American Folklife Center, Library of Congress Chicago Ethnic Arts Project (AFC 1981/004) afc1981004_ 11 179 Tape Logs - Philip George Cassettes Fieldworker's tape log set PHILIP GEORGE[*AFC CH77 - T224 - C*] GEORGE #1A TAPE LOG MRS. ESPERANZA SERNAS 6/24/77 Spanish (Recorded in her apartment, #221, 1611 S. Racine, Chicago 60622) COUNTER CONTENT 000 Begin during tale of her part in the struggle for the founding of of Benito Juárez High School. 010 Comparison to Robert Clemente school for the Puerto Ricans. "¿Esta gente vale más que nosotros?" (Are these people worth more than we are worth?) 013 Continues tale of struggle with trips to school board. 045 A thankless job with little support from many parents 046 Personal History begun -- Born in Oaxaca, "Tierra Benito Juárez." Later moved to Department capitol and then Mexico City 054 Mentions her knowledge and skill of poetry and recitation 065 Back to school problems -- She likes to say her piece and no one can stop her 076 There were no men who would fight for the school so women had to do it 085 Discussion of the poor state of many schools — they have come to her for help in getting municipal aid. She has refused. Says she is too old now. 106 Came to U. S. 22 years ago. Doesn't speak English Blames inability to learn a new language on her age 117 Mother died in 1915 and she, her father, and younger brothers and sisters moved to Oaxaca, Oaxaca. Later she struggled for the education of her brothers and sisters. 142 Complains of her aging again. 148 Talks of brujas (witches) in Oaxaca and curing. "La té le salvará." 154 Talks of hard time now in Mexico — low pay 160 Return to personal history — Move to Mexico City where she worked hard in a fruit stand supplied by her father. Born either 1899, or 1900. Father died 1922 180 Paid for training for Bros. and sisters. Got them apprenticed out. Only one brother still lives. 194 Married and had one child -- never remarried. 198 Laments the problems of a woman alone with a child. 201 Son pushes for move to U. S. Contact through a compadre. Son came 1st. 222 Tale of a necklace of pearls and diamonds which she was forced to sell cheaply as a bribe to get her papers arranged for entrance to the U. S. Came in '53-'54. 246 Tells of hard work in Restaurant -- one three day period made 600 chiles rellenos. Blaims deterioration of her eyes on the heat and excess or steam in the kitchen (My eyes are cooked)AFC CH77 - T224 - C GEORGE #1A Esperanza Sernas COUNTER CONTENT 273 Some girls come to the door to see if she needs anything. 281 Talks of the girls--they run errands and carry packages for her. 299 Talks of her life of pure work. Restaurant job often from 3am to midnight. Faced snow and cold— At times was sorry she had come to U.S. 315 Son wanted her to quit once he had a job--she refused. 327 He was married in Mexico—eight children. Talk of son's work, 359 Talks of size of her grandchildren—Doesn't know why they grow so big here as opposed to in Mexico. 386 Recent problems led to son to consider a return to Mexico but decided to stay to keep the kids in school and things look better here. prices to high in Mexico and pay low 409 Worked a lot here--she gets social security pension 410 Praises Daley and his work for Mexicans—"He's getting his reward now." 428 Wants to work--an easy job. Always thinks of working—not possible because of age and lack of English. 450 Has a lot of "patrones" who would and do help but they won't give her a job. 460 Tale of singing to Porfirio Díaz. "He was a saint." GEORGE #1 B TAPE LOG ESPERANZA SERNAS Cont' from above. 002 She remembers the song she sang to Díaz. 007 "Pasado y el presente" ("Past and present") 017 She's known this all her life. Tells of a doll Díaz gave her as gift 031 Discusses her role in the market in Mexico City and the trips to rural areas and fairs that it entailed. Travel on burro for her son when he was sick. Trips to State of Vera Cruz. Son worked too. 069 Didn't marry again because she feared the new husband would hurt her son. 073 Talk of how her son cares for her. He offered to see that she is buried anywhere she wants, even Oaxaca. His family doesn't drink. 084 Son now visiting in Mexico 087 Talk of grandchildren and their jobs. 096 Year and a half of living in this location which opened two years ago. 110 Present life—cleaning, shopping, some group activity. 130 Yesterday took wrong bus to Social Security Office—only Blacks around Finally found the office. 150 All of life a struggle for "centavitos."84 GEORGE #1 B Esperanza Sernas COUNTER CONTENT 157 Few activities for the people of this senior citizens center—Classes in English—old folks can't learn 170 Staff trying to learn Spanish—They can't learn either. 183 Talks of aging. 187 Talk of restaurant again—late hours and problems 193 Doesn't like the snow. She was sorry she came many times because of cold, snowy, winters 215 The little girls who came to the door help her with shopping and other things. She gives them little gifts or tips. 230 Talk of the Mexican community of when she came and now. 242 All residents of the center are Spanish-speakers 248 More talk of Daley——He sent them food, clothing, and fans. 262 Talks of María Gonzales 272 Talks of a Señora Guerrero [*279*] Information on La Llorona as boogey-person to scare wayward children 298 Asks of my job and background. She interviews me. 345 Explanation of Chicago Project. 355 I take a Photo. (IF THE PICTURE IS USED FOR ANY REASON, HER PERMISSION MUST BE RECEIVED. ) 400 Phone # 666-5239—Doesn't know her Zip Code & doesn't know what a Zip code is. 434 Mentions a fiesta last night in which she recited poetry. 453 Recites several poem fragments. 486 END SIDE B OF GEORGE #1B[*AFC CM77-T225-C*] GEORGE #2A TAPE LOG "EL SHOW JIBABO" 6/25/77 (Recorded during a live broadcast at WCIU, Ch. 26 Studios 141 W. Jackson St.) COUNTER CONTENT 000 Musical lead in with group playing a danza or danzón. 016 Israel Maldonado introduces the program and gives commercials 035 Introduces members of the conjunto and announces the next number 045 Begin an instrumental number, "Pasillo Boricua" with Arcadio Otero on the cuatro. 078 End song 079 Israel Maldonado and more commercials 091 Israel announces the next number--"something danceable" 102 Begin a merengue of unknown title. 127 End of merengue 130 Tape on and off during commercials -- Begin a song improvised by Edimiro Rivera 189 End song 191 Comment and mor commercials 196 Irma Díaz introduced to sing 215 Irma Díaz sings "Presentimiento" a bolero 266 End song -- tape off for some commercials 269 Announcement and commercials 289 Discuss choice of next number 300 Begin a vals-no title known 349 Vals end 353 Israel Maldonado and commercials and greetings and dedications to members of the community 375 Begin a merengue of unknown title 435 End merengue 436 END GEORGE #2A86 GEORGE #2B TAPE LOG "EL SHOW JIBARO" 6/25/77 (Recorded during a live broadcast at WCIU, Ch. 26 studios, 141 W. Jackson St.) COUNTER CONTENTS 000 Israel Maldonado announces another song by Edimiro Rivera 007 Edimiro improvises and sings "Seis Cagüeyos" 054 End song 056 Commercials and next song introduced 075 A bolero sung by Irma Díaz 115 End song 117 Commercial 143 Play a merengue of unknown title 184 End song 185 Announcements, commercials and farewell until next week 211 END GEORGE #2B[*Side B - stereo*] [*87*] [*AFC - T226 - C*] George #3A TAPE LOG - JESUS "CHUY" NEGRETE 6/27/77 11:00 am (Interviewed in the kitchen of his parent's home, 9125 S. Houston /60617/) COUNTER TOPICS OF DISCUSSION 000 Mid-sentence comments on Folklore Institute, Chicano - Riqueño Studies, his courses and some chic. 022 Comments on other interviews he has given 037 Discussion of Chicano Floricanto and its beginnings Came out of Teatro movement in the late 60's 055 Nature of the Teatro movement and its history in Chicago 073 Teatro leads to development of Chicano Floricanto 086 Beginnings of playing out of the context of the Teatro and a discussion of the split from the Teatro 095 4-5 members of the group -- Bass, percussionist, sax, two guitars, and there was a drummer. 100 Description of the work and research that went into their program using corridos covering Chicano history. 105 Experience of the Musicians 115 Mention of relationship to the churches. 120 Outline of the presentation they took on tour for the past 1 and 1/2, "Four hundred and Fifty Years of Chicano History in Music." Slide show with corridos and poetry. (Mentions Revolution and Immigration sections of the presentation. 135 Comments on the few people doing work with musically with corridos 155 Only a few real corridistas left in the country. He has composed a couple but doesn't consider himself a real corridista. Mentions a few others but knows of none in Chicago. 181 Rehearsal in the summer is hard do to vacations and work of the members. 185 The Group -- Jesús "Chuy" Negrete, guitar & vocals; Rosa Negrete, Rhythm guitar & vocals; Carlos Buñuelos, Lead & rhythm guitar; Raúl Rodríguez, bass guitar; Carlos Cumpián, poet and percussionist 200 Use of Music, slides (mainly of mural art) and poetry used to make their statement. 206 Chuy recites a bit of the poetry. 214 Members do other things as well. They need money to continue their work. Have worked in some schools and attempted to enter Artist in schools program. 224 Ties with Bilingual Ed. Program and need for Billingual Resource people. 244 Discussion of his teaching with music and slides and of his successes. 264 Discussion of Bilingual programs in Chicago and TESL. Problems & ideas. 306 His center want's non-profit charter for oral history and promotional grants88 GEORGE #3A JESUS NEGRETE 2 330 His use of music as a teaching tool and the desire reach more people through radio and TV. 360 Folklore as history and newspapers of an illiterate peasantry 373 Mentions his father as harmonica player and singer of corridos. 383 Historic import of music to Chicanos and lesser impact of theater, 415 Part of the tradition—It is the style, not the lyrics that call attention to the music. The alter lyrics to fit their statement and politicize the public. Educate through school and presentations in the barrios. To create a sense of awareness. Dreams of television. programs. He claims he hopes people will rediscover the disappearing art forms. 480 Emphasis on reaching Mexicans, What of others? 493 END SIDE A (Conversation continued on GEORGE #3B)con't of: CH11-T0226-C (side 2) stereo 8 GEORGE #3B JESUS "CHUY" NEGRETE Side 2 000 Need to deal with Anglo audiences as well. He has done it. Talks of varying act according to audience---Sets for Street Kids, Drug Programs, Educators, and Politicals and Militants. 030 Sections of the program deal with the Indigenous period, Conquest, and Immigration. Attempt to be flexible but translation of jokes and poetry is difficult. 047 Begins examples from program---40's & 50's sketch includes music of Elvis and Richy Valle. He does a few verses as he discusses it, 071 Asks me to tum off machine while he gets his guitar 074 Talks of and plays "La Persecución de Villa” Description of the show as intro. Guitar, harmonica and vocal—lyrics in Spanish, monologue in English 160 Comments on the song as rep of their style of performance 165 Comments on history of harmonica in Corrido Tradition. Hohner company makes El Centenario in 1910 for Corridos and later Bellos Cantores models. 188 Mother enters kitchen and begins washing dishes 190 Discusses their attempts at authenticity—Need accordion but use harmonica as a substitute. He learned harmonica from his father 200 Talks of works on border heroes and culture heroes—1830 to 1916, Elfego Vaca, Gregorio Cortez, Joaquín Murieta and Juan Cortina. These men show the Chicano resistance to Anglo domination 243 Talks of the presentation of Murieta and Treviño in program 254 Begins"Corrido de Jacinto Treviño" 333 Comments on program's coverage of the Mexican-American War. 345 Begins part of a bilingual immigration corrido 371 A bilingual immigration corrido with comic dialogue. 455 Michigan becomes Me chingan in above song 475 Comments on above a recitation of more verses 485 END TAPE #3B [*CH11- T227 C - continuation of interview with Jesus 'Chuy" Negrete - no detailed log -*][*AFC CH77 - T227 - C*] GEORGE #4A TAPE LOG — JESUS "CHUY" NEGRETE (Continuation of #3) COUNTER TOPICS OF DISCUSSION 000 Continued from #3B — Rock song and dialogue with comments 010 Comments on urban guitar sound 014 Example of the poetry used with comments. Some traditional and some contemporary. Need to update some materials to hang on to an audience. 035 Comments on the audience reaction to their group 045 Talk of the presentation of the Labor movements. Comments on Lucy Gonzales Parsons as a Latina involved in the Haymarket riots. 054 Talk of his $2000 grant for research into corridos and Chicano Hist. 061 Lives by his guitar 068 Comments on the cultural center's three areas of activity, 1) multi- media presentation of Chicano Floricanto, 2) clearing house for artists for performances and schools, 3) will get more into video- tape for educational purposes. Lack of money. 085 Discusses MARCH and other organizations 103 END GEORGE # 4A #4B — BlankAFC CH77-T228-C GEORGE # 5A—Log ISRAEL MALDONADO. 6/28/77 9pm. Spanish Recorded at a rehearsal for "El Show Jíbaro" at El Romance Culb, COUNTER TOPICS of DISCUSSION 000 My introduction of Israel Maldonado and 1st question. 006 Origins of "El Show Jíbaro" in previous radio programs and programming on Channel 44 before moving to Channel 26. Love of Folklore. 1st program of folk & traditional Puerto Rican music 043 Beginnings on Channel 26 and his search for Talent. Improvisors (trovadores): 050 Types of music done—danzas, plenas, aguinaldos, vals, mazurkas, seises, polkas, etc, 068 Found best trovadores—Names several who have appeared or appear. 076 Talks of size of his television audience and its makeup. 080 Attempts to stress traditionality and Typicalness of the performance and the performers. 092 Talks of the performers— 130 All of their work is voluntary and unpaid. Some have other groups or jobs and play and sing music as a pasttime or for pay 140 Name of the group—"El Conjunto de Cuerdas Típicas de Puerto Rico, 147 Israel as Insurance Agent for 24 years in Chicago and with Prudential since 1969. 162 Importance of this show. Need for it in the Puerto Rican Community Only one in the U.S. and Puerto Rico. Differences between his and other Puerto Rican-run programs. 209 Varying nature of his show and size of performing group. As many as 40 on the program at one time. 220 Videotapes of past programs exist. 230 Ritual thanks and good-bye with comments on shows given at other places and praise of Puerto Rican folklore. 265 END SIDE A SIDE B BLANK 92 AFC CW 77 - T229 - C GEORGE #6A-Log Arcadio Otero 6/28/77 10 pm. Spanish Recorded during a rehearsal for El Show Jíbaro at El Romance Club COUNTER TOPICS OF DISCUSSION 000 Born in Ciales, Puerto Rico. 003 Trips to U.S. and final settlement in Chicago in `71 010 Learned guitar 1st and then the Cuatro - 15 years on the cuatro 017 Born 1917 - February 022 4 years on El Show Jíbaro 024 Talks of other cuatristas 026 Discussion of his instrument 032 Preference for Puerto Rico but more money to be made here. 043 My question on importance of this music misunderstood. Lists the kinds of music and rhythms he plays. 056 Youth doesn't like his music - they prefer salsa, which he also enjoys. 061 Ritual Farewell 070 END SIDE A SIDE B BLANK93 AFC CH77- T234-C GEORGE #7 A. TAPE LOG "EL TALLER" and GAMALIEL "BOBBY" RAMIREZ 6/29/77 (Recorded at the office of El Taller at 1039 W. Grace St. Chicago, 60613 4 pm.) COUNTER CONTENT 000 Question on nature and organization of El Taller 005 Outline of Board, Collective, and members. Mentions Collective members' names. Bobby is one of five on the Collective. 010 Reason for starting to channel creativity, involve community, development of alternatives to gang membership for street youth. 036 In beginnings consisted of younger street folks, later picked up adults and academics. Building funded through Lutheran Church as first big boost. 046 Discussion of use of building as place to meet, work, and exchange ideas. 050 El Taller formalized in organization after trips to New York to view other similar groups there. 060 Have had workshops on poetry, murals, silk screening, photography, guitar, and congas. 065 Discusses the nature of the Collective organization. 068 Describes workshops—Special issue of the Revista Chicano-Riqueña on poetry and art from El Taller as one workshop project. partially funded by Ill. Arts Council. Involve kids in murals and poetry. 093 Gives the kids a chance to do and touch and feel part of it all. 099 Philosophy is to promote and develop artists and their skills 105 Performing arts workshops on guitar and conga 113 They have recitals or shows of products and skills at end of workshops 120 Need to develop workshops, dark room, coffee house, and gallery in their store front location 129 Funds now only for two congueros. All other work is volunteer 140 Move toward more community involvement 153 Concentration on Latino artists and themes but also deal with the whole neighborhood in which a particular project takes place. Most emphasis on Puerto Rican materials 163 Work with parallel Mexican American organizations like ALBA, MARCH, and Casa Aztlán, 178 Doesn't want to be commercial artist but rather to make a statement and an impression 193 Expression of self through his art, his growth over the years. 203 Statement of community support of his art although others may feel "If you haven't studied the masters, you can't paint." The masters never studied each other. Street people understand and don't question his schooling. 224 Kicked out of grammar schoolGEORGE #7 A "El Taller and Gamaliel Ramírez" COUNTER CONTENT 232 His role as community member and desire to be know as "An ethnic artist, known well by his community." "Then they can't knock me down." 244 His previous mural and canvas work 260 Themes used in murals from culture and history. Unity, Contemporary Latino culture, glorification of neighborhood. He sees good things happening 288 Personal history; born in Bronx of parents from San Juan, Puerto Rico, 294 Comments on the Puerto Rican population and why them came to Chicago. Half from the island and half born on mainland, To Chicago for economic reasons as N. Y. became more difficult 325 Settlement earliest in area around Division and Clark St., now a Black area. Ricans now moving into Lake View and Uptown areas from Humboldt Park, Logan Square, and West Town areas, 375 Discussion of the Division St. riots of "67. Conflicts between Italian and Polish on one side and the Ricans on the other, 423 Humboldt Park "riot" in which Bobby was beaten by police. 454 A woman enters to chat a bit 497 END SIDE A OF GEORGE #7 GEORGE #7 B "El TALLER AND GAMILIEL RAMIREZ" (cont') 000 His work load and meetings. Reasons for not sticking to the GED 012 Continue discussion of Humboldt Park and press coverage 034 Review of our talk and end interview, 035 END OF SIDE B OF GEORGE #7[*95*] AFC - CH77 - T238 - C GEORGE #8 A TAPE LOG EFREN DEL CASTILLO 7/1/77 SPANISH (Recorded in offices of OMAR, 5525 N. Broadway 60640 (271-2720)) COUNTER CONTENT 001 Discussion of Theater group "Círculo Teatral de Chicago" founded May, 1970. They are preparing a bilingual brochure 021 Not purely Cuban — Most actors are Mexicans — Done Spanish, Latin Am. European, and North American plays, in Spanish 030 Discussion of Mexican Independence Day for TV last year and of TV as an outlet for their work. 045 Complains of changes in the policy of the Museum of Science and Industry's concerning theater 057 Outlines past performances — some they have written — some money matters Known plays and their own works on Viet Nam and Illegal immigration 095 Mention of their writers 105 More on past performances 120 Talk of Channel 44 program with Jimmy Payne where they have performed 129 Other performances 139 They have done some folk dancing from Cuban themes 150 Other performances 165 Funding from Castillo and friends. Large losses. 178 Complains that Museum gave little to help except the place to perform 185 Have shifted their gears for TV hoping to reach a larger audience 190 Plans for Mexican Independence Day Celebration and performance 200 More productions aimed at Mexicans — none toward Puerto Ricans — few for Cubans exclusively due to size and nature of population 212 Complaints of Museum — History of his experience with them. — No help with scenery or transportation, no rehearsal rights, Museum's Festival of Theater now more music and dance — He has severed contact with Museum 315 Scenery built and plays rehearsed in his basement — Panels passed from door or window to outside. 350 Expresses need for a permanent theater for rehearsal and building of sets. 375 More problems with Museum 400 Reaction of the community to their dramatic presentations. Dodges question with statement of problems of no central location, climate, and publicity problems. 452 Reaction to T. V. performances has been good inspite of poor promotion 476 They do it because they like it, have studied it and want to share it with the large Spanish-speaking community 489 END SIDE A OF GEORGE #896 GEORGE #8 B TAPE LOG EFREN DEL CASTILLO (Cont' from GEORGE #8A COUNTER CONTENT 001 Continues on nature of their work and goals — Actors and Audience "work" through a performance together — Goal to contribute something — offer works of quality. 013 Started making scenery in Cuba — Problems with Castro's regime — Plans scenes and directs now — Started with beginners but didn't want to teach drama but to promote, design, and perhaps direct. 038 Laments lack of good instruction in drama in Chicago in Spanish 048 Started in Cuba as a scene painter and elevated to head of production at the Drama school of the University and of the National Theater. Mixed contemporary and classical styles — Mentions works there & in Europe 071 To Chicago in '65 but no work. To Los Angeles a few years and returned 080 Problems with the Union in California — return to Chicago 093 Started with OMAR in Chicago designing ads for TV, radio, and press. Uses his theater skills of design and direction 126 Why he left Cuba — Had respect, good jobs, good pay, etc. but insecure since he was never a revolutionary. Always watched and had no freedom 163 Brother jailed for taking pictures for 7 months. 182 Friends disappeared 207 Fear led to his departure 213 Saw a communist 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. 262 The Cubans of Chicago discussed — After revolution as refugees or to study Most went to New York or Miami — A few here and friends and family follow Professionals and semi-professionals and business men — few rural folk 285 Talks of other Cuban groups in Chicago -- They argue and are separate from other Latino groups 320 Talks of Cuban rhythms in music and dance and their difficult nature 343 Cuban Lions Club promotes local talent but has no group of its own 353 Mentions Cruz and Sociedad Hispanoamericana pro Arte y Cultura 374 Pure Cuban groups don't really exist 390 Talks of cultural diversity of Cubans and lack of unity 462 No Cuban music groups — before was one but it moved to Los Angeles 485 Claims that Salsa is of Cuban origin, not Puerto Rican, rhythmically 487 END SIDE B OF GEORGE #8AFC CH77 - T239—C GEORGE #9 A TAPE LOG EFREN DEL CASTILLO (cont' from GEORGE #8 B) COUNTER CONTENT 001 A friend defines Salsa as "Ritmo cubano a la cual se le ha retirado la ciudania." (A Cuban rhythm whose citizenship has been removed.) 025 Not much difference between Cuban and Puerto Rican traditional music. Not sure if due to shared heritage or to mutual influence—maybe both 042 Similar instrumentation—P.R. cuatro is called a tiple or tres in Cuba 050 Use of bandurría—being replaced by guitar—More on tiple, tres, & cuatro 062 Danza of Puerto Rico is Contradanza of Cuba 077 He has tapes (video) of some of his TV programs but nothing of the stage performances 081 END OF INTERVIEW 083 We view parts of videotape of some programs and comments 103 END GEORGE #9 [*98*] [*AFC CH77-T240-C*] GEORGE #10 [*A*] TAPE LOG—BERNARDO NEGRETE 7/1/77 8:30 pm (Interviewed on the back porch of his So. Chicago house, 9125 S. Houston (60617) Primarily in Spanish) COUNTER TOPICS OF DISCUSSION 000 Name, birth place, when & where entered U.S., some jobs 023 Where & when learned to play the harmonica 030 Discussion of corridos 050 Discussion of Harmonica playing styles 080 Talks of his playing and the need for study and practice. 084 His education—Is functionally illiterate—lack of schools in Mexico. 095 His entrance into U.S. as an undocumented immigrant—Return to Mexico— reading of almanaque for preparation for getting papers. Arrangement of papers and re-entrance. 115 Talks of his children. 127 History of life as migrant worker 132 Reasons for coming to Chicago and work here. Bus boy, Laborer at Republic Steel. Comments on labor and management positions—22 years in the mill. 64 years old. 175 Tale of the mugging of him and his wife and the loss of Green cards and a sizeable amount of money. Talks of crime in the area 200 Discussion of preference for life in U.S. over Mexico and of his visits to Mexico. 213 Ownership of house, acquisition and repairs. 225 Discussion of background of interviewer. 229 His work in Iowa 233 More on my background 248 Thoughts on citizenship and English. Life in Mexico. 265 Discussion of the robbery—papers and citizenship and related problems 315 Attempts to help a nephew arrange to come to the U.S. 330 Possible problems with Immigration 344 Jonas comes out and they talk a minute. 350 Comments on drinking, smoking, and "other people's" vices, 400 More discussion of the house. He built the garage. Problems with renters and why he doesn't rent rooms 423 Discussion of money—"You can't take it with you." 432 House payments and value of house 445 Good neighborhoods due to stores, transportation & prevelance of Mexicans, The ethnic mixture. 480 Talk of Jesus's group & need for continuation of Mexican traditions 500 END SIDE AGEORGE # 10 TAPE LOG-BERNARDO NEGRETE SIDE B COUNTER TOPICS 000 Talk of Music-Mexican vs. American-Discussion of Negrete, Infante, Solis. 016 His love and that of Jesús for Mexican music. 021 Mexican vs. American Music 023 Bernardo and corridos - Played but never really sang them 025 Jobs and pay in Mexico 038 Memories of the Mexican Revolution and the Cristero Revolt - Changes in the Governments of Mexico 055 Washington & Lincoln as the first and second Presidents of the U. S. 060 Discussion of U. S. history and U. S. citizenship 080 My work at I. U. and in Chicago with Am. Folklife Center. Discussion of Jonas & Greta. 110 END OF SIDE B[*100*] [*AFC CH77 - T246 - C*] GEORGE #11 A TAPE LOG CARLOS CUMPIAN 7/2/77 10:00am (Recorded on telephone with permission at Line Camp #2) COUNTER CONTENT 000 Comments from an interview with Carlos Cumpián begun the night before. Discusses how the poor attack the poor 003 Begin phone interview with discussion of previous night's session with Chicano Floricanto 017 Discussion of MARCH (Movimiento Artístico Chicano) 018 Carlos as corresponding secretary 020 Meaning of MARCH 021 Thrust of MARCH to teach cultural elements mainly in the Midwest and to stimulate creativity 031 Poetry is important but prose more important 041 Publication of ABRAZO, a quarterly journal. One number out by date of interview another to come out by October. Focus on the Midwest. 058 MARCH founded in '73 in Indiana and '75 in Chicago. Founders, Solell and Gonzales. 078 Total membership presently 35. 081 Push poetry, short stories, and murals. 083 Discussion of Murals. MARCH has been involved in about 6 to date 117 Discussion of mural process -- Choice of location, quality of wall, agreement with landlord, community support and involvement. 155 Defacement with a tale of one case. Good story. 175 Mural process -- sketch, landlord & community approval of sketch, preparation of wall, painting often with community help. 212 Funds for murals from local people and organizations, granting agencies, and from artists pockets. 238 Members are teachers, service people, factory workers, students. 255 They have received some funds from Ill. Arts. Council for publication of Abrazo. 266 Carlos' role in Chicano Floricanto and relationship to teatros. 311 MARCH may enter the performing arts in the future, especially teatro 320 Discussion of teatros in Chicago area. 340 Carlos born in Texas, San Antonio, and family some 5 generations in the U. S. Father with college degree on athletic scholarship. To Chicago after migrant stream in '67. 381 Membership averages 25-26 years of age. Most from Texas and born in U. S. 394 Mexican born founders have been "Chicanoized" 402 MARCH sponsored art and photo exhibits in '75 and '76. Work with similar groups and need for a permanent office. [*485 END SIDE A OF GEORGE #11*]GEORGE #11 Tape Log CARLOS CUPIAN 7/2/77 10:00am (Recorded telephone conversation at Line Camp #2) COUNTER CONTENT 002 Office needed in the barrio for office space, gallery, and workshop 010 Present address of MARCH is P.O. BOX 2890, Chicago, 60690 021 They have sponsored poetry readings 026 Push of Abrazo to get materials from non-MARCH members. Use photos 047 MARCH has sponsored workshops for youth on woodcuts and murals and sculpture 058 Comments on importance of community involvement-MARCH members have asked themselves for whom is their art and where did it come from? Answer-The community. Hostility often exists outside of the barrio toward their art so they rely on and trust the community. 089 They do sponsor culture meetings to discuss a variety of topics 100 They do have a coupe of Anglo members. 105 MARCH as a springboard for the development and expression of arts in the Midwest. 120 Abrazo carries news items as well as artistic works and criticism. 1000 circulation for the first issue. 147 Developing ties with Native Americans because of perceived similarities in histories and problems of the two groups. A Powwow Fiesta is planned for October in conjunction with the Native American Artist's Guild. 169 Reminder that I was recording and renewed permission. (An agreement had been made for this the night before.) 181 Talk of Carlos Cortes, woodcuts, posters, and sculpture. He feels art should be available to everybody so he does mass-produces and sells cheaply. 214 Contacts with other groups across the U.S. in the past. 245 Contact Carlos Cortes at 935-6188 254 Plans for performing arts and photographers 265 End Side B of GEORGE #11 P. George - REELS AFC CH77 - T 230 - R LOG FOR GEORGE 7" REEL "EL ROMANCE CLUB" #1 6/28/77 7:30pm (Recorded during a rehearsal session at El Romance Club 3575 W. Armitage) TIME CONTENT 0:00 Warm up and conversation (inaudible) 1:30 Start a number - title unknown 2:50 Comments on desire to record conversation and warm up. Decision to play a danza 3:20 Begin a danza - title unknown 5:20 Animal sounds and practice riffs. Conversation 7:00 Begin another danza - title unknown 10:40 Practice and conversation 11:30 Begin another instrumental number 14:55 End last song and warmup and conversation 15:45 New instrumental number begins 18:50 Conversation 19:10 Begin "Mi Viejo San Juan" 22:40 Conversation and practice riffs. 23:40 Another number - title unknown 26:25 Comments and practice runs 28:35 Begin a danzón 31:30 End number and conversation 31:40 END TAPE #1103 AFC CHYI-T231-R LOG FOR GOERGE 7'' Reel "EL ROMANCE CLUB" #2 6/28/77 7:30 pm (Recorded live in rehearsal at El Romance Club, 3575 W. Armitage) TIME CONTENT 0:00 Animal sounds and conversation 1:10 Begin a danzón "La electricidad" 4:10 End--practice and conversation 5:35 Begin a Contraversia de dos gallitos de pelea-- Improvized song 11:10 End of number and comments (inaudible) by Israel Maldonado Audible explanation of the plena to be sung by Antonio and Nelson 13:50 Begin plena 17:30 End--Comments and practice 19:30 Begin a bolero done as a duet--title unknown 22:30 End song--riffs and conversation 23:55 Begin a sung merengue 27:40 End--practice and conversation and practice and discussion on how to end the song properly 31:20 Begin song again 32:10 END TAP #2106 AFC CH77 - T232 - R LOG FOR GEORGE 7" REEL "EL ROMANCE CLUB" #3 6/28/77 7:30 pm (Recorded in rehearsal at El Romance Club, 3575 W. Armitage) TIME CONTENT 0:00 Begin mid-song from tape #2 2:45 End song. Complaints and discussion of ending. Animal sounds and more discussion 3:50 Begin it over again 7:45 End number—practice of runs 8:25 Another instrumental number begins 11:40 End with practice runs 11:50 Begin new instrumental — title unknown 14:15 End number — conversation. A mazurka announced by Maldonado 15:20 Begin mazurka — title unknown 18:25 End mazurka — riffs and comments. Arcadio and Pablo switch instruments former now on guitar and latter on cuatro. 21:15 Begin an instrumental number 25:05 End of number and comments 25:45 Begin a danza — title unknown 29:10 END TAPE #3105 AFC CH77 - T233 - R LOG FOR GEORGE 7" REEL "EL ROMANCE CLUB" #4 6/28/77 (Recorded live in rehearsal at el Romance Club, 3575 W. Armitage) TIME CONTENT 0:00 Begin mid-number from tape #3 1:55 End song with animal sounds. Comments 3:40 Begin a plena - title unknown 6:45 End and comments from Israel 7:50 Begin a Seis con décima, improvized 18:50 Comments on the four singers who sang last number and their verses 19:40 Begin a bolero - Title unknown 22:50 Comments and practice riffs 23:20 Begin a new instrumental 27:10 End - riffs and commente 27:30 Begin a new song - title unknown 28:15 interrupted number 28:20 Comments and choice of next number 29:30 Israel Maldonado introduces a paso doble 29:55 Begin the paso doble - title unknown 32:10 END TAPE #4 mid-number[*106*] [*AFC CH77 - T235 - R*] LOG FOR GEORGE 7" REEL #1 "LA ESTUDIANTINA DE SAN PIO" 6/30/77 8:00pm (Recorded in rehearsal at Saint Pius Church at 1909 S. Ashland 60622) TIME Content 0:00 Count down and begin a song of unknown title. 2:20 Discussion of next number 3:12 "Pregúntale" first voices and guitars only 5:30 "Pregúntale" second voices and guitars only 7:10 Discussion 7:20 "Pregúntale" whole group-whole number 12:50 Choose next number and discuss trip to Kenosha, Wisc. General confusion 14:00 Begin rehearsal of voices and strum 14:45 "Las Mañanitas Morelenses" 18:30 Choice of next song and rehearsal "Title unknown" Instrumental only 20:00 just guitars and tambourines on above 20:45 Repeated starts and false starts with different groups on above 25:57 Whole group through above number twice 28:4 End and discussion 29:30 Above through once with whole group 31:00 Comment and choose next number 31:45 END ESTUDIANTINA #1 [*AFC CH77 - T236 - R*] ESTUDIANTINA DE SAN PIO #2 0:00 Warm up and comments 2:10 "Pueblo Mío" begins 3:15 Stop - Comments - Brother Michael to piano and group sings - no guitars 10:45 Confusion - Discussion of chords and rehearsal - Repeated stops and starts 18:20 Rehearse last chorus 19:30 Comments (Brother Michael says they will do it without the accordion - applause) 21:25 Rehearse final chorus with guitars again 22:20 Comments 24:43 "Pueblo Mío" in its entirety with whole group 27:00 End song - break for picture and set up group interview 28:00 Begin interview with explanation of the project - record mentioned as remote possibility - Questions from the group 32:00 END ESTUDIANTINA #2[*107*] [*AFC CH77 - T237 - R*] LOG FOR GEORGE 7" REEL "ESTUDIANTINA DE SAN PIO" #3 6/30/77 TIME CONTENT 0:00 Comments on rehearsals — Tues. Beginning guitar — Wed. Mandolins — Thurs. Whole group. 1:05 Mandolin group to play a solo for us — tune and warm up 3:30 Mandolin solos with Bro. Michael on piano "Title unknown" 6:08 End and Applause from rest of group 6:30 Question — Why spend so much time and energy on this? Answers — It's fun — Enjoy the music — Maintain Mexican traditions — Encouragement and recognition — Show that not all kids are wild — more fun than T. V. — Sense of family in the group — Share musical gift with others. 10:10 Not paid for most performances — Money for equipment and costume and picks. 12:00 Activities — play at churces, private parties, old folk homes, parades 12:25 Talk of costume (uniform) as it is modeled. 13:15 Talk of activities and older group — youngest of this group is 11 — oldest is 19 — Bro. Michael is 31 14:30 Statement of uniqueness and general rap 13:40 Statement of audience reaction and interaction 14:10 Do non-Latino numbers like "Never on Sunday" "Beer Barrel Polka" and "Theme from 'Z'" 17:20 General rap and confusion 18:00 END ESTUDIANTINA #3[*108*] [*AFC - CH77 - T241 - R*] LOG FOR GEORGE 7" REEL "CHICANO FLORICANTO" 7/1/77 TAPE #1 (Recorded upstairs in Negrete home at 9125 So. Houston, Chicago) 8 pm COUNTER CONTENT 000 End of second "bleep" 001 Bernardo warms up on harmonica and conversation 021 Jesús talks of harmonica style and announces a song. 029 Bernardo on harmonica plays "La Sinfonía" 038 Talk of the need for tuning the guitars and the actual tuning. 067 Jesús talks of harmonica techniques and compares his own to his father's. General comment on harmonica as part of the tradition 081 How Bernardo learned the harmonica-- from his brother and father in Guanajuato 091 "Huelga" song with Jesús, Rosa, and Bernardo 145 More comment on harmonicas and styles 158 "El corrido del Valentín" 195 Bernardo plays "La Sinfonía" again 206 Break in flow as they listen to the last cut of "la sinfonía" 213 Lead in to "El corrido de Jacinto Treviño" 236 Instructions from Jesús to Bernardo on how to accompany them. 242 "El corrido de Jacinto Treviño" 319 Mother enters in mid-song and interrupts--They complain 330 Assurances to them that we want the foul-ups and warm-ups, not just the polished songs. 333 More instructions to Bernardo with examples from Jesús. 354 Phone rings--Jesús talks to someone. 377 Discussion of beer and Carlos goes to buy 404 More instructions to Bernardo 419 More of "Jacinto Treviño" and more instructions interjected. 481 Jesús comments on the use of accordion and harmonica leads and the need to wait for riffs to end--Gives example of problem. 532 Comments on wait for 4th member 539 Asks for harmonica holder and comments on it as he puts it on. 608 Comments on the oldness of style of the songs they are about to do (Carlos arrives with the beer) 639 Practice "America" with Rosa on the flauta (recorder) and Carlos with maracas. 747 Carlos joins practice session with a Concha as trumpet. 769 Introductory comments on "America" and the song begins. 812 Trumpet practice revisited [*10?*] -2- Log for CHICANO FLORICANTO I (Tape 1) 847 Comments on the practice and the song 865 Begin introduction and the song "America"again. 970 Comments interjected into the flow of the song 1003 END CHICANO FLORICANTO TAPE #1[*110*] [*AFC CH77 - T242 - R*] LOG FOR GEORGE 7" REEL "CHICANO FLORICANTO" 7/1/77 TAPE #2 (Recorded upstairs in Negrete home at 9125 S. Houston, Chicago) 8 pm COUNTER CONTENT 000 Continuation of "América de los indios" with Indian-like chant 025 Comment on the practice 028 Discussion of the role and place in show of indigenous music & especially this number "América de los indios" by Daniel Valdez. 090 Begin "América de los indios" 285 Conversation with decision for next song and practice. 352 Introductory comments on a song, "Estrella del oriente", based on the Conchero tradition. Explanation of the use of the Concha trumpet blown to the four cardinal points. 385 Begin "Estrella del oriente" 488 Comments on "Estrella de Oriente" and indigenous influence Discuss choice of next song. Search books for lyrics. 550 Ask that we turn off the machine. 557 More conversation on the search 587 Explanation of import of Indian music in their view and the history of the Zapotec Love song they are about to do. 655 Practice of "Zapotec Love Song" 675 Begin "Zapotec Love Song" 777 Comments and search for corrido materials. Explanation of the use of the harmonica in the corrido tradition 850 Comment on what they are attempting do with the combination of the old traditional material with contemporary ideas and content. Villa and Zapata as symbols. 955 Talk of Villa's entry into New Mexico (Columbus raid) and the folklore that comes from that period. Older folks react more positively to corridos than the younger generation. Need to update and make more contemporary so the old and new can combine successfully. 1004 END CHICANO FLORICANTO TAPE #2[*111*] [*AFC CH77 - T243 - R*] LOG FOR GEORGE 7" REEL "CHICANO FLORICANTO" 7/1/77 TAPE #3 (Recorded upstairs in Negrete home at 9:25 S. Houston, Chicago 8pm.) COUNTER CONTENT 000 End of second "bleep" with Villa comments 006 Begin corrido "La persecusiòn de Villa" 017 Phone rings and end song 029 Begin again — "La persecuciòn de Villa" 152 Comments on Spanish song with English explanation and use of slides in presentation. Mention of Pete Castillo's work on Los Bandidos and the use of Chicano Folk Heroes in presenting the positive and struggling side of Chicano History. 193 Folklore and song serve as history from a point of view not usually Use of Joaquin Murietta, The Espinoza Bros., and Gregorio Cortez. 217 Discussion of the changing nature of the corrido and of their changes in them for contemporary reasons. 242 Begin "El corrido de Jacinto Trevino" 336 Choose next number and practice as they joke about Jonas taking pictures. 367 Comments on the history of the next song, "El corrido de Rafael Citròn" by Jesus Negrete. Discussion of Puerto Rican politics and Rican's problems with local police in Chicago. 464 Begin "El corrido de Rafael Citròn" 478 Begin again after a mix up — 547 Another mistake. 574 Begin again "El corrido de Rafael Citròn" 755 Comment and discussion of what to sing next. 860 Rosa and Jesùs discuss the Chicana and women in songs. Talk of "la Delgadina" the song and the woman 960 Decision to do "La Delgadina" and then a song on women composed by Rosa. Wait for tape to be changed. 1011 END CHICANO FLORICANTO TAPE #3[*AFC CH77 - T244 - R*] LOG FOR GEORGE 7" REEL CHICANO FLORICANTO 7/1/77 TAPE #4 (Recorded upstairs in Negrete home at 9125 S. Houston, Chicago 8 pm.) COUNTER CONTENT 000 Comments on décimas and other topics 028 Begin "El Corrido de la Delgadina" 094 Break as dog barks and they scream at it to quiet down. 125 Jesùs does an Immigration corrido as Rosa puts dog out. 232 Comments 236 Practice and warm-up for Rosa's song and poem 253 Rosa's introduction to the poem and song she wrote 272 Begin "La mujer y el hombre" Poem and song lyrics by Rosa Negrete 293 Foul up and rehearsal 309 "Take #2"of "La mujer y el hombre" 416 Comments -- 442 Talk of and example of "Bluesy sound" 450 Jesùs does a "Blues Corrido" called "Immigration Man" 531 Comments on multicultural influences on chicanos in urban areas and the reflection of this in their culture and music. 590 Begin "El barzòn" and an Immigration corrido 1010 END CHICANO FLORICANTO TAPE #4AFC - CH77 - T245 - R 113 LOG FOR GEORGE 7'' REEL CHICANO FLORICANTO 7/1/77 TAPE #5 (Recorded upstairs in Negrete home at 9125 S. Houston, Chicago 8pm.) COUNTER CONTENT 000 Conversation and talk of gangs as we wait for Jonas to change tape 025 Pick up where left off in Immigration Corridor before end Tape #4 091 Comments 100 Comments on Huelga materials and songs 123 Begin "Huelga" 200 Comments and choice of song. History of Señora Dominguez and her composition of "Yo Soy chicano" during the Poor People's March 210 Begin "Yo Soy chicano" 277 Comments of old style and new comments. Joke about Jonas asleep on the porch. "Technicians what do they know" 307 Comments on contemporary "Folksingers" and their names 360 Comments on "La Hierba" begin to sing it and foul up 372 Take #2 of "La hierba" 400 Mistake--Comments as they check through text sheets. 420 Decision to quit for the night--Never finish "La hierba" 437 Discussion of Freddy Fender 540 Parallels between Mexican Border music and Country and Western Music. "Frankie and Johny" compared to "El corridor de Rosita Alvírez" and "El corrido de Benito Canales" to Johny Horton's "North to Alaska. 680 References to labor songs with examples stanzas from "Which Side are You on?" (bilingual). 723 Discussions of the Hay Market riots and the role of Lucy Gonzales Parsons. Mexican woman or Light-skinned Black trying to pass. 776 Shut off machine 777 Carlos gives intro to his poem and explanation 848 Begin poem "La migra para 2" 928 Comments 957 Stanzas of another song and comments 10008 END CHICANO FLORICANTO TAPE #5[*114*] [*AFC - CH77 - T247 - R*] LOG FOR GEORGE 7" REEL "LOS AMANTES AT EL ROMANCE CLUB" 7/22/77 TAPE 1 (Recorded in live performance EL Romance Club, 3575 W. Armitage 12:00 midnight) TIME CONTENT 0:00 Pedrito announces a bolero - They play "La Barca" 4:50 Comments & warmup 6:16 Introduction to and playing of a merengue, "Para mi no mas" 11:05 comments & warm-up 13:05 Introduction and playing of a bolero, "Asì" 17:50 Comments & warm-up 18:15 Introduction and playing of a merengue, (title unknown) 26:30 Comments & warm-up 28:10 Introduction and playing of a bolero, "Si quieres" 30:50 End of tape 1 in mid-song Tape 2 [*AFC - CH77 - 1248 - R*] 0:00 Introduction and playing a polka with a medley of tunes including "cielito Lindo", "Beer Barrel Polka", "Adelita", and others. 8:10 Comments to end set. 8:45 Break with Juke Box Music. 9:30 Return with announcements - Greetings to us and others 10:25 Luis announces a ranchera, "Amor apasionada" 14:05 Comments and warm-up 14:40 Introduction and playing of a ranchera done to merengue rhythm "Mas que quisiera" 26:25 Comments and call for talent from audience. Introduction of a friend. 27:55 Friend introduces and sings a ranchera, "De cigarro a cigarro". 30:15 End Tape 2 in mid-song.