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Series 6: Sound Recordings, 1977 (continued)
Subseries 12: Hispanic, Filipino (continued)
Tape ID: AFC 1981/004: AFS 20749 - AFS 20749_02 Recording of "El Show Jíbaro," broadcast at WCIU Chicago, Illinois, part 1-2, June 25, 1977
MBRS shelflist: RYA 0767
Links
      Digital content available: afc1981004_afs20749
      Digital content available: afc1981004_afs20749_02
2 audiocassette, C-60
Part 1 of a 2-part live recording of Israel Maldonado's program, in Spanish, made in the studio of WCIU television, 141 W. Jackson St.; musical lead-in featuring his musical group playing a danza or danz6n; Israel Maldonado introduces the program and gives commercials, then introduces members of the conjunto; instrumental number, ''Pasillo Boricua," with Arcadia Otero on the cuatro; commercials; Israel Maldonado announces the next number, "something danceable," group plays a rnerengue; recording interrupted during commercials; next song improvised by Edimiro Rivera; commercials; Irma Diaz sings "Presentimento," a bolero; commercials (not recorded); discussion of what to choose for the next number; waltz (vals); Israel Maldonado and commercials, greetings, and dedications to members of the community; another merengue. Part 2 of a 2-part live recording of Israel Maldonado's program, in Spanish, made in the studio of WCIU television, 141 W. Jackson St.
Tape ID: AFC 1981/004: AFS 20750 - AFS 20751 Interview with Jesús "Chuy" Negrete, Chicago, Illinois, part 1 and part 3, June 27, 1977
MBRS shelflist: RYA 0768-0769
Links
      Digital content available: afc1981004_afs20750
      Digital content available: afc1981004_afs20751
2 audiocassette, C-60
Part 1 of a 3-part interview with Jesus "Chuy" Negrete, recorded in the kitchen of his parent's home, 9125 S. Houston Ave., Chicago; topics include the Folklore Institute, Chicano-Riqueno Studies, Negrete's courses; other interviews he has given recently; the performing group Chicano Floricanto and its beginnings, came out of Teatro movement in the late 1960s; the Teatro movement and its history in Chicago; the beginning of Chicano Floricanto, playing out of the context of the Teatro, then the split from the Teatro; there are four or five members of the group: bass, percussion, saxophone, two guitars, had been a drummer; about the research that went into their program; corridos about Chicano history; the experience of the musicians and relationship to churches; outline of their tour performance, "450 Years of Chicano History in Music," included a slide show with corridos and poetry, revolution and immigration sections of the presentation; few people now work with corridos, only a few real corridistas left in the country; Negrete has composed some but is not a real corridista; mentions others, none in Chicago; rehearsals for group are hard to schedule in the summer, vacations and other work by the members; members include Jesus "Chuy" Negrete, guitar and vocals; Rosa Negrete, rhythm guitar and vocals; Carlos Bunuelos, lead and rhythm guitar; Raul Rodriguez, bass guitar; Carlos Cumpian, poet and percussionist; about the use of music, slides (mural art) and poetry to make their statement; Negrete recites a bit of poetry; members do other things as well, they need money to continue their work, he and group have worked in schoo1s and Artist in Schools programs; also ties with bilingual education programs, need for bilingual resource people; about teaching with music and slides; about bilingual programs in Chicago and Teaching English as a Second Language (TESL), problems and ideas; Negrete's center wants non-profit status for oral history and promotional grants; Negrete's use of music for teaching, desire reach more people through radio and TV; about folklore as history and as a newspaper for an illiterate peasantry; about his father as harmonica player and singer of corridos; the historic import of music to Chicanos and lesser impact of theater; the style, not the lyrics that call attention to the music, lyrics are altered to politicize; need for education through school and presentations in the barrios, create a sense of awareness, value of a television program, hopes people will rediscover the disappearing art forms; this emphasizes reaching Mexican Americans, what of others? Part 3 of a 3-part interview with Jesus "Chuy" Negrete, recorded in the kitchen of his parent's home, 9125 S. Houston Ave., Chicago; content includes Negrete singing a song on the theme "I don't want to go back, I am Mexican American"; comments on urban guitar sound, example of the poetry, some traditional and some contemporary; about the need to update some materials to hold an audience; on the audience reaction to their group Chicano Floricanto; about the presentation of the labor movement; labor organizer Lucy Gonzales Parsons as a Latina involved in the Haymarket riots; about his $2,000 grant for research into corridos and Chicano History; Negrete lives by his guitar; comments on the cultural center's three areas of activity, multi-media presentation of Chicano Floricanto, clearing house for artists for performances and schools, and getting into video production for educational purposes; there is a lack of money; about MARCH (Movimiento Artistico Chicano) and other organizations; includes a segment playing his Chicago-made guitar and telling about it. Duration: 8:45 minutes.
Tape ID: AFC 1981/004: AFS 20751_02 Discussion of Spanish-language songs and lyrics, unidentified speakers, Chicago, Illinois, June 27, 1977
MBRS shelflist: RYA 0769
Digital content available: afc1981004_afs20751_02
audiocassette, C-60
The recording with call number AFC 1981/004: AFS 2751b is also identified as AFS 20751 side B.
Tape ID: AFC 1981/004: AFS 20752 Interview with Israel Maldonado from "El Conjunto de Cuerdas Típicas de Puerto Rico", and "El Show Jíbaro," Chicago, Illinois, June 28, 1977
MBRS shelflist: RYA 0770
Digital content available: afc1981004_afs20752
audiocassette, C-60
Interview with Israel Maldonado from the musical group El Conjunto de Cuerdas Típicas de Puerto Rico, and from the broadcast program "El Show Jíbaro"; recorded in Spanish at at a rehearsal for "El Show Jíbaro" at El Romance Club; about the origins of "El Show Jibaro" in previous radio programs and programming on Channel 44 before moving to Channel 26; Maldonado's love of folklore, this was a first as a program of folk and traditional Puerto Rican music; beginnings on Channel 26 and Maldonado's search for talent, improvisors (trovadores); types of music performed: danzas, plenas, aguinaldos, vals, mazurkas, seises, polkas, etc.; Maldonado found the best trovadores, several have appeared or appear on the program; size of his television audience and its makeup; how Maldonado works to stress traditionality and typicality ness of the performances; all of the artists work is voluntary and unpaid, some have other groups or jobs and play and sing as a pastime or for pay; about the name El Conjunto de Cuerdas Tipicas de Puerto Rico; Israel as an insurance agent for 24 years in Chicago with Prudential since 1969; the importance of this show, need for it in the Puerto Rican community, the only one in the U.S. and in Puerto Rico; about the differences between his and other Puerto Rican-run programs; the varying nature of his show and size of performing group, as many as 40 on the program at one time; videotapes of past programs exist; thanks and good-bye with comments on shows given at other places and praise of Puerto Rican folklore.
Tape ID: AFC 1981/004: AFS 20753 Interview with Arcadio Otero, cuatrista Chicago, Illinois, June 28, 1977
MBRS shelflist: RYA 0771
Digital content available: afc1981004_afs20753
audiocassette, C-60
Interview with Arcadio Otero, cuatrista (player of the cuatro musical instrument), recorded during a rehearsal for El Show Jibaro (television program) at the El Romance Club; Otero was born in Ciales, Puerto Rico; about his trips to the U.S. and final settlement in Chicago in 1971; Otero first learned guitar and then the cuatro, has played cuatro for fifteen years; Otero on born in February 1917, had been on El Show Jibaro for four years; discusses other cuatristas; discusses his instrument; Otero has a preference for living in Puerto Rico but more money can be made in the U.S.; the fieldworker's written notes inidcate that his question about the importance of this music is misunderstood; Otero names the types of music and rhythms he plays; Otero notes that young people do not like his music, they prefer salsa, which he also enjoys.
Tape ID: AFC 1981/004: AFS 20754 - AFS 20757 Recording of performance by Conjunto de Cuerdas Tipicas de Puerto Rico at El Romance Club, Chicago, Illinois, part 1-4, June 28, 1977
MBRS shelflist: RXA 1063-1066
Links
      Digital content available: afc1981004_afs20754
      Digital content available: afc1981004_afs20755
      Digital content available: afc1981004_afs20756
      Digital content available: afc1981004_afs20757
4 audiotape reel, 7 in.
Part 1 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; discussion of what to choose for the next number; waltz (vals); content includes warm up and conversation (inaudible); selection, title unknown; comments on desire to record conversation and warm up; decision to play a danza; danze selection, title unknown; animal sounds and ·practice riffs, conversation; danza selection, title unknown; practice and conversation; two instrumental selections; conversation; "Mi Viejo San Juan"; conversation and practice riffs; selection, title unknown; conversation; danzon selection; selection and conversation. Part 2 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes animal sounds and conversation; danzon titled "La Electricidad"; practice and conversation; improvised song "Contraversia de los Gallitos de Pelea"; conversation and explanation of the plena to be sung by Antonio and Nelson; perform the plena; conversation; selection of a bolero as a duet, title unknown; conversation; perform merengue; conversation and discussion on how to end the song properly, begin song again; this number continues at the beginning of part 3. Part 3 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes completion of the song begun at the end of part 2; discussion of how the ending was executed; animal sounds and more discussion; repeat selection; conversation; two instrumental selections, titles unknown; conversation; mazurka announced by Israel Maldonado, perform mazurka, title unknown; band members Arcadio Otero and Pablo Valentin switch instruments (Arcadio now on guitar); instrumental selection; comments; first part of a danza, title unknown, continued in part 4. Part 4 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes includes completion of danza begun at the end of part 3, song ends with animal sounds, comments; plena, title unknown; comments from Israel Maldonado; next selection is a seis con decima, improvised; comments about the four singers who sang the seis; bolero, title unknown; comments; instrumental selection; song, title unknown; selection that is interrupted; comments; Israel Maldonado introduces a paso doble, performance thereof, title unknown; recording ends in middle of selection.
Tape ID: AFC 1981/004: AFS 20758 Interview with Gamaliel Ramírez from the El Taller organization, Chicago, Illinois, part 1, June 29, 1977
MBRS shelflist: RYA 0772
Digital content available: afc1981004_afs20758
audiocassette, C-60
Part 1 of a 2-part interview in English with mural painter Gamaliel (Bobby) Ramírez from the Puerto Rican community organization El Taller, recorded at the El Taller office at 1039 W. Grace St., Chicago; topics include the nature and organization of El Taller; outline of Board, collective, and members; members of the collective, Ramirez is one of five; reason for starting was to channel creativity, involve the community, develop alternatives to gang membership for street youth; at first members were younger people, later picked up adults and academics; the building funded through the Lutheran Church, the first big boost; about the building as place to meet, work, and exchange ideas; El Taller formalized as an organization after trips to New York to view other similar groups there; the group has held workshops on poetry, murals, silk-screening, photography, guitar, and congas; about the collective organization; the special issue of the Revista Chicano-Riquena on poetry and art from El Taller as one workshop project, partially funded by Illinois Arts Council, involving kids in murals and poetry; El Taller‘s philosophy is to promote and develop artists and their skills; performing arts workshops on guitar and conga, recitals or shows of products and skills at the end of workshops; need to develop workshops, darkroom, coffee house, and gallery in their new storefront location; funds for three congueros (congresos?), other work is volunteer; moving toward more community involvement, want a concentration on Latino artists and themes but also to deal with the whole neighborhood in which a project takes place; will emphasize Puerto Rican activities but also work with parallel Mexican American organizations like ALBA, MARCH (Movimiento Artistico Chicano), and Casa Aztlan; Ramirez does not want to be commercial artist but rather to make a statement and an impression; about the expression of self through art; about Ramirez's growth over the years; community support of his art although others may feel that "if you haven't studied the masters, you can't paint"; street people understand and don't question his schooling, he was kicked out of grammar school; about his role as community member and desire to be known as an ethnic artist, "then they can't knock me down"; about his murals and paintings on canvas; about the themes used in murals from culture and history, unity, contemporary Latino culture, the glorification of neighborhood; Ramirez sees good things happening; Ramirez's personal history; born in Bronx of parents from San Juan, Puerto Rico; comments on the Puerto Rican population and why they came to Chicago, half from the island, half born on the mainland; many came to Chicago for economic betterment as as NYC became more difficult; Puerto Rican settlement first seen around Division and Clark Streets, now an African American area; Puerto Ricans now moving into Lake View and Uptown areas from Humboldt Park, Logan Square, and West Town neighborhoods; about the Division St. riots of 1967, conflicts between Italian and Polish on one side and the Puerto Ricans on the other, there was a Humboldt Park riot in which Ramirez was beaten by police; interview interrupted by a woman's arrival.
Tape ID: AFC 1981/004: AFS 20759 - AFS 20761 Recording of "La Estudiantina De San Pio," Saint Pius Church, Chicago, Illinois, part 1-3, June 30, 1977
MBRS shelflist: RXA 1067-1069
Links
      Digital content available: afc1981004_afs20759
      Digital content available: afc1981004_afs20760
      Digital content available: afc1981004_afs20761
3 audiotape reel, 7 in.
Part 1 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes count down and song, unknown title; discussion of next number; "Preguntale" (first voices and guitars only), "Preguntale" (second voices and guitars only); discussion followed by "Preguntale" by whole group; conversation, selection of next song; about a trip to Kenosha, Wisconsin; rehearsal begins, "Las Mananitas Morelenses"; instrumental selection (guitars and tamborines), title unknown; starts and false starts with different groups, then whole group performs the preceding selection three times; comments, discuss next selection. Part 2 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes warm up and comments; "Pueblo Mio"; comments by Brother Michael to.piano, group sings without guitar accompaniment; segments with discussion of music and stops and starts; rehearsal of final chorus; Brother Michael says they will preform this selection without the accordion; rehearsal of final chorus with guitars, comments; "Pueblo Mio" in its entirety with whole group; break for picture-making and setting up for the fieldworker's group interview; interview begins with explanation of the project, questions from the group. Part 3 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes comments on rehearsals, scheduled for Tuesday, beginning guitar, Wednesday, mandolins, Thursday; mandolins play a solo for the visitors; mandolin solos with Brother Michael on piano. title unknown; applause from rest of group; interviewer asks why the group spends so much time and energy on this, and the answers include "It's fun," "Enjoy the music," "Maintain Mexican traditions," "Encouragement and recognition, show that not all kids are wild," "More fun than TV," "Sense of family in the group, share musical gift with others," the group is not paid for its performances but there is some money for equipment, costumes, and picks; they play at churches, private parties, old folks homes, parades; discussion of costume (uniform); about activities and older group, the youngest of this group is 11, oldest is 19, Brother Michael is 31; about the uniqueness of the group, audience reaction and interaction, about how non-Latinos like 'Never on Sunday," "Beer Barrel Polka" and "Theme from 'Z'"; ; additional loose discussion.
Tape ID: AFC 1981/004: AFS 20762 - AFS 20763 Interview with Efrén del Castillo, Chicago, Illinois, part 1-3, July 01, 1977
MBRS shelflist: RYA 0773-0774
Links
      Digital content available: afc1981004_afs20762
      Digital content available: afc1981004_afs20762_02
      Digital content available: afc1981004_afs20763
3 audiocassette, C-60
Part 1 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics include discussion of theater group "Circulo Teatral de Chicago" founded in 1970; they are preparing a bilingual brochure; not a purely Cuban performing group, most actors are Mexicans, performances have been in Spanish, with sources in Latin America, Europe, and North America; discussion of Mexican Independence Day for TV last year, about TV as an outlet for their work; complains about changes in the policy of the Museum of Science and Industry concerning theater; about past performances, some dramas they have written; about money matters; plays about Viet Nam and illegal immigration, comments about the writers and past performances; about the Channel 44 program with Jimmy Payne where they have performed; about folk dancing with Cuban themes; funding from Castillo and friends, large losses, the museum gave little to help except the place to perform; now seek TV exposure hoping to reach a larger audience; plans for Mexican Independence Day celebration and performance; more productions aimed at Mexicans, for now none for Puerto Ricans, few for Cubans, this due to size of population; about difficulties in work with museum, de Castillo has severed contact with them; the scenery for plays was built and the plays were rehearsed in his basemen; expresses need for a permanent theater for rehearsal and building of sets; reaction of the community to their dramatic presentations, comments on problems due to lack of central location, climate, and publicity; the community response to TV performances has been good in spite of poor promotion; members of the troupe do it because they like it, have studied it, want to share it with Chicago's large Spanish-speaking community. Part 2 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics pertain to theater group "Circulo Teatral de Chicago" and continues (from part 1) on the nature of their work and goals; actors and audience work through a performance together, goal to contribute something, to offer works of quality; de Castillo started making scenery in Cuba but there were problems with Castro's regime; today he plans scenes and directs now, started with beginners but didn't want to teach drama but rather promote, design, and direct; laments lack of good instruction in drama in Chicago in Spanish; de Castillo started in Cuba as a scene painter and was elevated to head of production at the drama school of the university and the National Theater; about mixing contemporary and classical styles, mentions works in Cuba and in Europe; came to Chicago in 1965 but no work, then to Los Angeles for a few years and then returned to Chicago, there had been problems with the union in California, so returned to Chicago; started with OMAR in Chicago designing ads for TV, radio, and press, uses his theater skills in design and directing; why de Castillo left Cuba, where he had respect, good jobs, good pay, etc., but was insecure since he was never a revolutionary, he was always watched and had no freedom; his brother was jailed for taking pictures for 7 months, friends disappeared, fear led to his departure; de Castillo saw a community play and didn't like it as art, had a line on disposing of old guard technicians when they are no longer needed that struck home; about the Cubans of Chicago, they came after the revolution as refugees or to study, most went to New York or Miami, but there are a few here, friends and family follow; some are professionals and semi-professionals and business men, few rural folk; about other Cuban groups in Chicago, the community tends to argue and they are separate from other Latino groups; about Cuban rhythms in music and dance and their difficult nature; the Cuban Lions Club promotes local talent but has no performing group of its own; mentions Cruz and Sociedad Hispanoamericana pro Arte y Cultura; pure Cuban groups don't really exist; about cultural diversity of Cubans and lack of unity; there are no Cuban music groups, there had been one but it moved to Los Angeles; about salsa, asserts that it is of Cuban origin, in terms of rhythm, not Puerto Rican. Part 3 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics pertain to music; de Castillo has a friend who defines salsa as "Ritmo cubano a la cual se le ha retirado la ciudania" (a Cuban rhythm whose citizenship has been removed); there is not much difference between Cuban and Puerto Rican traditiona1 music but de Castillo is not sure if this is due to shared heritage or mutual influences, maybe both; similar instrumentation in both, the Puerto Rican cuatro is called a tiple or tres in Cuba; about the use of bandurria, being replaced by guitar; more comments on tiple, tres, and cuatro; the danza of Puerto Rico is the contradanza of Cuba; de Castillo has videotapes of some of his TV programs but nothing of the stage performances; following the interview the fieldworker and de Castillo view parts of some videotapes of some programs, with comment added.
Tape ID: AFC 1981/004: AFS 20764 - AFS 20764_02 Interview with Bernardo Negrete, Chicago, Illinois, part 1-2, July 01, 1977
MBRS shelflist: RYA 0775
Links
      Digital content available: afc1981004_afs20764
      Digital content available: afc1981004_afs20764_02
2 audiocassette, C-60
Part 1 of a 2-part interview in Spanish with Bernardo Negrete, recorded at 8:30 pm on the back porch of his home at 9125 S. Houston Ave.; topics include his birth place, when and where th entered the U.S., some of his jobs; where and when he learned to play the harmonica; about corridos; about harmonica playing styles; about his playing and the need for study and practice; about his education and illiteracy, due to the lack of schools in Mexico; he came as an undocumented immigrant, then returned to Mexico; he read an almanac to prepare to get his papers, how he then came back to the U.S.; about his children; the history of his life as migrant worker; his reasons for coming to Chicago and about work here, including as busboy, and laborer at Republic Steel, about labor and management positions; his years in the mill, he is now 64 years old, about a time he was mugged and he and his wife lost their Green cards and a sizeable amount of money; about crime in the area; his preference for life in U.S. over Mexico and about his visits to Mexico; about the ownership of his house, its acquisition and repairs; about his work in Iowa; thoughts on citizenship and English, about life in Mexico; discussion of the robbery, papers, and citizenship, and related problems; about attempts to help a nephew arrange to come to the U.S.; problems with immigration authorities; fieldworker Jonas Dovydenas joins the conversation; comments on drinking, smoking, and "other people's" vices; about his house, he built the garage, problems with renters and why he doesn't rent rooms; about money, ''You can't take it with you"; house payments and the value of the house; good neighborhoods reflect the presence of stores, transportation, and the prevalence of Mexicans; a about the ethnic mixture; about Jesus "Chuy" Negrete's performing group and the need for continuation of Mexican traditions. Part 2 of a 2-part interview in Spanish with Bernardo Negrete, recorded at 8:30 pm on the back porch of his home at 9125 S. Houston Ave.; topics include music, Mexican as compared to American; about [people named?] Negrete, Infante, and Solis; his love and that of Jesus "Chuy" Negrete for Mexican music; about Bernardo and corridos, he played but never really sang them; about jobs and pay in Mexico; memories of' the Mexican Revolution and the Cristero Revolt of the 1920s; about changes in the governments of Mexico; about Washington and Lincoln as the first and second Presidents of the U.S., discussion of U.S. history and U.S. citizenship; the fieldworker's description of his work at Indiana University and with the Chicago Ethnic Arts project of the American Folklife Center, comments about fieldworkers Jonas Dovydenas and Greta Swenson.
Tape ID: AFC 1981/004: AFS 20765 - AFS 20769 Recording of band Chicano Floricanto, Chicago, Illinois, part 1-5, July 01, 1977
MBRS shelflist: RXA 1070-1074
Links
      Digital content available: afc1981004_afs20765
      Digital content available: afc1981004_afs20766
      Digital content available: afc1981004_afs20767
      Digital content available: afc1981004_afs20768
      Digital content available: afc1981004_afs20769
5 audiotape reel, 7 in.
Part 1 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; Bernardo Negrete warms up on harmonica; conversation; Jesus "Chuy" Negrete discusses harmonica style and announces the song "La Sinfonia" played by Bernardo on harmonica; about the need to tune the guitars, followed by the tuning; Jesus discusses harmonica techniques and compares his to his father's; comments on the harmonica within Mexican musical tradition; how Bernardo learned the harmomca from his brother and father in Guanajuato; "Huelga" performed by Jesus, Rosa, and Bernardo Negrete; discussion of harmonicas and styles; "El Corrido del Valentin"; Bernardo plays "La sinfonia" again; break in the flow as the fieldworker plays back the last cut for them; lead-in to "El Corrido de Jacinto Trevino"; Jesus instructs Bernardo on how to accompany; "El Corrido de Jacinto Trevino"; the Negrete's mother interrupts at mid-song; fieldworker assures them that mistakes and warm-ups are accepted, not just the polished songs; Jesus offers more advice to Bernardo, with examples; the phone rings and Jesus talks to the caller; discussion of beer and Carlos [Bunuelos?] goes to buy some; more work on performing "El Corrido de Jacinto Trevino" with interjected instructions; Jesus comments on the use of accordion and harmonica leads and the need to wait for riffs to end, with an example; comments on the wait for the ensemble‘s fourth member; puts on a harmonica holder; comments on the old style represented by the songs they will next perform; Carlos arrives with the beer; rehearsing Daniel Valdez's song "America de los Indios," with Rosa on flauta (recorder) and Carlos on maracas; Carlos joins practice session with a concha (conch shell) as trumpet; introductory comments on "America" and performance begins; about recent practice sessions; introduction and the song "America" with interjected comments. Part 2 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; continuation of performances of "America de los indios" from part 1, with Indian-like chant; discussion of the role and place of indigenous music, especially "America de los Indios," in the group's performances; discussion of next song, introductory comments on "Estrella del Oriente," based on the Conchero tradition; explanation of the use of the concha (conch shell) trumpet blown to the four cardinal points; "Estrella del Oriente," with discussion, comment on indigenous influence; looking in song books for next song, request turning off the recorder; discussion of the importance of Indian music, and the history of "Zapotec Love Song," rehearsal and performance of "Zapotec Love Song"; search for corrido materials; about the use of the harmonica in the corrido tradition; what they are attempting with a combination of the old traditional material and contemporary ideas and content, about Villa and Zapata as symbols; about Villa's entry into New Mexico and the raid on Columbus, and the folklore that comes from that period; older folks react more positively to corridos than the younger generation; there is a need to update and make them more contemporary to combine the old and new successfully. Part 3 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; about Villa and performance of corrido "La Persecusion de Villa"; phone rings, cutting off the song; another performance of "La Persecucion de Villa"; comments on this Spanish song with an English explanation and the use of slides in the group's public performances; about Pete Castillo's work on Los Bandidos and the use of Chicano Folk Heroes in presenting the positive, struggling side of Chicano History; folklore and song serve as history from a fresh point of view; about Joaquin Murietta, the Espinosa brothers, and Gregorio Cortez; discussion of the changing nature of the corrido and changes made to them for contemporary audiences; perform "El Corrido de Jacinto Trevino"; comments as they choose the next number and comment on fieldworker Jonas Dovydenas taking photographs; on the history of the next song, "El corrido de Rafael Citron" by Jesus Negrete; discussion of Puerto Rican politics and the community's problems with the Chicago police; perform ''El Corrido de Rafael Citron"; second and third starts on same selection; discussion of next selection; Rosa and Jesus Negrete discuss chicana and women in songs; discussion of "La Delgadina," the song and the woman; decision to do "La Delgadina" and then a song on women composed by Rosa Negrete in part 4 of this recording. Part 4 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; comments on decimas (ten-line song form) and other topics; "El Corrido de la Delgadina" interrupted by dog barking; Jesus Negrete performs an corrido about immigration, discussion; warm-up for Rosa Negrete's song and poem, Rosa's introduction to the poem and song she wrote, "La mujer y el hombre" composed by Rosa Negrete; mistake in performance, rehearsal; repeat "La mujer y el hombre," discussion; example of ":Bluesy sound"; Jesus Negrete performs a blues corrido called "Immigration Man"; comments multicultural influences on Chicanos in urban areas and the reflection of this in their culture and music; begin performance of "El Barzon" and an immigration corrido, continues in part 5. Part 5 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; conversation and talk of gangs as we wait for fieldworker Jonas Dovydenas to change tape; pick up where left off in the immigration corrido started in part 4, comments; discussion of huelga (strike) materials and songs, begin song "Huelga," comments about choice of song; about Senora [Juanita ?] Dominguez and her composition of "Yo Soy Chicano" during the Poor People's March, perform "Yo Soy Chicano"; comments of old style and new comments; joke about Jonas Dovydenas asleep on the porch, "teclmicians, what do they know"; comments on contemporary folksingers and their names, comments on "La Hierba" and begin performance, mistakes; repeat ''La Hierba" but again mistakes and the group decides to stop performing for the night; discussion of Freddy Fender, parallels between Mexican border music and country and western music, "Frankie and Johnny" compared to "El Corrido de Rosita Alvirez" and "El Corrido de Benito Canales" to Johnny Horton's "North to Alaska"; references to labor songs with examples of stanzas from "Which Side Are You On?" (bilingual); discussion of the Haymarket Riots and the role of Lucy Gonzales Parsons; Mexican or light-skinned black woman trying to pass; Carlos [Bunuelos?] introduces his poem and recites "La Migra Para 2," comments, recites stanzas of another song.
Tape ID: AFC 1981/004: AFS 20770 - AFS 20770_02 Interview with Carlos Cumpián from MARCH: Movimiento Artístico Chicano, Chicago, Illinois, part 1-2, July 02, 1977
MBRS shelflist: RYA 0776
Links
      Digital content available: afc1981004_afs20770
      Digital content available: afc1981004_afs20770_02
2 audiocassette, C-60
Part 1 of a 2-part interview in English with Carlos Cumpian from MARCH (Movimiento Artistico Chicano), recorded on telephone with permission; begins with some comments from an interview begun the night before; Cumpian discusses how the poor attack the poor; discussion of the previous night's session with the performers Chicano Floricanto, and discussion of MARCH, Carlos Cumpian as corresponding secretary; the thrust of MARCH is to teach Mexican cultural elements mainly in the Midwest and to stimulate creativity, poetry is: important but prose more important, also the publication of Abrazo, a quarterly journal, with one number out by the date of this interview and another to come out by October, focus on the Midwest; MARCH was founded in 1973 in Indiana and in 1975 in Chicago, the founders were Jose Gamaliel Gonzalez and Victor A. Sorell; the membership is presently 35; the organization promotes poetry, short stories, and murals; about murals, MARCH has been involved in about six to date; about the mural process, choice of location, quality of wall, agreement with landlord, community support and involvement; about defacement or murals with a story about one example; the mural process includes a sketch, landlord and community approval of the sketch, the preparation of the wall, and the painting often proceeds with community help; funds for murals come from local people and organizations, granting agencies, and from artists' pockets; members of MARCH include are teachers, service people, factory workers, students; the organization has received some funds from the Illinois Arts Council for the publication of Abrazo; about Cumpian's role in Chicano Floricanto and relationship to teatros; MARCH may start work with performing arts in the future, especially teatro; about teatros in Chicago area; Cumpian was born in San Antonio, Texas; the family has five generations in the U.S.; his father got his college degree thanks to an athletic scholarship; family came to Chicago with the migrant stream in 1967; the MARCH members are in the age range of 25 or 26, most are from Texas, born in the U.S.; the Mexican born founders have been "Chicanoized"; MARCH sponsored art and photo exhibits in 1975-1976; they work with similar groups and need a permanent office. Part 2 of a 2-part interview in English with Carlos Cumpian from MARCH (Movimiento Artistico Chicano), recorded on telephone with permission; about how MARCH needs an office needed in the barrio for office space, gallery, and workshop; the present address of MARCH is P.O. BOX 2890, Chicago, 60690; they have sponsored poetry readings; there is a with the Abrazo publication to get materials from non-MARCH members, they use photos; MARCH has sponsored workshops for youth on woodcuts and murals and sculpture; on the importance of community involvement, MARCH members have asked themselves for whom is their art and where did it come from, the answer is "the community"; hostility often exists outside of the barrio toward their art so they rely on and trust the community; MARCH sponsors culture meetings to discuss a variety of topics; they have some Anglo members; MARCH is a springboard for the development and expression of arts in the Midwest; Abrazo carries news items as well as artistic works and criticism, hit a circulation of 1,000 for the first issue; they are developing ties with Native Americans because of perceived similarities in the histories of and problems faced by the two groups; a powwow fiesta is planned for October in conjunction with the Native American Artist's Guild; fieldworker and interviewee repeat statement that this interview is being recorded with permission (that agreement had been reached the night before); discussion of the artists Carlos Cortes, maker of woodcuts, posters, and sculpture; Cumpian feels that art should be available to everybody, and he mass-produces art and sells it cheaply; contact information for Cortes, plans related to performing arts and photographers.
Tape ID: AFC 1981/004: AFS 20771 - AFS 20772 Recording of band Los Amantes at El Romance Club, Chicago, Illinois, part 1-2, July 02, 1977
MBRS shelflist: RXA 1075
Links
      Digital content available: afc1981004_afs20771
      Digital content available: afc1981004_afs20772
2 audiotape reel, 7 in.
Part 1 of a 2-part recording of Puerto Rican Latin rock group Los Amantes at El Romance Club, 3575 W. Armitage Ave., at midnight; leader Pedrito Roman announces a bolero, band plays "La Barca"; comments, introduction, performance of the merengue "Para Mi No Mas"; introduction and performance of the bolero, "Asi"; comments and performance merengue, title unknown; comments and performance of the bolero "Si Quieres"; tape ends in mid-performance. Part 2 of a 2-part recording of Puerto Rican Latin rock group Los Amantes at El Romance Club, 3575 W. Armitage Ave., at midnight; leader Pedrito Roman introduces a polka medley, including "Cielito Lindo," "Beer :Barrel Polka," "Adelita," and others; comments and break, juke box is heard; post-break announcements and greetings to folklife fieldworkers; Luis [last name not provided in fieldworker's notes] announces a ranchera, "Amor Apasionada"; comments; intorduction and performance of a ranchera done to merengue rhythm, "Mas que Quisiera"; call for talent from audience, introduction of a friend of the band, who introduces and sings ranchera, "De Cigarro a Cigarro" (recording ends in mid-song).
Subseries 13: White Southerners
Tape ID: AFC 1981/004: AFS 20773A - AFS 20774A Interview with Reverend Iberus Hacker on his biography, the Appalachian region and artists, and the Great American Coffee House, Chicago, Illinois, part 1-3, April 15, 1977
MBRS shelflist: RYA 0777 - 0778
Links
      Digital content available: afc1981004_afs20773a
      Digital content available: afc1981004_afs20773b
      Digital content available: afc1981004_afs20774a
3 audiocassette, C-60
Part 1 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lake View neighborhood; about blues artists like Homesick James, and comments about artists and festivals, mentions Lee Jackson; about the All Night Blues Jam; about organizations like the Rainbow Coalition, Uptown Community Organization, Appalachian Cultural Exchange; Hacker from Clay County KY; about Clay county politics; Hacker was raised in a conservative part of Tennessee, motivated by Christian aspects of the Civil Rights movement, sees cities as being in crisis, verge of collapse, people are afraid of neighbors; Hackers hopes the coffee shop will bridge communities, have church service and various secular music and stand-up performances; about the people with Appalachian heritage, most in their 50s, many families came in the 1940s and 1950s, 10 percent in poverty, about class structures and effect of mass culture; how bars are segregated in Chicago, seeks to have a place that is not segregated. Part 2 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lake View neighborhood; about ethnic-segregated bars, Hacker does not oppose, concerning Appalachian migrants, understands that there are people who live in front of their television sets, many people live within five blocks of Lincoln Park and do not know it is there; Hacker notes that in many cases, women are the heads of households; people read their hometown newspapers , vote absentee, and never become citizens of Chicago, Hacker has preached at a thousand funerals, only one person buried in Chicago; about Appalachian arts, quilt-making, woodcraft, music; about how quilts have become a marketable commodity, had formerly been gifts; about music in bars and elsewhere, includes a lot of bluegrass; about the coffeehouse, no paid staff, one year old, small grant from Church of the Brethern, Hacker organized the coffeehouse but resigned this month (April 1977), there is a solid nucleus in place now, not intended to be a commercial success, mainly an alternative to bars, about the role of coffeehouses; about fiddle players and other musicians, mentions Bob Hoban, Little Fiddling Susie, Glen [Glenn ?] Davis; topic continues in part 3. Part 3 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lakeview neighborhood; more about musicians, mention of Tennessee Slim, Luther [Swanner?], Wally [Friedrick ?], Gamble Rogers and the Serendipity Singers, Jim Hill at WMAQ radio, Art Thieme, Martha Hayes, Jo Mapes, Rosetta Tharp (Arkansas); comments about Uptown neighborhood and the boundary with Lake View.
Tape ID: AFC 1981/004: AFS 20774B - AFS 20775B Interview with Judy McLaughlin and Holly Highfill at Southern Culture Exchange Center, Chicago, Illinois, part 1-3, April 15, 1977
MBRS shelflist: RYA 0778-0779
Links
      Digital content available: afc1981004_afs20774b
      Digital content available: afc1981004_afs20775a
      Digital content available: afc1981004_afs20775b
3 audiocassette, C-60
Part 1 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; Holly Highfill on the sense of neighborhood, Uptown neighborhood, its boundaries, Appalachians and many Latinos, recently more Appalachians in Albany Park, Cicero, Crystal Lake, other suburbs; whatever the sense of unity among Appalachian, it is not expressed though organizations, more via clans and families, and by home county, e.g., Logan County WV or Pike County KY; people did not think of themselves as a group until they came to Chicago; about Jimmy Hill from northern Alabama, racing car man, has family in Michigan City IN; for Appalachians, the most obvious identifying marker is speech; about Lloyd Ratliff from Pike County, bluegrass musician, does workshops in schools, talks about coal mining; channel 5 (public) has a program called "Small World"; other musicians include Little Fiddling Susie, Tennessee Slim plays at Hank's Tap, Rick Prince, Fred Field, A.P. Crowley [Crowler ?]; there is a clogging group, ages 20 to 50; about types of dancing. Part 2 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; Holly Highfill on churches, about a fundamentalist preacher comes with bus and takes kids to Hammond IN all day Sunday; then about Highfill's work, concerning murals, coal mining mural at a college here; mention of several murals that Highfill has created, with helpers, about creating murals; about alternate schools to high schools for some children; about art and schools; McLaughlin joins the conversation; about the history of the Center, four years old, started by groups that wanted a place to meet, desire to support sense of community, most who come are not college educated; one involved person was a son of political activist Peggy Terry; there was a feeling that people could be brought together via art and other activities; Center conducted a survey of children; about quilting; about how some whose parents came from the South want to learn traditional arts; Louise Heymann teaches quilting; Ada Sparks was a writer and is a quilter; Kenneth Johnson is a sculptor (figurines) from Logan WV. Part 3 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; about a 12-year old girl (Pansy ?) Branham who did a mural about black lung disease, now in the Chicago black lung association office, where her mother works, other names of possible people of interest to the project, looking at atlas about locations of interest; duration of this recording about six and a half minutes.
Tape ID: AFC 1981/004: AFS 20776A - AFS 20778A Interview with Ada Sparks about quilting, writing, and living in Chicago, Illinois, part 1-5, April 15, 1977; April 18, 1977
MBRS shelflist: RYA 0780 - 0782
Links
      Digital content available: afc1981004_afs20776a
      Digital content available: afc1981004_afs20776b
      Digital content available: afc1981004_afs20777a
      Digital content available: afc1981004_afs20777b
      Digital content available: afc1981004_afs20778a
5 audiocassette, C-60
Part 1 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin at the Southern Culture Exchange Center of Columbia College; topics include Spark's writing, including a short story written in 1945; biographic notes, born in Frankfurt KY, came to Chicago in 1937 at age 19, did housework, has siblings, mixed feelings about the city, finds an identity as "hillbilly" and becomes aware of other cultures; the Clearwater Saloon; about work for Southerners, many lack education; about the Uptown neighborhood; mention of Hy Thurman, "From Blues to Bluegrass"; about the Country and Western songs Sparks has written; remarks on Southern Baptists, religion as a socially cohesive element, mention of Seventh Day Adventists, about preachers, mentions North Shore Baptist Church, mentions Primitive Baptists; about knitting, crocheting, sewing, quilting, the Center for Cultural Exchange teaches quilting; how Sparks learned quilting. Part 2 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include learning about the native plants and animals where she grew up; what makes a "good Southerner"; advantages of being in the north, including education, about discrimination against hillbillies; about Southern foodways, spring greens, wilted lettuce, banana pudding; about square dancing; Sparks reads a poem she wrote years ago, after visiting home in Kentucky, titles "Visit Home"; about writing a short story based on fact; about writing as art; about a quilting book and the market for quilts; about rolled paper beads; braided rugs; about craft sales at the Cooper Christy Handcraft Shop, including nice but sub-par quilts; about whether Sparks would do it over and come to Chicago (probably not); about her two years (including 1947) in the Chicago Municipal Tuberculosis Sanitarium on North Pulaski; this plunged Sparks into an integrated situation; in Golconda, Sparks had little exposure to African Americans; moved to nearby Rosiclare IL (all white), then to Marion County KY, segregated; meant many white people did not see "the other America"; Sparks's maiden name Stevens [Stephens ?]; about race relations, Sparks tries to respond to actions not color; about her fact-based story "Act of God," little girls, another was named Blankenship, Sparks's mother took in washing; about writers, Sparks likes Azimov, recently read Shardik by Richard Adams, likes J.R.R. Tolkien, William Brashler's City Dogs about Chicago; about poetry, Country and Western music; comments on Pentecostal churches, speaking in tongues. Part 3 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include discussion of the near north sections of Chicago; churches; quits discussed as fieldworker Carl Fleaischhauer photographs examples; discussion about a quilt from Sparks's sister, made printed feed bags; extended technical discussion of quiltmaking; discussion of aesthetics, sources of income; about making the quilts as a fundraiser. Part 4 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include Sparks's new quilts, including one of the twelve tribes of Israel, related to some clippings included in the photographs made during this interview; additional discussion of technical and aesthetic aspects of quilt-making and quilts; about a fabric block used as pillow top; about the names for quilt patterns; about Sparks's writing, includes songs but she does not sing, also stories, pertain to her family and early memories, mention of medicine shows and opium. Part 5 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include children, writing; fieldworker Browning asks about Sparks's earlier comment (part 2 of the interview) about speaking in tongues in a Pentecostal church, Sparks had been frightened by the experience; about writing and taking a writing class, the role of the teacher, taking criticism in this context; biographical notes, Sparks had had tuberculosis, lived for a while in the Southwest, then in a sanitarium in Chicago; about writing songs and poems, music, a band; about Iberus Hacker's coffee house, its clientele, not really from the South; about the Southern Culture Exchange, many interesting people she met via this venue; musings on the future, what if she left town, about family.
Tape ID: AFC 1981/004: AFS 20779A - AFS 20779B Interview and performances by fiddle-player Nancy Buckalew, Chicago, Illinois, part 1-2, April 19, 1977
MBRS shelflist: RYA 0783
Links
      Digital content available: afc1981004_afs20779a
      Digital content available: afc1981004_afs20779b
2 audiocassette, C-60
Part 1 of a 2-part interview with and music performances by former Alabaman and fiddle player Nancy Buckalew, recorded at Johnny's Tavern in Cicero, Illinois; topics include Buckalew's sense of making her way in the world (you need "backbone and guts"); biographical information, learning fiddle playing from her father and with her brother, playing and singing in the style of Jimmie Rodgers; Buckalew quit playing when she married but her children wanted to learn so she bought a fiddle in 1969, then other instruments, now teaching her grandson Johnnie Glassco; how Buckalew had gone far and near to play, played with Chicago musician Tennessee Slim, about reduced popular affection for country fiddle at this time; about playing banjo; fiddle repertory includes hoedowns like "Arkansas Traveler" and "Boil (bile) them Cabbage Down"; about fiddle tunings, continued in part 2. Part 2 of a 2-part interview with and music performances by former Alabaman and fiddle player Nancy Buckalew, recorded at Johnny's Tavern in Cicero, Illinois; topics include fiddle tunings, continued from part 1, Buckalew uses non-standard tunings for "Black Mountain Rag" and "Bonaparte's Retreat"; about her father, Taylor Daniel; Buckalew born in 1914, married twice, worked for three years at Victor Gaskets in Chicago, then went back to Alabama and farmed, including some work with mules, made first crop on her own in 1961; crops included cotton, corn and pimento peppers; Buckalew sold $1,200 worth of corn, 20 bales of cotton, did not take her children out of school and worked the crops alone; 1965 was the last year she farmed; plays fiddle tunes "Boil (bile) them Cabbage Down," "Raggedy Ann," "Kentucky Waltz," "Golden Slippers," "Turkey in the Straw," "Arkansas Traveler," "St. Louis Blues," and "Bonaparte's Retreat"; spelling of the name of some family members, Glassco; Buckalew's mailing address is at the home of her daughter Heather Wright, 5733 W. Roosevelt Rd., Cicero IL 60650.
Tape ID: AFC 1981/004: AFS 20780 - AFS 20781 Street preaching and singing near Wilson and Racine Avenues by Northside United Pentecostal Church, Chicago, Illinois, part 1-2, July 16, 1977
MBRS shelflist: RXA 1077-1078
Links
      Digital content available: afc1981004_afs20780
      Digital content available: afc1981004_afs20781
2 audiotape reel, 7 in.
Part 1 of a 2-part recording of preaching and singing by Northside Pentecostal Church (1527 E. Edgewater) on the street near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; the preaching and witnessing is largely directed at alcoholics and transients who habituate bars and a hotel in the neighborhood; the targets for evangelism included whites, Indians, and Spanish-speakers, but few African American (most who walked by seemed not in need of intervention); the leader and pastor was Bobby Goddard, as was Junior Zornes (Lawrence Edward Zornes Jr.) and his wife, Dolly, and their son Jerry, who helped hold the microphones; the lead singer and guitar player was Joann Bolen (from Beckley WV), with her 15-year-old son Charles, both had come to Chicago 9½ years ago; recorded on a stereo Nagra IV with a Sennheiser 802 hand-held microphone and a Sennheiser 402 on a stand; due to an error in tracing the cables, the fieldworker confused the inputs and much of these two recordings has the volume up on the hand-held mike while it is lying on the ground some distance from the action, and thus the recording is of inferior fidelity; the first segment of this recording is monaural and includes Bobby Goddard with a short introduction; the hymn: "When the Roll is Called up Yonder"; discussion by Goddard (whose public address system microphone is producing feedback); hvmn "We'll be Called to Meet Him in the Air"; Goddard remarks on meeting the Lord; hymn "Soon Comes the Judgement Day," also audible is the sound of a sinner being prayed over, kneeling in front of the singers; the second segment of this recording is in stereo, with the left channel silent or at very low levels; right channel carries the voice of an older man preaching, with the hymn "In that Beautiful Citv of Gold" in the background; hymn "I searched for Him . . . He filled that longing in my soul," during this hymn, the left channel (?) is heard at high volume; next segment, on the left is the sound of a sinner being prayed over while on the right there is testimony from a man from West Virginia and a woman, about family problems, while in the background an inebriated man complains that the service has woken him up; hymn " . . . to be sanctified" begins on left and right channels but the level on the rights drops off; on the next segment, there is preaching on the left channel, may be Junior Zornes, then the hymn "I can't help what others do . . ."; then Goddard's main sermon with the text from Proverbs 16:25; recording continues with better audio on the left and poor audio on the right; the sermon continues on part 2. Part 2 of a 2-part recording of preaching and singing by Northside Pentecostal Church (1527 E. Edgewater) on the street near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; the preaching and witnessing is largely directed at alcoholics and transients who habituate bars and a hotel in the neighborhood; the targets for evangelism included whites, Indians, and Spanish-speakers, but few African American (most who walked by seemed not in need of intervention); the leader and pastor was Bobby Goddard, as was Junior Zornes (Lawrence Edward Zornes Jr.) and his wife, Dolly, and their son Jerry, who helped hold the microphones; the lead singer and guitar player was Joann Bolen (from Beckley WV), with her 15-year-old son Charles, both had come to Chicago 9½ years ago; recorded on a stereo Nagra IV with a Sennheiser 802 hand-held microphone and a Sennheiser 402 on a stand; due to an error in tracing the cables, the fieldworker confused the inputs and much of these two recordings has the volume up on the hand-held mike while it is lying on the ground some distance from the action, and thus the recording is of inferior fidelity; the first segment of this recording is a continuation of Bobby Goddard's sermon from part 1, mostly on the left channel with some on the right; a man interrupts with a request to "praise the man in the yellow shirt" (across the street); hymn "Please let me walk with you Jesus . . . " led by Joann Bolen; closing remarks by Goddard, with some audible heckling; final segment, left channel has mixed post-service conversation in which a woman named Huffman (Hoffman?) talks to Goddard about a sermon, right channel also has mixed post-service conversation; duration of part 2 is about 14 minutes.
Tape ID: AFC 1981/004: AFS 20782 - AFS 20785 Church service at Northside United Pentecostal Church, Chicago, Illinois, part 1-4, July 17, 1977
MBRS shelflist: RXA 1079-1082
Links
      Digital content available: afc1981004_afs20782
      Digital content available: afc1981004_afs20783
      Digital content available: afc1981004_afs20784
      Digital content available: afc1981004_afs20785
4 audiotape reel, 7 in.
Part 1 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; this part includes Goddard's greetings, and a prayer with voiced heard from the congregation; song "We're together again," led by Paul Dean and Joann Bolen, both with vocal and guitar; hymn "I'll be Somewhere Listening to My Name" (number 25 in the hymnal Pentecostal Praises) led at the pulpit by a woman with Goddard standing behind her and singing as well; hymn "The Fullness of Godhead is all in Him" (number 29); Goddard makes a birthday call and a a boy and girl come forward and drop one penny for each year into a glass, as BG rings a little bell, congregation then sings "Happy Birthday to You"; Goddard states a welcome and transitions to Sunday School; Paul Dean remarks on the making of this recording (right channel only, the fieldworker then moves one microphone); Dean begins the adult Sunday School lesson, preceded by a hymn duet by Dean and Bolen (right channel), both playing guitars, "What a Glorious Day that Will Be"; Dean's Sunday School lesson, about the Pentecostal doctrine concerning speaking in tongues, baptism, and the doctrine of the Trinity (right channel only); Dean's lesson continues in part 2. Part 2 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; this part continues Paul Dean's Sunday School lesson from part 1, on the right channel only, which continues in part 3. Part 3 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; the first segment in this part continues Paul Dean's Sunday School lesson from part 2, on the right channel only; the second segment records Goddard's remarks from the pulpit that conclude the Sunday School lesson, on left channel with the right channel microphone again directed at the congregation; hymn "Oyer in the Gloryland" (number 140 in the hymnal Pentecostal Praises); led by Goddard and followed by his call for offerings; prayer from a congregant (name may be Brother Gregory), right channel only; offering hymn "You can't Outgive the Lord"; Goddard makes remarks no giving; duet by Joann Bolen, with guitar, and another woman, both standing behind pulpit with audio on both channels, "There'll be change after while"; children led by "Miss Debby" come up front and sing, right channel only, preceded by introduction by Goddard Debby, sing "Little Red Box," "There was a man who died for us and Jesus was his name, J-E-S-U-S," and "God is not Dead, He is still A1ive"; next is Goddard's sermon "Truth or Tradition," with live recording microphone on the left, while the public address system mixes with the congregational response on the right, with delay at the start as the right microphone is repositioned and its module is switched from 402 to 802. The tape runs out during the sermon, recording continues in part 4. Part 4 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; the first segment in this part continues Goddard's sermon from part 3; next segment is the closing prayer, with many voices speaking aloud and independently, with Goddard on the left channel and the congregation on the right, dominated by the voice of Paul Dean due to his proximity to the microphone; then an ending announcement, and for a bit, the tape continues to roll.
Tape ID: AFC 1981/004: AFS 20786A - AFS 20786B Interview and country music performances by Johnny Grey, a steel mill worker from Alabama, Chicago, Illinois, part 1-2, May 18, 1977
MBRS shelflist: RYA 0784
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      Digital content available: afc1981004_afs20786a
      Digital content available: afc1981004_afs20786b
2 audiocassette, C-60
Part 1 of a 2-part recording of steel mill worker Johnny Grey (Johnny Gray ?) made by folklorist Ben Sandmel in the Quiet Knight nightclub, 953 W. Belmont Ave. in the Lake View neighborhood; Grey is originally from Berry (Barry?) Alabama, and lives in the Uptown neighborhood; in this recording, Grey sings and accompanies himself on guitar on "Wedding Bells," comments on how he went to jail young, and at age 16 was obliged to quit school and find a job; "Tonight I Just Don't give a Damn," more biographical comments; "This Time I Hurt her More than She Hurt me," how Grey's parents were separated when he was young; "She Thinks I Still Care," "Jimmy Brown the Newsboy," a fragment on guitar, "Here I am, I'm Drunk Again," Grey's recollection of going to Nashville and playing from club to club, including George Jones's club in Printers Alley, how he sang at Tootsies Orchid Lounge and was complimented by Grant Turner, Grey would like to go to Nashville permanently; "Jimmy Brown the Newsboy," as instrumental, how Grey attended a bluegrass festival in Ottawa Ohio; "God Gave You to Me," about Luke Hagv (Hagee, Hagie, Hagy ?), another Uptown musician, plays banjo like Ralph Stanley; Grey plays an unidentified instrumental not unlike "Freight Train"; fragment of a tune often called "The Promised Land," discussion of playing in bars, and about Chicago musicians. Part 2 of a 2-part recording of steel mill worker Johnny Grey (Johnny Gray ?) made by folklorist Ben Sandmel in the Quiet Knight nightclub, 953 W. Belmont Ave. in the Lake View neighborhood; Grey is originally from Berry (Barry?) Alabama, and lives in the Uptown neighborhood; in this recording, Grey discusses the make-up of the ideal band, number of instruments, twin fiddles; then sings and accompanies himself on guitar on "I Saw the Light"; duration of this recording is less than 5 minutes.
Tape ID: AFC 1981/004: AFS 20787 Interview with Reverend Bobby Goddard in his home, Chicago, Illinois, July 19, 1977
MBRS shelflist: RYA 0785
Digital content available: afc1981004_afs20787
audiocassette, C-60
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