{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/183416th2d/manifest","type":"Manifest","label":{"en":["Dontae Winslow oral history, 2002 April 19"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","metadata":[{"label":{"en":["Description"]},"value":{"en":[" Dontae Winslow grew up in Baltimore and began studying trumpet at Cross Country Elementary School. After graduating from the Baltimore School for the Arts, Winslow continued his music studies at the Peabody Conservatory, earning bachelor's and master's degrees in classical trumpet performance. Winslow has taught trumpet at Baltimore School for the Arts, Gilmor Elementary School in West Baltimore, and Virginia Commonwealth University in Richmond. His choir at Gilmor inspired him to write, produce, and record \"Change a Life, Change the World.\" He has worked as a trumpeter, songwriter, composer, and producer with his group WinslowDynasty and with major artists in pop, hip-hop, and jazz. In this interview by Delandria Mills, Winslow discusses his studies at Peabody, his musical development, and his career aspirations. (Abstract)"," Low audio levels on source media. (Physical Description)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-04-19 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Winslow, Dontae, 1974- (Interviewee)"," Mills, Delandria (Interviewer)"]}},{"label":{"en":["Language"]},"value":{"en":[" English (Primary)"]}},{"label":{"en":["Format"]},"value":{"en":["audio/mp3"]}},{"label":{"en":["Publisher"]},"value":{"en":["Peabody Institute of the Johns Hopkins University"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["The collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information."]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://aspace.library.jhu.edu/repositories/4/archival_objects/215401"]}}],"summary":{"en":[" Dontae Winslow grew up in Baltimore and began studying trumpet at Cross Country Elementary School. After graduating from the Baltimore School for the Arts, Winslow continued his music studies at the Peabody Conservatory, earning bachelor's and master's degrees in classical trumpet performance. Winslow has taught trumpet at Baltimore School for the Arts, Gilmor Elementary School in West Baltimore, and Virginia Commonwealth University in Richmond. His choir at Gilmor inspired him to write, produce, and record \"Change a Life, Change the World.\" He has worked as a trumpeter, songwriter, composer, and producer with his group WinslowDynasty and with major artists in pop, hip-hop, and jazz. In this interview by Delandria Mills, Winslow discusses his studies at Peabody, his musical development, and his career aspirations."," Low audio levels on source media."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["The collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information."]}},"provider":[{"id":"https://streaming.peabody.jhu.edu/aboutus","type":"Agent","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"homepage":[{"id":"https://streaming.peabody.jhu.edu/","type":"Text","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/523/small/winslow_photoshop.jpg?1651088185","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523","type":"Canvas","label":{"en":["Media File 1 of 1 - pims0091_WinslowD_01.mp3"]},"duration":1391.04653,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/523/small/winslow_photoshop.jpg?1651088185","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/523/original/pims0091_WinslowD_01.mp3?1624271029","type":"Audio","format":"audio/mpeg","duration":1391.04653,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164","type":"AnnotationPage","label":{"en":["WinslowD_1_OHMS_20220729 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DELANDRIA MILLS: Okay, this is interview agreement number 1.25.02 with Dontae\nWinslow. \nWould you please state your name?\n\nDONTAE WINSLOW: Dontae Maurice Winslow.\n\nDELANDRIA MILLS: Okay. Would you please spell your name?\n\nDONTAE WINSLOW: D-O-N-T-A-E W-I-N-S-L-O-W.\n\nDELANDRIA MILLS: And what is your educational background?\n\nDONTAE WINSLOW: Elementary, middle, high school, bachelor's degree college, and master's degree college.\n\nDELANDRIA MILLS: What is your date of birth?\n\nDONTAE WINSLOW: 02/27/74.\n\nDELANDRIA MILLS: Okay. Would you please state the title of your profession?\n\nDONTAE WINSLOW: Producer, trumpeter, and teacher.\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, and the interview begins.\nWhere were you raised in Baltimore?\n\nDONTAE WINSLOW: I was raised on West North Avenue in West Baltimore City.\n\nDELANDRIA MILLS: Is that where you were raised primarily the whole time?\n\nDONTAE WINSLOW: About from middle school until high school. In my early\nelementary days I was raised in upper Park Heights area, a Jewish community.\n\nDELANDRIA MILLS: How did you begin to play trumpet and why trumpet?\n\nDONTAE WINSLOW: I started trumpet in the fifth grade, and I originally wanted to play the flute, and a friend of mine pointed me toward the trumpet because he said it was easier, because it only had three valves. And it wasn't,\nconsequently. So I switched. I tried the flute and it had so many buttons I\nthought it was hard, but I liked it because my best friend played it.\n\nSo I switched to trumpet thinking it was easier, and I just happened to stay\nwith it.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, of course, during middle school I dropped it for a few years playing sports and not being good enough to make a good sound. So I didn't feel interested in doing it, but around the seventh grade in middle school is when I started being serious about it, practicing, and being in the jazz band. Since the seventh grade I've been playing it consistently.\n\nDELANDRIA MILLS: What is possibly the most significant experience that is your experience in musical creativity?\n\nDONTAE WINSLOW: Probably living in a very terrible ghetto situation has bonded me not only with God, but being creative, to using creativity as a catharsis to the pain I experienced in everyday life living in the inner city and not really having enough food to eat or gas and electric or a phone to use. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And seeing a very negative environment that kind of glued me to the opposite side and bonded with my spiritual side, and my creative side for life.\n\nDELANDRIA MILLS: Could you name one of the pieces on one of your CDs, something that could reflect your experience that you're speaking of?\n\nDONTAE WINSLOW: There are many, but one that comes to mind is a song called \"Care for Me,\" for my mother, that explains a lot of the relationship that I had between me and my mother, both positive and negative. And that's on my fifth CD, entitled Rehabilitation.\n\nDELANDRIA MILLS: What musicians would you say influenced your playing the most?\n\nDONTAE WINSLOW: I would say Gary Thomas, Lee Morgan, Woody Shaw, and Miles\nDavis. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, and Roy Hargrove. Can't forget Roy.\n\nDELANDRIA MILLS: Outside of school, what was your first musical experience?\n\nDONTAE WINSLOW: Outside of school it was probably church, hearing the gospel choir. The energy and hearing one of my cousins sing, and hearing her just tear the whole church down emotionally with her expression and her great voice. That really drew me to music at an early age, but it had nothing to do with instruments, and nothing to do with school. It just made me know that I loved listening to music.\n\nDELANDRIA MILLS: What church was that?\n\nDONTAE WINSLOW: This was Calvary Baptist Church.\n\nDELANDRIA MILLS: And that church is still --?\n\nDONTAE WINSLOW: Yes. It's still in existence.\n\nDELANDRIA MILLS: Did Baltimore's history ever influence your playing?\n\nDONTAE WINSLOW: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In a socioeconomic way, not directly, musically. Well, I can find a way to tie it in musically -- I mean, Gary Thomas is Baltimore history. Gary Bartz, Tommy Williams, Whit Williams -- a lot of those guys are Baltimore history who taught me, and I've had lessons with, and who influenced the way I think about music. And they are from back in the days when -- Some of them have played with Dizzy Gillespie and Charlie Parker, Miles Davis, and some of them have played with Woody Shaw.\n\nSo indirectly, I would say from the national scene of musicians who influenced the Baltimore musicians, those Baltimore musicians who taught me influenced my playing. And, of course, the socioeconomic situation has always been -- Baltimore has always been very racist, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I guess that separation between races and the communities that they live in and also the low economic status of Blacks who live in Baltimore, that kind of, of course, affects my music and my playing because it affects the way I think about the world.\n\nDELANDRIA MILLS: Right. And a lot of the musicians who play at [unclear] live in New York. How do you feel about Baltimore's jazz scene and why have you chosen to live in Baltimore?\n\nDONTAE WINSLOW: Well, I chose to live here based on the fact that I chose\nPeabody as the school to get my foundation and musical discipline together.\nBased on a recommendation from my friend Richard White, who is a great tuba player from Peabody. After attending the school and seeing the love that they had given me in terms of scholarship and support -- of course, I just graduated two years ago so that's ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"kind of why I'm still here. But also, I got married right after I left school so I didn't plan on leaving. But then I thought about going to L.A. I didn't think about going to New York because I lived there right after high school. It was very expensive. Nobody's getting gigs there anyway. And I'm only three hours away, so I can easily get there.\n\nAnd when I got there to record on people's albums and such, I just catch a train and drive, and I'm there instantly. So there's no need to live there and pay double rent. Baltimore's a better place to live financially and the scenery is much greater.\n\nBut California is one thing that's been on my mind as of late because there are some great things going on there. I may end up either moving there or occupying two places, here and California, just for the movie music type of thing, the cartoons, things that I want. My music is very diverse, so I want different styles of my music to be involved with different kinds of entertainment.\n\nDELANDRIA MILLS: You mentioned the diversity -- What are the different genres of music that you are into?\n\nDONTAE WINSLOW: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gospel, R\u0026B, hip-hop, a little bit of classical and jazz.\n\nDELANDRIA MILLS: You mentioned the love that Peabody showed you. How did your studies at Peabody influence your music?\n\nDONTAE WINSLOW: I can't really say that the studies influenced my music, other than me being able to go to the library and listen to all kinds of great music. Other than me seeking private advice from the teachers, having those kinds of professionals. The classes themselves, the way the curriculum is set up, did not really influence my music, I can't say that. But I can just say being in the environment has helped me attain certain information. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's wrong. It has helped me to obtain certain information that's readily available, and also being able to perform in a weekly lesson has definitely caused my playing to go up. Perform for a professional and have them critique you, and you have to prepare for something, that definitely made my playing better.\n\nDELANDRIA MILLS: How do you feel about the idea of jazz being taught in schools? Since you graduated from Peabody, Peabody has launched this new jazz program.\n\nDONTAE WINSLOW: I think it should be there. I think it's never been there, and it should have been there a long time ago. I mean, I think that Blacks are not accepted in our society so Black music is not accepted. And then with history comes understanding, with time comes understanding. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Throughout history, once people of other cultures accept our music as being intelligent music, then they validate it. Thus, they institutionalize it and then they teach it to their children, and then we all appreciate it.\n\nSo that's just happening now. This is a great program here but, like I\nsaid, it could have happened in 1965.\n\nDELANDRIA MILLS: Who were your music teachers and how did they influence you?\n\nDONTAE WINSLOW: On what levels?\n\nDELANDRIA MILLS: Every level. I guess stemming from when you started to your --\n\nDONTAE WINSLOW: Elementary school, there was Mr. Hammond [phonetic]. You know, that was just band and general music. And then middle school there was Mr. Burns [phonetic], who was a very nice guy. He was the first music teacher I can remember who took the time out to listen to me play every day. Every time you would play a song, you would earn little stars as an incentive. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I would learn more songs than anybody. I would know all the required songs for band, which would be about forty songs. We'd only play ten, but I knew forty. And I had forty stars next to my name, and that really helped my esteem, and made me know that, hey, I'm a musician because I know more than everybody else. I couldn't play well, but my brain knew the songs, and I could play them for you as best I could for that age.\n\nSo he was really good at being a listener, being nice. He never yelled, and he\nwas always encouraging. He would even drive me home sometimes.\n\nAnd then high school, I entered the TWIGS [To Work In Gaining Skills, a free\nafterschool arts program created by Baltimore School for the Arts] program, the after-school [program] established. Jari Villanueva -- He's one of\nthe cats who played in the military bands. He was a great trumpet player. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I had a good concert with him, took lessons from him for free every day after\nschool through eighth grade, and I got to [unclear] and the teacher there was\nCarolyn Fox [phonetic], who was another great trumpet player, who really taught me about practicing.\n\nOf course, by that time in high school, I met Roy Hargrove and Whit Williams, and they were very influential. Also I met Gary Thomas. He was the most influential because he taught me how to play 251s [jazz chord progression] in every key. And Mr. Whit Williams, who taught me how to play a lot of ideas, to get my own sound. Whit Williams and Gary Thomas were probably the most influential teachers in my career.\n\nDELANDRIA MILLS: And at Peabody you mentioned that you had lessons every ----\n\nDONTAE WINSLOW: Yeah. I had lessons with Wayne Cameron first, who was a great trumpet teacher. He was so nice to me. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he really advocated for me being a jazz musician and learning my classical studies as well, which I liked. But I was very discouraged.\n\nLangston Fitzgerald was my last teacher. Great trumpet player, who took me to that next level. You know, to that master's degree level where I really could\nplay a lot of European concert music. And I wound up playing with the BSO\n[Baltimore Symphony Orchestra] under his tutelage. I played some of the Haydn Trumpet Concerto, and, you know, it sounded great.\n\nDELANDRIA MILLS: Who outside of music would you say influenced your music the most? Outside of teachers.\n\nDONTAE WINSLOW: Probably God.\n\nDELANDRIA MILLS: All right. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When did you do your first studio recording?\n\nDONTAE WINSLOW: On trumpet?\n\nDELANDRIA MILLS: Yes, on trumpet.\n\nDONTAE WINSLOW: At Peabody as an undergrad student.\n\nDELANDRIA MILLS: And as for your hip-hop?\n\nDONTAE WINSLOW: Rapping? Twelfth grade, high school.\n\nDELANDRIA MILLS: Could you tell me a little bit about your record label?\n\nDONTAE WINSLOW: It's called Ransom Entertainment, and I release all of the different genres on my label. I just released a CD entitled Change Your Life, Change the World. It's a CD dedicated to enriching the minds of youth. It's featuring kids that I teach at Gilmor Elementary School, featuring my wife as well. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the next CD that I'm releasing is my wife's CD, entitled Mashika, and that's an R\u0026B/pop CD that just features some gorgeous singing and some great producing.\n\nI released already about three jazz albums, including one live, and I've\nalso released three hip-hop albums. My goal is to get my music into movies and commercials and TV so that I can expose it to the world. I wasn't really trying to be on a record label, per se, but I wanted to be able to own my own music and sell it, and be able to retain most of the dividends.\n\nDELANDRIA MILLS: Where did you learn how to come up with the business mindset for the aspect of music?\n\nDONTAE WINSLOW: It's kind of like instinct reading about the suffering of\nmusicians. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I just thought about how I didn't want to be in that position. I\nread everybody's autobiography. Coltrane, and Miles and Dizzy and Richard Pryor, from comedians to basketball players, and one thing that's consistent is that Black folks get robbed out of their money. So that definitely made me very conscientious about giving up my talent in conjunction with getting my due.\n\nDELANDRIA MILLS: And at such a young age you've already performed with or opened for Maya Angelou, Stevie Wonder. Where do you see your career going from now? What do you hope to accomplish in your art?\n\nDONTAE WINSLOW: I hope to change the world through children. This children's music that I'm doing now is very inspirational. A lot of kids really, really, really love it. They feel inspired and changed by it. They want to do better in their lives. They want to study. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have songs with nothing but math facts and states' capitals and a lot of elementary curriculum, and they are really into it because the beats are very street oriented. They sound like stuff that's on the radio, except I put a lot of facts on top of the beat. And they just go with it as if it's Jay-Z or DMX, you know, superstars.\n\nSo somehow I plan on changing the world, maybe even the minds of men, by making music that's very, very poignant, long lasting, and sincere. That's my goal in life -- to make the most sincere music on the planet. Aside from that,\nfinancially, I would love to definitely do movies and express. I can easily\nexpress pictures. I would like to be able to look at movies and pictures and be\nable to have music describe it.\n\nThe genres can mismatch. I'm not even talking about a specific genre. I'm just talking about aural beauty, basically. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It can be one note for five minutes. You know, it's just like whatever -- I want to get to the point where whatever I\nhear I can give it to you and you will accept is based on my clout and based on my reputation.\n\nI don't want to have to be forced to stick to a demographic, and stick to a\ncertain radio style and have to be three minutes long. I do that now, and that's\nkind of me conforming to the way of the world, but eventually I want to have\nlong playing music that's just intertwined. It's like intertwined like a movie.\nIt just plays from beginning to end. It's all different kind of styles. Always a\nhigh level of musicianship, but never a particular genre to specify.\n\nDELANDRIA MILLS: How do you feel about the future of jazz and hip-hop?\n\nDONTAE WINSLOW: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Jazz as we used to hear it doesn't really have a future, unless somebody comes up with a synthesis to make it sound cool to young people. Young people are the people that makes music move forward. Old people die and their music dies with them, basically. And there will be some people to carry some of the torch, but the majority, it will be forgotten about.\n\nSo jazz as we used to know it will be dead. But there will be a new form of\nmusic, hopefully, and most likely that will be kind of influenced by jazz and\nthen by reggae and by gospel and by rap. And it will have different kinds of\nstyles in it, and probably I predict that freestyle is going to be a big part of\nit in terms of rapping and telling stories right off the top of your head that\nrhyme, that make sense.\n\nLike jazz. In jazz you create a solo spontaneously. And I think creating a rap\nspontaneously is definitely the future, because it's hard to do. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Nobody can do\nit. Some people can do it. People don't do it really as well as they -- I think\nthe mind will get bigger, better, faster. People will get smarter, and they will\nbe able to do that, and that will be the new next level of jazz.\n\nYou'll have to have so many books, quotes in your mind. It's like your vocabulary has to be four times as big to freestyle intelligently as it would be to play jazz.\nBecause you can be a dumb guy and play jazz well just by memorizing a whole lot of things. It's just like putting in new songs. You wouldn't be able to do that as easy with the English language because there are so many words, there are so many rules, and you're limited really in your perspective. And you're limited in what subject you know the most about.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, you wouldn't be able to talk doctor's jargon, lawyer's jargon, but the person who knew a lot about a lot of different things -- like a person who wins Jeopardy!, just for an example, would be smart enough to go in and out of different topics. It would be meaningful. It might touch someone's life. It\nmight change their life just based on the degree at which they approach what\nthey're doing. Like Coltrane -- the level is so high. It's like, oh, my God. One\nthing about hearing somebody at a higher level, it makes you want to be better whatever you're doing. So that's probably the future of music, and that's probably the future of hip-hop as well as jazz.\n\nAnd young people, of course, they appreciate a beat. It just so happened that\nhip-hop made the beat more static as opposed to jazz, and the lyric more\nimportant. In jazz, you know, you have the rhythm as being non-static. It's\nvery, very mellifluous. It's interactive with other elements that are taking\nplace. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kind of like opposites in that respect. And that's some of the reason the older people don't like hip-hop -- because it's too static. It's like the beat\nis the same. The focus is the word so the beat is just a set of color, and what\nyou say on top of that color is what makes it a good song.\n\nThat's definitely the future. So, jazz, I doubt if 1940 swing can ever come back and rule the world again. That's not happening. Now, influences of 1940 swing on 2010 music, yes. You are going to hear that.\n\nDELANDRIA MILLS: All right. You have definitely been a light to the community in Baltimore. So what would you like Dontae Winslow's legacy to be?\n\nDONTAE WINSLOW: Dontae Winslow cares. That's what I want my legacy to be. That guy cares. That guy was very serious. He's a very genuine individual. That's it.\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523/transcript/39164/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, I truly thank you for your time.\n\nDONTAE WINSLOW: Thank you. And I hope you do get an A.\n\n[END OF INTERVIEW]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44182/file/117523#t=1380.0,1440.0"}]}]}]}