Willie Atencio: The first thing we need to know is, where were you born?
Dick Money: In Chicago.
Atencio: Okay, you were born in Chicago. What part of Chicago?
Money: South Side.
Atencio: South Side. Tell us a little bit about your parents.
Money: My father was a civil engineer. He had a company that built grain elevators. He was educated at Armour Institute, which later became Illinois Tech in Chicago. A wonderful man, of course.
Lauren Attanas: My name is Lauren Attanas, that’s A-T-T-A-N-A-S. I am the granddaughter of John Attanas, who we are interviewing for the Atomic Heritage Foundation today. Can you say your name and spell it for the camera?
John Attanas: John George Attanas.
Lauren: Tell us the story of your origins. Where did your family come to the United States from?
[Thanks to David Schiferl and Willie Atencio for recording this interview and providing a copy to the Atomic Heritage Foundation.]
Willie Atencio: Mr. John Wickersham, we’re trying to interview you and get information from you, because you were at Los Alamos. You were there while the bomb was being developed.
John Wickersham: Oh, yeah. But I don’t know nothing about that.
Atencio: Your first name, ma’am?
Margaret (Marge) Wickersham: I’m Margaret.
[Thanks to David Schiferl and Willie Atencio for recording this interview and providing a copy to the Atomic Heritage Foundation.]
David Schiferl: Tell us how you got here.
Felix DePaula: Well, let me start with being inducted into the service in 1944, October of ’44, into the Corps of Engineers at Fort Dix, New Jersey. Then from there, I was sent to Fort Belvoir, Virginia, and I spent a couple of months in the wintertime at Fort Belvoir, Virginia.
[Thanks to David Schiferl and Willie Atencio for recording this interview and providing a copy to the Atomic Heritage Foundation.]
Willie Atencio: Okay, first of all, tell us about your grandparents. Were they homesteaders?
Julia Maestas: Yes.
Atencio: Names?
Cindy Kelly: I’m Cindy Kelly, Atomic Heritage Foundation. This is Wednesday, February 22, 2017. We’re in Encino, California, and I have with me Larry DeCuir. I first want you to tell me your full name and spell it, please.
Larry DeCuir: Laurence Edwin DeCuir. L-A-U-R-E-N-C-E, Edwin is E-D-W-I-N, and DeCuir is D-E-C-U-I-R. It translates to “of leather” in French. If you go to Montreal, you’ll see a lot of shops with my name on the window. I don’t own those shops. They handle leather.
Cindy Kelly: I’m Cindy Kelly, Atomic Heritage Foundation, and it is Wednesday, February 22, 2017. I’m in Encino, California. Maybe the first thing is say your name and spell it for us.
William Ginell: Okay. It’s William Seaman, S-E-A-M-A-N, Ginell, G-I-N-E-L-L.
Kelly: Great. Why don’t you start at the beginning? Tell us when you were born and where and a little bit about your childhood.
William Ginell is a physical chemist who worked on the Manhattan Project. In this interview he describes how he became interested in chemistry and his experiences working at Columbia University and Oak Ridge, TN on the gaseous diffusion process. He reflects on the Army, living conditions, and the intense secrecy and security during the project. He also discusses his life after the war, especially his work at Brookhaven, Atomics International, and Douglas Aircraft.
Kelly: Today is Friday, February 3rd, 2017. I’m Cindy Kelly, Atomic Heritage Foundation, in Albuquerque, New Mexico. I’m here in an installation called “Atomic Time” with its creator, the sculptor and artist Jim Sanborn. My first question to Sanborn is to please say his name and spell it.
Sanborn: All right. I’m Jim Sanborn, S-A-N-B-O-R-N. I’m the maker of this installation that I began sometime in 1998 and concluded in 2004, although I added pieces over the years, added more stuff over the years.
Jim Sanborn is an American sculptor known for works such as “Kryptos” at the CIA Headquarters in McLean, VA.
In this interview, Sanborn discusses his exhibit “Atomic Time,” which is now on display at the National Museum of Nuclear Science and History in Albuquerque, NM. The installation recreates the Manhattan Project scientists’ experiments at Los Alamos to determine when plutonium would go “critical” in an atomic bomb. Sanborn explains why he decided to do the project, and how he carefully created each piece of the exhibit.
