workers. So here in Washington state we lived at Crewport, Crewport was basically where a lot of the migrants lived and like I said my dad would pay a $1.50 a week for us to live there and the same thing would occur in Arizona, we would live South of Phoenix at a migrant camp and it was about the same a $1.50 a week that my dad would pay for that. I come from a family of nine children plus one baby that died at birth, but I had three older brothers and three younger brother, I was the middle child, one older sister and one younger sister. Um, my immediate older brother served in the Navy then I served in the Army, my immediate not my immediate younger brother but a younger brother served in the army and then my baby brother served in the Marine Corps. Robert Bauman: So you had, I guess some familartity with the area. [INAUDIBLE]-- Ruben Lemos: My wife had a cousin that lived in Pasco and so we came to Pasco. And we started getting, in addition to going to CBC and working we started getting involved with the community. I was we were heavily involved in the Saint Patrick Parish council and then in later years when my daughter was in high school then we founded the Hispanic Academic Achievers program which over the years we have awarded millions of dollars of financial scholarships for Hispanic students that are graduating. We started the program in 1990 in Pasco, Gary Fields who was the Superintendent of Kennwick school district came to us the following year 1991 and asked if we would include Kennwick and then about three years later we included the Richland school district, March Chow was the Superintendent and then we included Finely and Burbank and Conell and so we’ve been quite active with that. In addition to that or before that we’ve--a couple of friend and I have founded the uh the Chicanos in Public Service and that was a Chicanos in Public Service we founded in the early seventies and basically what it was was a group of professionals professional hispanic who were available to help migrating families. In fact one of the grants that we applied for and we were we received money for was to establish the first--it was that ESL class to establish the first classes to be offered for English as Second Language and so we did that and then with my daughter being in high school I got involved a lot with the Academic Booster booster club there at Pasco High School and so we’ve been quite busy my wife and I. Robert Bauman: Yeah right and it seems alot of the involvement especially around the area of eduaction. Ruben Lemos:Yes mhm. Robert Bauman:[INAUDIBLE] I wanted to talk a little bit more about the Hipanic Academic Achievers program and you said it started in 1990. What led you and others involved in forming that to to get that program started? Ruben Lemos: What led us to get that program started was my daughter was a highschool senior she had been taking all the honors programs, all the advancement placement programs and she was ranked number-- well her and her best friend at that time, Gracy Cooper, they were co-valedictorians and so they were recognized for their accomplishments academic accomplishments but I noticed that my daughter was not recognized like a lot of the others and so um even though she had a almost a perfect 4.(0) GPA in advanced placement classes and honor classes. Um, she did not get in my opinion the recognition through scholarships and things like awards and scholarships and so I told my wife we need to do something to recognize our students and that’s how we founded HAPP Hispanic Academic Achievers in the real early spring in 1990 which is the year she graduated. And so the first year we didn’t have any money obviously toward scholarships but starting the second year I met a gentleman, a perfect really nice person by the name of Dan Frost, Dan Frost I met him and he asked how he could help us and so my wife and I had lunch with him at the Tri-City country club in Kennewick and we said well we would like to honor the students who are doing at least a 3.(0) GPA or better with a dinner and so he says well I can I can provide the dinner, I can provide you money for the dinner so we had our first banquet at the Red Lion motor in there in Pasco and that’s where Gray Field the superintendent from Kennwick attended that dinner and that is how he asked-- the Kennewick school district to be involved. And starting about following year we had maybe like a couple of two two one thousand dollars scholarship or something like that. Then for us Mr. Frost helped us immensely starting about the third year he says “Ruben I don’t mind giving you money for the dinner but I want to do something more substantial and I said then what would you like to do he says I want to award a ten thousand dollar scholarship to a person that is going to a four year institution in the state of Washington majoring in Engineering,Science or Math and that person needs to maintain at least a 3.(0) GPA of higher.” I said “okay well that’s your money and so I mean you can do whatever you want to do with your money.” So he awarded the first ten thousand dollars Frost scholarship like three years into so it must have been about 1993 1994 or something like that and he did that for about four or five years and then he increased it to fifteen thousand and then twenty thousand and so he helped a lot of the students, hispanic students in the Tri-City area. Robert Bauman: What was his uh-- Robert Frankin: Mot Motivation or Interest Robert Bauman: Motivation and also what sort of occupation did he I mean where was his-- Ruben Lemos: Dan was an attorney. Robert Bauman: Okay aha Ruben Lemos: Sue Frost his wife, well she was Sue Watkinson at the time I met her. I met her actually by accident I (h)ad a meeting in Olympia and I got out of my meeting early, I got to the airport in Seattle early and I asked is there anyway I could get it back to Pasco in an earlier flight and they said well there is an airplane that is just leaving right now and we happen to have one additional seat and so I ended up sitting next to Sue Watiknson and we started a conversation and then Sue asked if she said “Ruben do you know any Hispanic people that live in the Tri-City who are involved in education.” And I said “ Oh my wife is a teacher studying to be a principle and I’ve been involved you know like with the Pasco High Academic Boosters club” and so she said “can I put you in touch with a man from Los Angeles, his name is Dan Frost” and I said “yeah” so she said “Can you bring your wife and if you know of anybody else.” So I took over my wife and I and Frank Armijo and his sister Linda we met with Mr. Frost and that’s how we started the conversation. The reason that Dan wanted to be involved in bettering the lives, recognizing Hispanic student was because his main office was in LA ,Los Angeles, and he he had seen all the rioting and all of that that was going on and he thought that the best way to get people out of poverty was to educate (th)em. And so that is how he came to offer the Dan Frost scholarships. Robert Bauman: And how do your spell his last name? Ruben Lemos: Frost. F-R-O-S-T. Robert Bauman: Oh Frost, okay just wanna make sure we have that for the transcript yeah. Um so you mentioned it has to be] millions of dollars now that -- Ruben Lemos: Yes, we’ve awarded at least--well, I was the president of HAPP for the first about the first seventeen or eighteen years and like I said our first program was in 1990 and then I told the people that I was going to be retiring before too long so we needed to bring in some fresh blood and. But yeah he has he awarded quite a few scholarship and over the years we awarded several million dollars of scholarships. We get--we do fundraising and then we do employer contacts; the hanford employers have given us money to offer the scholarships. Some of the universities, community and technical colleges and universities in the state have also um matched like if we give them five thousand dollar scholarship for someone coming to WSU Tri-CIties sometimes they will match that or they will match part of that. Robert Bauman: Mhmm Ruben Lemos: So yeah it has become quite quite a thing and after that--in fact the very first time or one of the-- the very first time I recognized that we needed to start such a program was my wife and I because like I said she was either a principal, a part time principal, or getting to be a principal and we were invited to attend the thirteenth annual African American for Academic achi--Association and we went to that and I told my wife I says “you know, it’s a shame that we don’t have something like this to recognize our hispanic students” and that’s how we--this thing kinda formulated the HAPP. Robert Bauman: So, in with those millions of dollars, several hundred students I am guessing-- Ruben Lemos: Yeah, we recognized um for about the first twenty five years I think it was we were recognizing student in grades fourth through the twelfth grade who had at least a 3.(0) grade point average or higher. And in their last recent years, because it has gotten so there had been so many students that have were able to achieve that um they I believe that they are just recognizing like maybe middle school and olders now. Ruben Lemos: But yeah Robert Bauman: Mhmm, well Ruben Lemos: Um, there are student I mean there were there were student who in the fourth grade they would receive a certificate for being a HAPP student and they they would point to a twelfth grader that was getting a two thousand or five thousand scholarship and they said I want to be that person. And in six or eight years later they were that person so. Robert Bauman: Mhmm Ruben Lemos: Mhmm Robert Bauman: Must must be really rewarding for you and your wife to do--have known that you have played such an important part in starting this. Ruben Lemos: It has been very rewarding and challenging you know because initially when we started the program we had some people--I would get phone calls from people saying how come you were limiting to the Hispalnics why don’t you include others and I would say “well, you know like the African Americans are recognizing their students, we are recognizing our our Hispanic students now. I would be happy to help your start something for Caucasian students if your want to.” But they never did start anything. Robert Bauman: Yeah, I was going to ask you if you had experienced any resistance or-- Ruben Lemos: Oh yes. Robert Bauman:-- or hesitations--- Ruben Lemos: Yes. Robert Bauman:-- or you know either just by random individuals or by even people in education. Ruben Lemos: No, it was mostly people in the community that would complain about it and they would call me and they’d say “how come you don’t include others students, why don’t you include other students.” And I said “ Well, we started this program because we needed something for our youth” and I said “ we saw now we see for example our, some of our former students some of our Dan Frost scholars that have come back they have their PhD in electrical engineering, they have degrees in numerous numerous areas so mathematicians, we have some that are working here in Battelle electrical engineering and yeah.” Some of them finished their PhDs through WSU Tri-Cities. Robert Bauman: So wonder if we--I go back and talk about a little bit about you talked about moving here in 1968, is that-- Ruben Lemos: Yes. Robert Bauman:--right? Um, what was the area like at that time and in especially I am thinking about the Hispanic community in 1968. Ruben Lemos: Well, the Hispanic community back in nineteen late sixties, you can almost count them on one hand you know they were very few. There were a few families, most of the people lived in what they call the navy homes. Robert Bauman: Mhmm Ruben Lemos: Um, and in fact when my wife and I arrived here in Pasco we started looking around for homes, for an apartment and they said “go to the navy homes.” Well, to live in the navy homes you had to be really really low income, really low income and um even though my wife and I were obviously not even middle class types we still were not low enough. So we we rented an apartment, uhh almost across the street from the Pasco city library and it was a nice apartment, but housing was um was not easy to come by in fact we lived in Hopkins across the street from the library and one block east. Um and one evening you know because my wife and I we obviously did not have did not have money so we would just walk around the neighborhood and we saw an apartment that was for rent and I told my wife I said “it looks like somebody is renting an apartment” and she said “yeah, we should inquire and see what-- if we can take a look at it.” And so we went and rang the doorbell and a lady came out and she said “may I help you” and I says “I notice that you have an apartment for rent” and she say “ yeah” and I’m “can we see it?” [she says] “no'' I say “oh, why?” [she says] “well, you’re Hispanic” [Ruben says] “so, what does that have to do with anything” [she says] “well no, I don’t rent to Hispanics they are all drunks and they are all drug dealer and they are all..” on and on and on so I told my wife “you know what I don’t even want to talk about this anymore.” Well, that didn’t go well with me after a while I started thinking about that I said “ I’m going to file some kind of complaint with the City of Pasco” and I did and then I kept following up with my complaint and they never did anything because they lady’s son was a city attorney and so they never followed up on anything. But housing was not easy to come by and so but we managed and now we live in a nice home and yeah. Robert Bauman: Yeah um, I wonder if you can then talk about maybe ahh yeah your 1968 um and I’m doing my math right that’s like fifty plus years [LIGHT CUCKLE] Ruben Lemos: Mhmm Robert Bauman: Changes you see Rober Franklin: Or more yeah Ruben Lemos: Well-- Robert Bauman: --changes you’ve seen since then, developments in the area especially like to the Hispanic community. Ruben Lemos: Well, obviously the Tri-Cities have grown a lot they built the Columbia Center mall in--they started in 1969 I think 1970 and back then people would say “Why are they building a storage out in the middle of the desert.-- Robert Bauman: [CHUCKLES] Ruben Lemos: --who in the world is going to drive all the way out to the middle of the desert.” Well all of that has developed since. Robert Bauman: Mhmm Ruben Lemos: Housing was very inexpensive but so were wages but compared to now you know now you can, a decent home is at least five of six hundred thousand um anything less than that oftentimes you know not as nice. But yeah I have seen the Tri-Cities grow alot. Pasco I think back then it was I don’t know about twelve thousand population, Richland was about the same, Kennewick was a little bit smaller and, and then Kennwick started to grow. They used to have a JCPennies in fact my wife used to work at JCPennies in Pasco, they had a JCPennies here in Richland and one in Kennewick and when Columbia Center mall opened in ‘69 or ‘70 something like that then they closed all three of them. They had the Bonmarche here in in Richland then they opened Bonmarche which became Macy’s in Columbia Center so I’ve seen a lot of growth and obviously the increase in the Hispanic population has really grown a lot. Robert Bauman: Mhmm Ruben Lemos: Mhmm. So um when we first arrived here I was going to CBC and then I started working part-time as a clerk typist because I used to do that in the military for Northwest Rule Opportunities and then I got a job with the the Employment Security department and I was working full-time with the Employment Security department and continuing my classes at CBC, I still managed to graduate in two years. My wife started at CBC and going and working also at JCpennies and she finished in two years. I got transferred to Union Gap, I got a promotion so we moved to Union Gap from 1972 to 74 we came back and that time I managed to finish my four year degree at at Central. So then my wife, then when we came back my wife continued with her master’s degree in principle’s credentials at Washington State University and I finished or I started my masters degree at Whitworth Univerity. And so I work with Employment Security until 1977 and then I came to work in the spring of in the spring of ‘77 I came to work for the Department of Energy in the federal building and I was out here in the Hanford site until ‘87 when I went--when I started back or when I got a job opportunity at CBC and they hired me as the first director of Human Resources at CBC and they they promoted me to Vice President and I stayed there until I retired. My wife started her teaching career and moved up the ladder through being a principle and then I happened to be talking to Dave Shaw who was the Superintendent of Pasco High or Pasco School district and he asked me--my wife was a principal at Park Middle School at the time and Dave asked me if I can talk to my wife about coming back to Pasco, he needed a planning principal for Ochoa Middle School. And so I talked to her and she talked to Dave and they interviewed and so yeah she got hired on as the planning principal she was responsible for all the hiring and all the purchasing of all the equipment for the school and hiring of all the staff and teachers and then she stayed there a couple--a few years and then retired and then I retired after that. Robert Bauman: So how long did you work for CBC then. Ruben Lemos: I worked for CBC from ‘87 or ‘88 until 2005. Robert Bauman: Okay. Ruben Lemos: Yeah. Robert Bauman: And then you mentioned you worked here briefly. Ruben Lemos: After I retired I worked here at the in the Upper bound program for about six months. Yeah at a, it wasn’t anything permnant I at the the time they needed somebody to to help them out so I came out and helped them out. Robert Franklin: Mhmm Robert Bauman: So both you and your wife had had you had long careers in working in the field of education as well. Ruben Lemos: Yes, aha. Robert Bauman: Um, you mentioned earlier that um incident that you faced you know trying to rent an apartment and the discrimination um. Did you you, your wife, or family experience other things like that umm early on or any other point during your time in the Tri-Cities? Ruben Lemos: That’s basically not really um that was basically the shocker for me you know that they were putting us all in the same boat. Like all of you are all drunks, druggies and obviously we weren’t and so ahh no that’s pretty much the discrimination that I went through but. Mhmm Robert Franklin: What were some, since you’ve been in Pasco for such a long time, what were some of the first early important Hispanic institutions in Pasco that you can remember businesses or restaurants or just things that really you would kind of point to as like part of the community, churches. Ruben Lemos: Well I know Saint Patricks, Saint Particks back in 1968 or ‘69 they had a spanish speaking priest and they offered the firs--the only spanish mass in the Tri-Cities so people from Kennwick would come to Saint Patricks and obviously people from Pasco, people from Richland would go to Saint Patricks because that was the Spanish speaking mass that they had, the only one. Obviously since then they’ve they’ve increased the number of of priests spanish speaking and have um increased the number of masses that are offered. Um my wife and I like I said we were involved with Saint Patricks we’ve been euchasristic ministers and we have um I was I was on the Parish council when we got approval when we when we built the gymnasium for example we expanded the school, Saint Patrick School, and so my wife and I have been involved in activities like that. As far as other organizations um there was like I said the um Northwest Rule Opportunities which before they used to call that Washington Citizens for Migrant Affairs um that was the org--the agency that I used to work for part-time while I was going to CBC. Um but and since then they had like the--oh there was the the Latin American club which was a group of maybe four five families that were involved in promoting the Hispanic culture ahh since then there has been other ah other um buisnesses that have come forward. Robert Franklin: Mhmm Robert Bauman: Er earlier on you ah mentioned Chicanos in Public Service, when year did that start and is that something that is still in existence. Ruben Lemos: No, it um okay. It started back in must’ve been in 1969, maybe 1970 and that was active for maybe about four or five years and then it kind of petered out. But we, the few Hispanic people that were working in state agencies um that was just myself in employment security and there may have been one or two others maybe one in Labor and indegi-- Washington State department Labor and Industries and maybe one with the Social Services. There was just very very few but um we wanted to kinda organize to see what we could do to better serve our people and one of the things like I said that we did was come up with teaching ESL. Robert Bauman: Right. Ruben Lemos: Um because some of the Hispanic people didn’t know English and so back in about ‘69 ‘70 we applied for a grant and we got funded with that grant to teach ESL. We held classes in the evening at Pasco High School and we did that for a couple winters. Ahh but then people started moving away so that kinda um Chicanos in Public Service kinda went away. Robert Bauman: Um is there, what what are some things that we haven’t asked you about [CHUCKLE] or or things you know about the Hispanic community about organizations here or even your personal history that you think would be important to share that we haven’t asked you about. Ruben Lemos: Um, one of the things that we wanted to do as part of the Hispanic and or the Chicanos in Public Service was to recruit more professionals into the area and so we were working in positions like especially like when for example when I went to work for DOE, I worked in human resources and we started recruiting brining in professionals ah like mechanical engineers, electrical engineers who these were people who were graduating from like for example the University of Texas El Paso and they were looking for employment and so we started bringing them in and that’s how some of them we still have some people here that that we recruited way back in the seventies that came and made a career here with a with Battellel or with Weston House with Rock Well International so we started bringing in --one one of the main things that we want to do is attract or invite other Hispanic people to the area and they did come up from Texas, these were professionals some of them went back but alot of them stayed here now they are retired also and living comfortably in the Tri-Cities. Robert Bauman: Yeah, anything else? Ruben Lemos: One of my, when I went to CBC, one of my the things that the President asked me to do was to see if I could increase the number of minorities on campus students but also personnel and so I did increase both students and and personnel significantly. I don’t know how many are still there or how many have left but we did recruit a lot of instructors, professors now, and um office workers and program assistants, program coordinators. That was one of my challange. Robert Franklin: You had mentioned that when you had moved here in ‘68 it was a pretty small [incomprehensible] when did that begin to change? When did you start to see a lot more Hispanics arrive you know folks arriving whether you know whether just kind of moving here or part of migration patterns or things like that. Robert Bauman: I think that that probably started maybe in the last seventies mid to late seventies because by that time there was myself and others that were working with the, they were positioning jobs that we could bring other people in. Um, my wife um by that time was a school teacher and so when job openings would come up um she would put out the word with other teachers in fact I’ll tell you an interesting story which is kinda cute my wife was reminding me about this. Ahh it must’ve been like maybe must’ve been like ‘76 ‘77 and the Pasco school--my wife was working and by that time they had another hispanic teacher, Dolores Cocks, and my wife was working-- they were working as teachers and they put in an announcment that they needed more bilingual teachers so Dolores told my wife “well, I know that there is another lady that just moved to the Tri-Cities she also was a teacher in Texas and she is Hispanic. I don’t know where she lives, but I know she lives somewhere in Richland and I’ll go find her” my wife said “well, how are your going to find her” she says “ well, I know that I am going to look for a license plate that says Texas in Richland-- Robert Bauman: Mhmm Ruben Lemos:--we know that she lives in Richland somewhere.” So Dolores came out my wife got a kick out of this because she says “In the evening after she got off work she went through all the apartment buildings that were, there weren’t that many first of all but the ones that were in existent and with a flashlight looking for a Texas license plate. Oh there is a Texas license plate.” And so she found out whose car that was and then she found out where this lady lived and she turned out to be an excellent . In fact she was my daughter’s kindergarten teacher. And so um so yeah we where we did everything possible to try to recruit and encourage people to apply for these positions. Robert Bauman: Mhmm Ruben Lemos: And you know like I said through the Hispanic Academic Achievers program we one of the main purposes was to motivate and encourage students to do well academically like I said my daughter was co-valedictorian for the class of 1990 at Pasco High and she went over to the University of Washington right out of high school and got her two year or four year degree and then she got her law degree and then she practiced law in in Yakima. From there she met her future husband who was at NY New York University law school, she moved to New York, got married and then both of them are living in Nashville now with our two grandkids and so he is an attorney with the U.S. government. So we wanted to encourage youth our youth to do better academically and motivate them and like I said we didn’t have much to give (th)em other than a dinner the first few years and a paper that said that they were a member of the Hispanic Academic Achievers program for that year. Robert Bauman: Mhmm Ruben Lemos: And I remember there was one year that-- in fact I think it was the very first year ah when we were recognizing the students that has a 3.(0) GPA or higher a student came up to me as we were ending the program ah and said “ Mister, will you recognize me?” I said “Well what’s your grade point average?”[Kid says] “Well, I have almost a 3.(0) I have a 2.89 or something like 2.97 or something like that.” I said “No,ah you work harder next year and we will recognize you.” And so we were trying to encourage and motivating them and he did, and that young man turned out to be a very very good citizen. Robert Bauman: Mhmm Ruben Lemos: You know, graduated from high school and went on to college and went on to his profession but the idea was to encourage and motivate students to do well academically. Robert Bauman: Mhmm Ruben Lemos: If we were gonna improve ourselves that was the way to do it and Mr. Frost, Dan Frost that was, he wanted to do the same thing he said “I want to stop all this violence that’s going in in Los Angeles and um and one way to do it is to provide some kind of incentive for our minority students to do well in school and do well academically and better themselves and better their families.” And you know I think myself like I said I came from a migrant farm working family we pick potatoes six cents a sack, we picked cotton three cents a pound and the hourly rate for working in asparagus or hoeing beets or working in the fields was a dollar and so my dad and you know wanted us to do better and yeah we still manage to get through--I still managed to get through high school even though like the time, the six weeks that we were in Idaho picking potatoes I didn’t go to school so I would enroll in school in Granger, Yakima Valley and I’d be in school two weeks to three weeks and then all of our family would move to Idaho and we would work in the fields and then it was in late october when we would enroll in school in Arizona. So between late october and the beginning of the school year I had been in school like two to three weeks at the most and so then when I went to Arizona I would had try to catch up with my classmates which was hard but I mean I wasn’t any different than all the other kids that I used to hang around with, but of course a lot of them dropped out a lot of them dropped out of high school--well they didn’t even make it to high school they dropped out of the sixth and seventh grade. Robert Bauman: You mentioned earlier that you were a family of nine children, did your siblings end up in Arizona or did they end up in different places? Ruben Lemos: Um, out of the out of all of us um I have my immediate younger brother who’s now passed he was the first one to go to college and graduate from the University of Washington with his bachelors and masters and then an older brother ahh who got his masters and he became a teacher and I got my masters and I think um my younger, I had a younger brother who’s also passed um I think he had a couple maybe two years at the University of Washington and my baby brother he had also one or two years at Central Washington. So, you know not all of us graduate from college but um we graduate from high school. Robert Bauman: Well, I want to thank you for coming and sharing your story, your family's story. Robert Franklin: Mhmm Robert Bauman: And and sharing the story of HAPP and seeing the impact that that’s had in the community really really appreciate that and coming in so thank you very much um Ruben Lemos: You’re very welcome. Robert Franklin: Yeah, thank you Ruben. Robert Bauman: Yeah, thanks Ruben really appreciate it. Ruben Lemos: You're very welcome. Robert Franklin: Good Robert Bauman: Mi nombre es Robert Bauman y estoy aquí con mi colega Robert Franklin y estamos aquí para conducir una entrevista oral de historia con el señor Rubén Lemos. La fecha de hoy es siete de junio del 2022 y esta entrevista está siendo conducida en el campo de la universidad de Washington State University en Tri-Cities. Entonces para iniciar señor Lemos podría decir y deletrear su primer nombre y apellido para nosotros. Rubén Lemos: Rubén Lemos. R-U-B-E-N y apellido L-E-M-O-S. Bauman: Grandioso, muchas gracias. Bueno primero gracias por venir aquí hoy y hablar con nosotros. Me pregunto si podemos empezar la entrevista con usted hablando un poco sobre usted, su familia, cuando usted y su familia vinieron a Tri-Cities, necesitamos esa historia. Lemos: Bueno mi historia es de donde vengo de una familia inmigrante trabajadora del campo. Yo nací en Texas, Edinburg Texas y en 1952 mi familia inmigro al estado de Washington y por los próximos diez años estuvimos en un ciclo de inmigración por todo Washington, Idaho, Oregón, Arizona, California y Texas y lo hicimos por diez años. 1961 creo que fue el último año que migramos y vine a Tri-Cities, vine a Pasco después de salir de ejército, fui reclutado durante la era de Vietnam, 1966 serví a mi país orgullosamente y lo sigo haciendo. Cuando me estaba preparando para salir del ejército, me entere de un programa que era ofrecido al personal militar, si atendías a la universidad podrías ser liberado noventa días antes de tu fecha de separación. Entonces en eso tiempo aplique al Columbia Basin College así que mi esposa y yo vinimos a Pasco en 1968 e hice mis dos años aquí en CBC y dos años adicionales en Central Washington, me gradué con una licenciatura de Central Washington y luego hice mi licenciatura de maestría en la universidad de Whitworth. Mientras tanto mi esposa estaba justo detrás de mí, ella hiso sus dos años en CBC y ella se graduó de Central Washington también, dos años después tuvo su academia, sus credenciales de directora a través de Washington State University en Pullman y hemos estado aquí desde entonces, desde 1968. Robert Franklin: ¿Que le hiso elegir Pasco y CBC? Lemos: Pasco porque CBC estaba aquí, y CBC porque era la única universidad de la comunidad de la que sabia. Sabia sobre Yakima Valley Community College, pero pensé que para nosotros sería un mejor ajuste acá en Tri-Cities. Crecí en el valle de Yakima y me gradué en la preparatoria de Granger y después decidí mudarme acá a Pasco, justo después del ejército. Hice mi entrenamiento básico en el fuerte Louis, mi entrenamiento avanzado de infantería en el fuerte de Tigerland Polk, Louisiana y luego terminé trabajando en personal en el fuerte Sam Huston en Texas antes de salir. Bauman: Ahora, volviendo a su familia inmigrando cada año, ¿usted trabajo en la región? Lemos: Si, cosechamos cada tipo de cultivo que te puedas imaginar en el área del valle de Yakima, papas, cada tipo de fruta. Entonces tiempo atrás en los sesenta no permitían mucha agente hispana, para empezar, no había muchos de nosotros, pero aparte no nos permitían trabajar, piscando manzanas, no fue hasta el final de los sesenta que por fin empezaron a permitirle a los hispanos ir a los campos de manzana. Pero cosechábamos ciruelas, manzanas, cerezas, cortábamos espárragos cada mañana por diez años antes de ir a la escuela y luego de aquí íbamos a la montaña Vermon de Washington al norte de Seattle a cortar fresas, una vez que la temporada de fresa terminaba íbamos al sur de Puyallup a cortar frambuesas y de ahí íbamos al sur hacia Salem, Oregón a cortar ejotes y pepinos y después volvíamos aquí a cortar papas y después el ciclo entero iniciaba de nuevo. Íbamos a Idaho a cortar papas, y después de ahí íbamos a Arizona a cortar algodón y completábamos el circulo de la migración. Bauman: ¿Había muchas familias en ese entonces que venían de Texas a través del área? Lemos: Había muchas en el área al principio de los cincuenta porque en 1951 hubo una gran helada así que mi papa no pudo conseguir trabajo cortando cítricos, donde sea se congelo y entonces ese fue el año que el decidió que deberíamos venir hacia el norte. Bauman: ¿Y cómo era la situación de hospedaje para los trabajadores migrantes en ese tiempo, como era eso? Lemos: Bueno, la situación de hospedaje era muy mala, mi papa pagaba $ 1.50 por semana por la cabaña en la que nos quedábamos, por supuesto no tenía drenaje adentro de la casa, solo un foco a la vista. No teníamos plomería adentro y teníamos regaderas y baños comunes y entonces cuando nos bañábamos caminábamos hacia ellos. Era creo, de hecho, era una base militar anteriormente, no bases, pero campos y entonces cuando se decidieron de eso las empezaron a rentar a los trabajadores migrantes. Entonces aquí en el estado de Washington vivimos en Crewport, Crewport era básicamente donde muchos migrantes vivían y como dije mi papa pagaba $1.50 por semana para que nosotros viviéramos ahí, lo mismo ocurría en Arizona, vivíamos al sur de Phoenix en un campo migrante y era más o menos lo mismo $1.50 por semana que mi papa pagaba por eso. Vengo de una familia de nueve niños más un bebe que murió al nacer, pero tenía tres hermanos mayores y tres hermanos menores, yo era el hijo de en medio, una hermana mayor y una hermana menor. Mi hermano inmediato mayor sirvió en la marina y luego yo serví en el ejército, mi inmediato, no mi hermano menor inmediato, pero un hermano menor sirvió en el ejército y luego mi hermano bebe sirvió en el cuerpo de la marina. Bauman: Entonces tuviste, supongo una familiaridad en el área. Lemos: Mi esposan tenía primo que vivía en Pasco y entonces vinimos a Pasco y empezamos, aparte de ir a CBC y trabajar, empezamos a envolvernos en la comunidad. Estaba, estábamos muy envueltos en el consejo parroquial de San Patricio y años más tarde cuando mi hija estaba en la preparatoria, entonces fundamos el programa de Hispanic Academic Achievers el cual durante años a premiado millones de dólares a becas financieras para estudiantes hispanos que se van a graduar. Empezamos el programa en 1990 en Pasco, Gary Fields que era el superintendente del distrito escolar de Kennewick vino a nosotros el año siguiente, 1991 y pregunto si pudiéramos incluir a Kennewick y luego alrededor de tres años después incluimos el distrito escolar de Richland, March Chow era la superintendente y luego incluimos a Finley y Burbank y Conell y hemos estado muy activos con eso. Aparte de eso, o antes de eso hemos, con un par de amigos y yo hemos fundado el Chicano Public Service y ese era el servicio público chicano que fundamos al principio de los setenta y básicamente lo que era, era un grupo de profesionales hispanos que estaban disponibles a ayudar familias migrantes. De hecho, uno de los fondos para los que aplicamos y recibíamos dinero era para establecer el primer, era la clase de ESL, para establecer que las primeras clases fueran ofrecidas en inglés como segundo idioma y entonces hicimos eso. Entonces cuando mi hija empezó la preparatoria me envolví mucho con el club de Academic Booster ahí en la preparatoria de Pasco, así que hemos estado muy ocupados mi esposa y yo. Bauman: Si, claro y parece que hay mucha involucración con la educación. Lemos: Si. Bauman: Quería hablar un poco más sobre el programa de Hispanic Academic Achievers y usted dijo que inicio en 1990. ¿Que lo llevo a usted y otros a involucrarse en crear eso e iniciar el programa? Lemos: Lo que nos llevó a empezar el programa fue mi hija, estaba en la preparatoria y estaba recibiendo honores en todos los programas, en todos los programas avanzados, ella estaba arriba en el rango, bueno ella y su mejor amiga en eso tiempo, Gracy Cooper, ellas eran las estudiantes con las calificaciones más altas y eran reconocidas por sus logros académicos, pero note que mi hija no era reconocida mucho como los otros, entonces incluso aunque tenía casi un promedio de 4.0 en clases de colocación avanzada y clases de honores. Ella no recibió según mi opinión el reconocimiento a través de becas y cosas como reconocimientos y becas, así que le dije a mi esposa que necesitábamos hacer algo para reconocer a nuestros estudiantes y fue así como fundamos la HAAP, Hispanic Academic Achievers Program al principio de la primavera en 1990 que fue el ano en el que ella se graduó. Por el primer año no tuvimos dinero obviamente para las becas, pero el segundo ano conocí a un caballero, un perfecto, muy amable persona con el nombre de Dan Frost. Dan Frost, lo conocí y el pregunto que como podía ayudarnos y entonces mi esposa y yo tuvimos un almuerzo con él en el club campestre Tri-City en Kennewick y dijimos que nos gustaría honorar los estudiantes que consiguen por lo menos un promedio de 3.0 o más con una cena y él dijo que podía proveer la cena, puedo proveer el dinero para la cena, así que tuvimos nuestro primer banquete en el hotel Red Lion en Pasco y fue donde Gray Field el superintendente de Kennewick asistió a la cena y así fue como pregunto que si el distrito escolar de kennewick podía ser incluido. Empezando el siguiente ano teníamos un par de becas de mil dólares o algo así. Entonces el señor Frost nos ayudó inmensamente alrededor del tercer año, él dijo “Rubén no me importa darte dinero para la cena, pero quiero hacer algo más substancial” y le pregunte que le gustaría hacer, y dijo “Quiero dar un premio de diez mil dólares en beca a una persona que va a una institución de cuatro años en el estado de Washington que haga su especialidad en ingeniería, ciencia, o matemáticas y esa persona tiene que mantener por lo menos un promedio de 3.0 o más” y le dije “Bien, ese es su dinero y puede hacer lo que quiera con su dinero” entonces premiamos los primeros diez mil dólares de la beca de Frost y como tres años en eso, debió ser 1993, 1994 o algo así y lo hiso por más o menos cuatro o cinco años y luego la aumento a quince mil y luego a veinte mil y aso ayudó a muchos estudiantes, estudiantes hispanos en el área de Tri-Cities. Bauman: ¿Que era su? Franklin: Motivación o su interés. Bauman: Motivación y también que tipo de ocupación tiene el, me refiero donde… Lemos: Dan es un abogado. Bauman: Bien. Lemos: Sue Frost su esposa, bueno ella era Sue Watkinson al momento que yo la conocí. De hecho la conocí por accidente, tuve una junta en Olympia y Sali temprano de la junta, llego al aeropuerto de Seattle temprano y pregunto si hay algún modo que pueda volver a Pasco en un vuelo más temprano y me dicen que había un vuelo que estaba saliendo justo en ese momento y que tenían un asiento disponible así que termine sentándome al lado de Sue Watkinson y empezamos una conversación y Sue me pregunto, ella dijo “Rubén conoces gente hispana que viva en Tri-Cities que este involucrada con la educación” y le dije “ Mi esposa es maestra estudiando para ser directora y yo he estado involucrado con el club de Pasco High Academic Booster” y entonces ella dijo “Te puedo poner en contacto con un hombre de Los Ángeles, su nombre es Dan Frost” y le dije “Claro” entonces ella dijo “Puedes traer a tu esposa y si conoces a alguien más” así que lleve a mi esposa y yo y a Frank Armijo y su hermana Linda, conocimos al señor Frost y fue así que iniciamos la conversación. La razón por la que Dan quería involucrarse en mejorar las vidas, reconociendo estudiantes hispanos fue porque su oficina principal estaba en L. A. Los Ángeles y había visto todos los disturbios y todo lo que pasaba y pensó que el mejor modo de ayudar a la gente a salir de la pobreza era educándolos y fue así como vino a ofrecer las becas de Dan Frost. Bauman: ¿Y deletreas su apellido? Lemos: Frost, F-R-O-S-T. Bauman: O Frost, bien solo quería asegurar que lo tenemos para la transcripción. Entonces usted menciono que tiene que ser millones de dólares para ahora. Lemos: Si, hemos premiado por lo menos, bueno fui el presidente de HAAP por los primeros diecisiete o dieciocho años y como dije nuestro primer programa fue en 1990 y luego le dije a la gente que me retiraría pronto y teníamos que traer sangre fresca. Hacemos recaudación de fondos y contactamos empleadores, los empleadores de Hanford nos han dado dinero para ofrecer becas, algunas de las universidades, universidades comunitarias y técnicas y universidades en el estado también nos han igualado como si damos cinco mil dólares en beca para alguien que va a WSU Tri-Cities a veces les igualan eso o parte de eso. Bauman: Hum. Lemos: Si, se ha vuelto cierta cosa y después de eso, de hecho la primerita vez o una de las primeras veces que reconocí que necesitábamos un programan así, fuimos mi esposa y yo porque como dije ella era la directora, directora de medio tiempo o iba a ser directora y fuimos invitados a participar en la treceava anual African American for Academic Association y fuimos a eso y le dije a mi esposa “Sabes es una pena que no tenemos algo similar a esto que reconozca a nuestros estudiantes hispanos” y fue así como formulamos el HAAP. Bauman: Entonces, con esos millones de dólares, algunos cientos de estudiantes me imagino. Lemos: Si, reconocimos por alrededor de los primeros veinticinco años, creo que fueron, que reconocimos a estudiantes de cuarto grado al grado doce que tenían por lo menos 3.0 de promedio o más y en los últimos años recientes creo que porque había tantos estudiantes que podían conseguir esto que creo que solo reconocen como a los de secundaria y mayores ahora. Pero sí. Bauman: Hum, bueno. Lemos: Hum, había estudiantes, me refiero había estudiantes en cuarto grado que recibirían un certificado por ser estudiante de HAAP y nombraban a un estudiante de doceavo grado que recibía una beca de dos mil o cinco mil dólares y decían quiero ser esa persona y en seis u ocho años después ellos eran esa persona. Bauman: Debe ser muy recompensante para usted y su esposa hacerlo, saber que han jugado un rol importante para iniciar esto. Lemos: Ha sido muy recompensante y desafiante sabes porque inicialmente cuando iniciamos el programa teníamos algo de gente. Recibía llamadas de gente diciendo que como lo podía limitar a gente hispana que, porque no incluía a otros y les decía “Bueno, ustedes saben cómo los africanos americanos están reconociendo a sus estudiantes, ahora nosotros reconocemos a nuestros estudiantes hispanos, estaría contento de iniciar algo para los estudiantes caucásicos si quieren” pero nunca iniciaron nada. Bauman: Si, le iba preguntar si experimento alguna resistencia. Lemos: O sí. Bauman: O vacilaciones. Lemos: Si. Bauman: O sabes solo por individuos al azar o personas en la educación. Lemos: No, era mayormente gente en la comunidad la que se quejaba al respecto y me llamaban y decían “Como es que no incluyes otros estudiantes, porque no incluyes otros estudiantes” y yo les decía “Bueno iniciamos este programa porque necesitábamos algo para nuestra juventud” y dije que vemos esto ahora, como por ejemplo nuestros estudiantes anteriores, algunos de nuestros recipientes de Dan Frost han vuelto con su doctorado en ingeniería eléctrica, tienen licenciaturas en numerosas áreas, matemáticos, tenemos algunos trabajando aquí en ingeniería electrónica en Battelle y si algunos han terminado sus doctorados a través de WSU Tri-Cities. Bauman: Entonces, me pregunto si rebobinamos y hablamos un poco, sobre cuando hablaste que te mudaste aquí en 1968, es … Lemos: Si. Bauman: Cierto, hum como era el área en ese entonces y especialmente la comunidad hispana en 1968. Lemos: Bueno, la comunidad hispana a finales de los sesenta, casi podías contarlos con una mano, sabes eran muy pocos. Había pocas familias, la mayoría vivían en lo que llamaban las casas de la marina. Bauman: Hum. Lemos: Hum de hecho cuando mi esposa y yo llegamos aquí a Pasco empezamos a buscar alrededor por casas, apartamentos y nos decían “Vallan a las casas de la marina” bueno para vivir en las casas de la marina tenías que ser de ingresos realmente bajos, tan bajo el ingreso, aunque yo y mi esposa no éramos obviamente de clase media aún no éramos lo suficientemente bajos. Así que rentamos un apartamento, casi cruzando la calle de la librería de la ciudad Pasco y era un apartamento lindo, pero casa no era fácil de encontrar, de hecho, vivimos en Hopkins en frente de la librería y una cuadra al este. Una tarde, sabes porque mi esposa y yo obviamente no teníamos dinero, solo caminábamos en el vecindario y vimos un apartamento que estaba en renta y le dije a mi esposa “Parece que alguien renta un apartamento” y ella dijo “Si, deberíamos preguntar y ver si lo podemos ver” y fuimos y tocamos el timbre y una mujer salió y dijo “Los puedo ayudar” y le dije “Me di cuenta que renta un apartamento” y ella dijo “Si” y le dije “lo podemos ver” y ella dijo “No” y le pregunte que porque y ella nos dijo “Bueno, son hispanos” y le dije que eso que tenía que ver con esto y ella dijo “Bueno no, no le rento a hispanos, todos son borrachos, y todos son narcotraficantes y todos son..” y siguió y siguió y le dije a mi esposa “Sabes que ni siquiera quiero hablar sobre esto” bueno eso no fue bien y después de un tiempo empecé a pensar al respecto y dije que pondría algún tipo de queja con la ciudad de Pasco y lo hice y luego le di seguimiento a mi queja y ellos nunca hicieron nada porque el hijo de mujer era abogado para la ciudad y entonces nunca le dieron seguimiento a nada. Pero alojamiento no era fácil de conseguir, pero lo manejamos y ahora vivimos en una linda casa. Bauman: Si, me pregunto si podría hablar tal vez sobre su 1968 y si mis matemáticas no me fallan son como más de cincuenta años. Lemos: Hum. Bauman: Cambios que ha visto. Franklin: O más. Lemos: Bueno. Bauman: Cambios que ha visto desde entonces, desarrollos en el área específicamente como en la comunidad hispana. Lemos: Bueno, obviamente Tri-Cities ha crecido mucho, construyeron el centro comercial Columbia y lo iniciaron en 1969, creo que era 1970 y entonces la gente decía “Porque construyen una unidad de almacenamiento en medio del desierto”. Bauman: (Se ríe). Lemos: Quien en este mundo va a manejar hasta allá a la mitad del desierto, bueno todo eso se ha desarrollado desde entonces. Bauman: Hum. Lemos: El hospedaje no era caro, pero los salarios tampoco eran buenos comparados con ahora tú sabes, ahora puedes, una casa decente esta por lo menos cinco o seiscientos mil, cualquier cosa más barata que eso no es tan linda. Pero si he visto los Tri-Cities crecer mucho. Pasco creo en aquel entonces eran doce mil en población, Richland era más o menos lo mismo, Kennewick era un poco más pequeño y luego Kennewick comenzó a crecer. Solían tener a JCPenney, de hecho, mi esposa solía trabajar en la JCPenney en Pasco, tenían JCPennies aquí en Richland y una en Kennewick y cuando el Columbia Center Mall abrió en el 69 o 70 o por ahí entonces cerraron las tres. Tenían Bonmarche aquí en Richland entonces abrieron Bonmarche lo que se volvió Macy’s en el Columbia center, entonces he visto mucho crecimiento y obviamente el aumento de la población hispana que ha crecido mucho. Bauman: Hum. Lemos: Entonces cuando recien llegamos aquí yo iba a CBC y luego empecé a trabajar medio tiempo como mecanógrafo porque solía hacerlo en el ejército para Northwest Rule Opportunities y entonces conseguí trabajo con el departamento de seguridad de empleo y trabajaba tiempo completo con el departamento de seguridad de empleo y continuaba mis clases en CBC, aun logre graduarme en dos años. Mi esposa empezó a ir a CBC y trabajaba en también en JCPenney y termino en dos años. Me transferí a Union Gap, me dieron una promoción así que nos mudamos a Union Gap de 1972 al 74, volvimos y en ese entonces logre terminar mi licenciatura de cuatro años en Central, entonces mi esposa, volvimos y mi esposa continuo con su maestría en credenciales de directora en la Washington State University y yo termine o inicie mi licenciatura en maestría en la universidad de Whitworth, así que trabaje con seguridad de empleo hasta 1977 y luego vine a trabajar en la primavera del 77 vine a trabajar para el departamento de energía en el edificio federal y estuve ahí en el sitio de Hanford hasta el 87 cuando fui, cuando inicie de nuevo, tuve la oportunidad de un trabajo en CBC y me contrataron como el primer director de recursos humanos en CBC y me ascendieron a vicepresidente y me quede ahí hasta que me retire. Mi esposa comenzó con su carrera de enseñar y subió la escalera de ser la directora y luego paso que yo hablaba con Dave Shaw quien era el superintendente de la Pasco High o el distrito escolar de Pasco y el me pregunto, mi esposa era la directora en la escuela secundaria Park en ese tiempo y Dave me pregunto si podía hablar con mi esposa sobre volver a Pasco, el necesitaba un director para planear sobre la escuela secundaria Ochoa. Asique hable con ella y ella hablo con Dave y se entrevistaron y si la contrataron como la directora planeadora y era responsable por las contrataciones y todas las compras para todo el equipo para la escuela y de contratar a todo el personal y maestros y luego se quedó por un par de años, algunos años y luego se retiró y luego yo me retire después de eso. Bauman: ¿Entonces por cuanto tiempo trabajo para CBC? Lemos: Trabaje para CBC desde el 87 o 88 hasta 2005. Bauman: Ok. Lemos: Si. Bauman: Y menciono que trabajo ahí por poco tiempo. Lemos: Después que me retire trabaje aquí en el programa de Upper Bond por unos seis meses. Si no fue nada permanente, ellos necesitaban alguien que les ayudara así que vine y les ayude. Franklin: Hum. Bauman: Entonces ambos, usted y su esposa tuvieron carreras largas de trabajo en el campo de la educación igual. Lemos: Si. Bauman: Hum, usted menciono antes un incidente donde encaro tú sabes al tratar de rentar un apartamento y la discriminación. Usted o su esposa o familia experimentaron otras cosas como esas antes o en cualquier otro punto durante su tiempo en Tri-Cities. Lemos: Eso básicamente, fue básicamente un choque para mi sabes, que nos ponían a todos en el mismo bote. Como todos ustedes son unos borrachos, drogadictos y obviamente no lo éramos y esa fue la discriminación por la que yo pase. Franklin: Cuales fueron algunas ya que ha estado tanto tiempo en Pasco, cuales fueron algunas de las primeras importantes instituciones hispanas en Pasco de las que se puede acordar, negocios, restaurantes o solo cosas que para ti serian parte de la comunidad, iglesias. Lemos: Bueno se de San Patricio, San Patricio en 1968 o 69 tenían un padre que hablaba español y eran los únicos que ofrecían misa en español en Tri-Cities, así que gente de Kennewick venía a San Patricio y obviamente gente de Pasco, gente de Richland iban a San Patricio porque ese era el lugar con la misa en español, el único. Obviamente desde entonces han aumentado la cantidad de padres que hablan español y han aumentado el número de misas que ofrecen. Mi esposa y yo como dije estábamos envueltos en la San Patricio, hemos sido ministros eucarísticos y yo estaba en el consejo parroquial cuando fue aprobado la construcción del gimnasio, expandimos la escuela, la escuela de San Patricio. Así que mi esposa y yo hemos estados involucrados en actividades como esas, en tanto a otras organizaciones como dije estaba Northwest Rule Opportunities que solía ser llamada Washington Citizens para asuntos migrantes y esa era la agencia para la que solía trabajar medio tiempo mientras iba a CBC. Pero desde entonces tenían, había el club de Latin American que era un grupo de tal vez cuatro, cinco familias que estaban involucradas en promover la cultura hispana, desde entonces ha habido otros negocios que tomado un paso adelante. Franklin: Hum. Bauman: Antes usted menciono Chicanos en el servicio público, en que ano empezó eso y es algo que aún existe. Lemos: No, empezó, debió ser en 1969 tal vez 1970 y estuvo activa por alrededor de cuatro o cinco años y luego desapareció, pero nosotros los pocos hispanos que trabajábamos en las agencias estatales, era solo yo en seguridad de empleo y había uno o dos otros tal vez en labor e indige… Washington State Labor and Industries y tal vez uno en servicios sociales. Había muy pocos, queríamos organizar para ver lo que podíamos hacer mejor para servir a nuestra gente y una de las cosas como mencione fue ensenar ESL. Bauman: Cierto. Lemos: hum porque algunos de la gente hispana no sabían ingles entonces alrededor del 69 o 70 aplicamos para una concesión y usamos los fondos para de ese premio para enseñar ESL. Teníamos clases por la tarde en la escuela preparatoria de Pasco e hicimos eso por un par de inviernos, pero entonces la gente empezó a mudarse, así que los chicanos en servicio público se fueron. Bauman: Hay, cuales son algunas de las cosas de las cuales no le hemos preguntado o cosas que sepa sobre la comunidad hispana u organizaciones aquí o incluso su historia personal que piensa que pudiera ser importante en compartir que no le hemos preguntado. Lemos: Hum una de las cosas que queríamos hacer como parte de la comunidad hispana o los chicanos en el servicio público fue reclutar más profesionales en el área. Estábamos trabajando en posiciones como especialmente cuando por ejemplo cuando fui a trabajar en DOE. Trabaje en recursos humanos y empezamos a reclutar en traer profesionales como ingenieros mecánicos, ingenieros electricistas. Esta gente se estaba graduando como por ejemplo la Universidad de Texas, El Paso y ellos estaban buscando trabajo, así que empezamos a traerlos aquí y es así como algunos de ellos, aún tenemos unos de ellos aquí de los que reclutamos muy atrás en los setenta que vinieron e hicieron una carrera aquí en Battelle o con Weston House, con Rock Well International. Empezamos a traerlos aquí, una de las cosas principales que queríamos era atraer o invitar otros hispanos al área y vinieron desde Texas. Estos eran profesionales algunos de ellos volvieron, pero muchos se quedaron aquí, ahora ya están retirados también y viven cómodamente en Tri-Cities. Bauman: ¿Si, cualquier otra cosa? Lemos: Uno de mí, cuando fui a CBC, una de las cosas que mi presidente me pidió que hiciera fue aumentar el número de las minorías en los estudiantes en el campo, pero también el personal y lo hice aumente ambos significativamente, los estudiantes y el personal. No sé cuántos siguen aun aquí o cuantos se han ido, pero si reclutamos a muchos instructores, profesores ahora y trabajadores de oficina y asistentes de programas, coordinadores de programas. Ese fue uno de mis desafíos. Franklin: Había mencionado que cuando se mudó aquí en el 68 era muy pequeño. ¿Cuándo empezó a cambiar? Cuando empezó a ver a muchos más hispanos llegar. ¿Conoce a algunos que llegaron ya fuera por solo por mudarse o como parte de patrones de migración o cosas así? Lemos: Creo que eso probablemente inicio a finales de los setenta, principio o finales de los setenta porque para ese entonces yo y otros estábamos trabajando con él, estaban posicionando trabajos que podíamos traer a otra gente. Mi esposa para ese tiempo era maestra de la escuela así que cuando se abría una posición ella regaba la palabra con otros maestros, de hecho, te diré una historia interesante que es bonita, mi esposa me lo estaba recordando. Debió ser como tal vez fue en el 76 o 77y la escuela de Pasco mi esposa estaba trabajando y en ese entonces tenían otra maestra hispana, Dolores Cocks y mi esposa estaba trabajando. Ellas trabajaban como maestras y pusieron el anuncio que necesitaban más maestros bilingües así que Dolores le dijo a mi esposa “Bueno, se de otra mujer que se acaba de mudar a Tri-Cities y también era maestra en Texas y es hispana. No sé dónde vive, pero sé que vive en algún lugar de Richland e iré a buscarla” mi esposa le dijo “Bueno, como la vas a encontrar” ella le dijo “Bueno sé que voy a buscar por su matrícula vehicular que diga Texas en Richland”. Bauman: Hum. Lemos: “Sabemos que vive en algún lugar de Richland”. Así que Dolores salió, mi esposa se divertía con esto porque ella dijo “En la tarde después que salió del trabajo fue por todos los edificios de departamentos que estuvieran, no había muchos para empezar, pero en los que había y con una lampara busco la matrícula de Texas. O había una matrícula de Texas”. Entonces ella encontró de quien era el carro y luego encontró donde esta mujer vivía y resulto ser excelente. De hecho, era la maestra de preescolar de mi hija y si hicimos todo lo posible para intentar reclutar y alentar a la gente a que aplicara a estas posiciones. Bauman: Hum. Lemos: Y tú sabes cómo dije a través del programa de Hispanic Academic Achievers uno de los propósitos principales era motivar y alentar a los estudiantes a hacer un buen desempeño académicamente, como le dije mi hija fue co-valecditoria para la clase de 1990 en la preparatoria de Pasco y fue a la universidad de Washington justo al salir de la preparatoria y obtuvo su título de dos años o título de cuatro años y entonces obtuvo su título en leyes y práctico leyes en Yakima. De ahí conoció a su futuro esposo quien estaba en NY en la universidad New York de leyes. Ella se mudó a Nueva York, se casó y entonces ambos ahora viven en Nashville con nuestros dos nietos y él es abogado con el gobierno de Estados Unidos. Queríamos alentar a nuestra juventud a hacer mejor académicamente y motivarlos. Como cuando dije que no teníamos mucho para darles aparte de una cena por los primeros años y un papel que decía que eran miembros del programa de Hispanic Academic Achievers por ese año. Bauman: Hum. Lemos: Me acuerdo que hubo un año, de hecho pienso que fue el primer año cuando estábamos reconociendo a los estudiantes que tenían 3.0 GPA o más alto un estudiante vino a mi cuando íbamos acabando el programa y dijo “Señor, me reconocería?” y le dije “Bueno estaba tu calificación en punto” y el niño me dijo “Bueno, tengo casi 3.0, tengo 2.89 o algo así como 2.97 o algo así” le dije “No, trabaja más duro el próximo año y te reconoceremos” así estábamos intentando alentarlos y motivarlos y así lo hizo y ese joven hombre se convirtió en muy buen ciudadano. Bauman: Hum. Lemos: Sabes, graduarse de la preparatoria e ir a la universidad y seguir su profesión, pero la idea era alentar y motivar estudiantes a hacer un buen desempeño académicamente. Bauman: Hum. Lemos: Si nos íbamos a mejorar a nosotros mismos ese era el modo de hacerlo y el señor Frost, Dan Frost él quería lo mismo y dijo “Quiero parar toda esta violencia que sucede en Los Ángeles y un modo de hacerlo es proveer un incentivo para los estudiantes de minoría a hacer bien en la escuela y académicamente y mejorarse a sí mismos y mejorar sus familias” y sabes pienso como dije vengo de una familia emigrante trabajadora de campo, cortábamos papas a seis centavos el costal, cortamos algodón por tres centavos la libra y la tarifa por hora por trabajar en el espárragos o azadonando la remolacha o trabajando en los campos era un dólar así que mi papa, sabes quería que nosotros hiciéramos mejor y si conseguimos pasar por eso. Aun así, conseguí pasar la preparatoria en un tiempo así, las seis semanas que estábamos en Idaho cosechando papas no iba a la escuela, me inscribía en la escuela de Granger, Yakima Valley y estaba en la escuela de dos a tres semanas y luego toda nuestra familia se mudaba a Idaho y trabajábamos en los campos y era a finales de octubre cuando nos inscribíamos en la escuela en Arizona. Yo intentaba alcanzar a mis compañeros de clase que era muy difícil, pero digo no era nada diferente a los otros niños con los que me juntaba, pero por supuesto muchos se salían en el sexto o séptimo grado. Bauman: Menciono antes que usted era de una familia de nueve hijos. ¿Alguno de sus hermanos termino en Arizona o terminaron en diferentes lugares? Lemos: Hum, de todos nosotros tengo a mi hermano inmediato menor que ya murió, él fue el primero en ir a la universidad y graduarse de la universidad de Washington con su licenciatura y maestría y luego un hermano mayor que obtuvo su maestría y se volvió maestro y yo obtuve mi maestría y creo que mi menor, tenía un hermano menor que también murió, creo que tenía un par tal vez dos años en la universidad de Washington y mi hermano bebe también tenía uno o dos años en Central Washington. Sabes no todos nos graduamos de la universidad, pero si nos graduamos de la preparatoria. Bauman: Bueno, quiero agradecerle por venir y compartir su historia y la historia de su familia. Bauman: Y por compartir la historia de HAPP y ver el impacto que ha tenido en esta comunidad, de verdad lo apreciamos y por venir, muchas gracias. Lemos: De nada. Franklin: Si, gracias, Rubén. Bauman: Si, gracias, Rubén realmente lo apreciamos. Lemos: De nada. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:51:12 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 Interview with Ruben Lemos Subject The topic of the resource Oral History; Latin American; Hanford Site; Richland, WA, USA Description An account of the resource Ruben Lemos was born in Edinburg, Texas, to a large Mexican American migrant farmworking family that traveled across the western United States harvesting crops throughout the 1950s and early 1960s. After serving in the U.S. Army during the Vietnam era, he settled in Pasco, Washington, in 1968 to pursue higher education under a veteran college program. Lemos earned degrees from Columbia Basin College, Central Washington University, and a master’s from Whitworth University, while his wife also became an educator and principal. Deeply committed to public service and education, he co-founded “Chicanos in Public Service” in the early 1970s to support migrant families and later, in 1990, helped establish the Hispanic Academic Achievers Program (HAAP), which has since awarded millions in scholarships to Hispanic students in the Tri-Cities region. Lemos built a long career in education and administration, serving as Columbia Basin College’s first Director of Human Resources and later Vice President. A community leader and advocate for equity, Lemos’s lifelong work has expanded educational access and opportunity for generations of Latino students in Washington State. Creator An entity primarily responsible for making the resource Hanford Oral History Project at Washington State University Tri-Cities Publisher An entity responsible for making the resource available Hanford Oral History Project at Washington State University Tri-Cities Date A point or period of time associated with an event in the lifecycle of the resource June 7, 2022 Rights Information about rights held in and over the resource Those interested in reproducing part, or all of this oral history should contact the Hanford History Project at ourhanfordhistory@tricity.wsu.edu, who can provide specific rights information for this item. Format The file format, physical medium, or dimensions of the resource video/mp4 Language A language of the resource English; Spanish