Six photos show the camp volleyball team, a group of men with instruments, the headquarters staff, a road project, the camp track team, and the camp baseball team. Identified personnel include Captain Whittemore, Lieutenant Cowan, and Captain Joslyn.

Portrait of two unidentified men, one seated at a Wurlitzer theatre pipe organ in the corner of a room and the other standing next to him. Both are wearing suits and ties. The note “theater organist” is written on the envelope housing the negative.

Session 1, Part 1. This oral history interview with Ruby Chen was conducted by Jessica Pollard and Sankar Raman on January 8, 2019. A woman identified only as Nancy was also present and occasionally contributed to the interview questions. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States.

In this interview, Chen discusses her family background and early life in Taipei, Taiwan, and talks about her early violin lessons and participation in music competitions. She speaks about moving with her family to Toronto, Canada, including adjusting to life in Canada, her education, and participating in music competitions. She also talks about the origins of her English name, Ruby. She discusses studying violin at the Eastman School of Music in Rochester, New York, and talks about making friends, adjusting to life in the United States, and living away from her family. She then briefly talks about studying violin at the Yale School of Music and playing in a string quartet. She also shares an anecdote about working with Josh Groban and with Celtic Thunder while a student at Eastman. She describes the process of auditioning for symphonies, and discusses her career as a violinist for the Oregon Symphony. She talks about teaching violin, about how Taiwan has changed since she left, and about her life in Portland, Oregon. She closes the interview by discussing her activities outside of her career with the symphony, talking about her cultural identity, and sharing advice for aspiring musicians.

Session 1, Part 2. This oral history interview with Ruby Chen was conducted by Jessica Pollard and Sankar Raman on January 8, 2019. A woman identified only as Nancy was also present and occasionally contributed to the interview questions. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States.

In this interview, Chen discusses her family background and early life in Taipei, Taiwan, and talks about her early violin lessons and participation in music competitions. She speaks about moving with her family to Toronto, Canada, including adjusting to life in Canada, her education, and participating in music competitions. She also talks about the origins of her English name, Ruby. She discusses studying violin at the Eastman School of Music in Rochester, New York, and talks about making friends, adjusting to life in the United States, and living away from her family. She then briefly talks about studying violin at the Yale School of Music and playing in a string quartet. She also shares an anecdote about working with Josh Groban and with Celtic Thunder while a student at Eastman. She describes the process of auditioning for symphonies, and discusses her career as a violinist for the Oregon Symphony. She talks about teaching violin, about how Taiwan has changed since she left, and about her life in Portland, Oregon. She closes the interview by discussing her activities outside of her career with the symphony, talking about her cultural identity, and sharing advice for aspiring musicians.

Session 7. In the seventh and final interview session, conducted on February 8, 2019, Dunn continues discussing his service on the Bankruptcy Appellate Panel beginning in 2006, including some of the cases he heard. He also talks about his involvement with the National Conference of Bankruptcy Judges and awards he received. He discusses the importance of bankruptcy laws, reflects on his accomplishments, and talks about his retirement activities. He closes the interview by discussing the science program for the Ninth Circuit Executive Committee.

Session 1, Part 2. In the first interview session, conducted on September 17, 2018, Dunn discusses his family background and early life in Crown Point, Indiana, including Indiana politics and his education, particularly the experience of taking high school classes from his mother. He also talks about playing clarinet and his interest in music. He then discusses his experience at Northwestern University in Evanston, Illinois, including the house he lived in, his roommates, and continuing to play music.

Session 4. In the fourth interview session, conducted on December 28, 2018, Dunn continues to discuss practicing bankruptcy law at Copeland, Landye, Bennet, and Wolf in Portland, and describes some of the cases he worked on. He then talks about Oregon bankruptcy law, the procedures of the Oregon bankruptcy court, and the bankruptcy court staff, including judges and law clerks. He also discusses working as editor of the Oregon Debtor-Creditor Newsletter and other bankruptcy court-related publications. He further discusses playing clarinet in the Portland Opera orchestra.

Session 5. In the fifth interview session, conducted on January 11, 2019, Dunn discusses the lawyer job market in Portland. He then continues talking about bankruptcy law, particularly the changes to the law made in 2005. He talks about his service as a bankruptcy judge beginning in 1998, including the application process, his fellow judges, and learning how to be a judge. He also talks about decorating his office at the bankruptcy courthouse in Portland, about his law clerks, and about scheduling cases.

Session 6. In the sixth interview session, conducted on January 25, 2019, Dunn continues discussing his service as a bankruptcy judge beginning in 1998, including some of the cases he heard and his judicial philosophy. He also talks about his service on the Bankruptcy Appellate Panel beginning in 2006, including his fellow panelists and some of the cases he heard.

Session 2. In the second interview session, conducted on October 22, 2018, Dunn continues discussing his family background and his experience at Northwestern University, including working in an oil refinery during the summers. He then talks about his experience at Stanford Law School, including his impressions of the West Coast, some of his professors, and working on the law review. He also talks about his later work as editor-in-chief of the Oregon Debtor-Creditor Newsletter. He discusses playing clarinet in the Stanford orchestra, where he met his wife, Laurie.

Session 3. In the third interview session, conducted on November 19, 2018, Dunn continues discussing his experience at Stanford Law School, including working as a law clerk in Indiana during the summers. He also continues discussing his relationship with, and later marriage to, Laurie. He then talks about practicing antitrust law at Berman and Giauque in Salt Lake City, Utah, and then bankruptcy law at Copeland, Landye, Bennet, and Wolf in Portland, Oregon. He describes the workplace culture in both places and some of the cases he worked on. He talks about playing clarinet in the Salem Symphony and the Portland Opera orchestra.

Transcript. This oral history interview with Randall Dunn was conducted by Greta Smith Wisnewski at the Bankruptcy Court building in Portland, Oregon, in seven sessions from September 18, 2018, to February 8, 2019. At the time of the interview, Wisnewski's name was Greta K. Smith.

In the first interview session, conducted on September 17, 2018, Dunn discusses his family background and early life in Crown Point, Indiana, including Indiana politics and his education, particularly the experience of taking high school classes from his mother. He also talks about playing clarinet and his interest in music. He then discusses his experience at Northwestern University in Evanston, Illinois, including the house he lived in, his roommates, and continuing to play music.

In the second interview session, conducted on October 22, 2018, Dunn continues discussing his family background and his experience at Northwestern University, including working in an oil refinery during the summers. He then talks about his experience at Stanford Law School, including his impressions of the West Coast, some of his professors, and working on the law review. He also talks about his later work as editor-in-chief of the Oregon Debtor-Creditor Newsletter. He discusses playing clarinet in the Stanford orchestra, where he met his wife, Laurie.

In the third interview session, conducted on November 19, 2018, Dunn continues discussing his experience at Stanford Law School, including working as a law clerk in Indiana during the summers. He also continues discussing his relationship with, and later marriage to, Laurie. He then talks about practicing antitrust law at Berman and Giauque in Salt Lake City, Utah, and then bankruptcy law at Copeland, Landye, Bennet, and Wolf in Portland, Oregon. He describes the workplace culture in both places and some of the cases he worked on. He talks about playing clarinet in the Salem Symphony and the Portland Opera orchestra.

In the fourth interview session, conducted on December 28, 2018, Dunn continues to discuss practicing bankruptcy law at Copeland, Landye, Bennet, and Wolf in Portland, and describes some of the cases he worked on. He then talks about Oregon bankruptcy law, the procedures of the Oregon bankruptcy court, and the bankruptcy court staff, including judges and law clerks. He also discusses working as editor of the Oregon Debtor-Creditor Newsletter and other bankruptcy court-related publications. He further discusses playing clarinet in the Portland Opera orchestra.

In the fifth interview session, conducted on January 11, 2019, Dunn discusses the lawyer job market in Portland. He then continues talking about bankruptcy law, particularly the changes to the law made in 2005. He talks about his service as a bankruptcy judge beginning in 1998, including the application process, his fellow judges, and learning how to be a judge. He also talks about decorating his office at the bankruptcy courthouse in Portland, about his law clerks, and about scheduling cases.

In the sixth interview session, conducted on January 25, 2019, Dunn continues discussing his service as a bankruptcy judge beginning in 1998, including some of the cases he heard and his judicial philosophy. He also talks about his service on the Bankruptcy Appellate Panel beginning in 2006, including his fellow panelists and some of the cases he heard.

In the seventh and final interview session, conducted on February 8, 2019, Dunn continues discussing his service on the Bankruptcy Appellate Panel beginning in 2006, including some of the cases he heard. He also talks about his involvement with the National Conference of Bankruptcy Judges and awards he received. He discusses the importance of bankruptcy laws, reflects on his accomplishments, and talks about his retirement activities. He closes the interview by discussing the science program for the Ninth Circuit Executive Committee.

Session 1, Part 1. In the first interview session, conducted on September 17, 2018, Dunn discusses his family background and early life in Crown Point, Indiana, including Indiana politics and his education, particularly the experience of taking high school classes from his mother. He also talks about playing clarinet and his interest in music. He then discusses his experience at Northwestern University in Evanston, Illinois, including the house he lived in, his roommates, and continuing to play music.

Full-length portrait of a Salvation Army band. At center is a man holding a book and standing at a microphone. He is standing between a woman sitting at a piano and a woman sitting at an organ. Behind them are seven people standing in a row and facing front.

Photograph of a smiling woman, Marie Ewing, playing a banjo with the word “BONUS” painted on the neck. At left is an unidentified man. They may be at Union Station in Portland. This photograph may be related to the Bonus March by World War I veterans in 1932. See related image Nos. 371N0809 and 371N0811.

Photograph of a woman, Marie Ewing, walking at the head of a small group of men, possibly at Union Station in Portland. Ewing is playing a banjo and harmonica. On the neck of the banjo is the word “BONUS.” A crowd of people is gathered nearby. This photograph may be related to the Bonus March by World War I veterans in 1932. See related image Nos. 371N0810 and 371N0811.

Members of the Teatro Campesino of Delano, California performing in Portland, Oregon during a tour to raise awareness about the struggles of seasonal farmworkers in Delano, California. Pictured left to right, they are Agustin Lira, Felipe Cantu, Roberto Reyes and Luis Valdez (creator of Teatro Campesino). This image was published in the Valley Migrant League's Opportunity News on December 9, 1966.

A singer, guitar player, and accordion player perform at a graduation dance at Independence City Hall in Independence, Oregon. They are members of the Olympics band, also known as "Los Olympicos." The dance is being held to honor the first group of Latin American students to graduate from Central High School in Independence. Photographs from this series were published in the Valley Migrant League's Opportunity News on June 10, 1966.

Members of The Gangsters performing on an elevated stage at Milo McIver State Park during the Vortex I Music Festival. Band members pictured are Michael Cooper (baritone saxophone), Melvin Vann (tenor saxophone), Thara Memory (trumpet), Lester Cooke (tambourine), and Jimmy Sanders (organ). Additional band members also present but not pictured from this performance are Lester McFarland (guitar), Calvin Walker (drums), Michael Nowlen (drums), Ronnie Young (percussion). A crowd of people are dancing below the stage in the foreground.

Photograph of Millen Van Hoogstraaten, conductor for the Portland Symphony Orchestra, posing in a locomotive cab with an unidentified train engineer. Hoogstraaten, pictured on the left, stands behind the engineer. Both men look straight ahead of the locomotive as though they are driving the train. The engineer has his left hand on the controls. Hoogstraaten leans slightly out of the cab. Handwritten note on the back of the print reads, "left, Millen Van Hoogstraaten, 1929." Stamp on the back for L.C. Jones.

Photograph of Millen Van Hoogstraaten, conductor for the Portland Symphony Orchestra, standing on the ground next to an Empire Builder train. He rests his elbow on the back of the train next to a sign that reads, "Great Northern Empire Builder." He wears a trench coat and looks at the camera. Handwritten note on the back of the print reads, "Millen Van Hoogstraaten, 1929." Stamp on the back for L.C. Jones, Photographic Laboratory.

Photograph of Millen Van Hoogstraaten, conductor for the Portland Symphony Orchestra, on an exterior observation deck on the back of an Empire Builder train. Three women and the train conductor are on the deck with him. A group of people on the ground wave at them. Signs on the back of the train read, "North Coast Limited" and "Great Northern Empire Builder." Handwritten note on the back of the print reads, "1929, Center, Millen Van Hoogstraaten , conductor, Ptld. sym."

Photograph of Millen Van Hoogstraaten, conductor for the Portland Symphony Orchestra, standing on a platform at a train station. He wears a trench coat and hat and carries a bag in his right hand. A train is visible behind him. Handwritten note on the back of the print reads, "Millen Van Hoogstraaten, 1929, conductor, Portland, Symphony."

Session 1. This oral history interview with Masumi Timson was conducted by Sankar Raman and Giacomo Ranieri on March 19, 2018. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. In this interview, Timson discusses her early life on Tokunoshima Island in Japan, including Japanese cultural practices and her early education. She describes her first time hearing the koto and her subsequent fascination with the instrument, as well as growing up in a musical family. She talks about studying koto music at Seiha Conservatory of Traditional Japanese Music while also studying English at Kansai Junior College (now known as Kansai Gaidai College) in Hirakata, Osaka. She describes the reception her koto performances received in Oregon and how that inspired her to become much more serious about her music. She talks about her marriage to Stephen F. Timson in 1977 and immigrating to the United States in 1991. She also describes some of the mechanics of the koto. She talks about teaching koto at the Willamette University Koto Club, performing in Oregon and Japan, and her longtime collaboration with Pink Martini. She also talks about her koto collection. She discusses her cultural and ethnic identity, particularly how the koto helps her keep her connection to her Japanese roots. She closes the interview by talking about the future of koto music in Japan, Japanese traditions and culture, and her koto students.

Photograph showing a man playing an accordion next to a woman with a violin and bow. They are both facing forward and looking downward at their instruments, while seated individuals look on. Written on the negative is "51-851."