{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/4t6f18t070/manifest","type":"Manifest","label":{"en":["Joseph Eubanks oral history, 2002 April 25"]},"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":[" Joseph S. Eubanks (1925-2013) was a bass-baritone who performed in the 1950s with the first American company of \"Porgy and Bess\" to tour the world. He studied with Lotte Lehmann, Herta Glatz, John Brownlee, Todd Duncan, William Ray. Eubanks taught at Morgan State University from 1962 to 1985. He performed regularly as a soloist with the Baltimore Symphony Orchestra and with many local musical groups. (Abstract)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-04-25 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Eubanks, Joseph S., 1925-2013 (Interviewee)"," Quinones, Alex (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/215351"]}}],"summary":{"en":[" Joseph S. Eubanks (1925-2013) was a bass-baritone who performed in the 1950s with the first American company of \"Porgy and Bess\" to tour the world. He studied with Lotte Lehmann, Herta Glatz, John Brownlee, Todd Duncan, William Ray. Eubanks taught at Morgan State University from 1962 to 1985. He performed regularly as a soloist with the Baltimore Symphony Orchestra and with many local musical groups."]},"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/000/117/408/small/eubanks.jpg?1649884855","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408","type":"Canvas","label":{"en":["Media File 1 of 3 - pims0091_EubanksJ-1_01.mp3"]},"duration":1810.05061,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/408/small/eubanks.jpg?1649884855","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/408/original/pims0091_EubanksJ-1_01.mp3?1624270825","type":"Audio","format":"audio/mpeg","duration":1810.05061,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419","type":"AnnotationPage","label":{"en":["EubanksJ_101_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ALEX QUINONES: And today's date is April 25th of 2002. Now you said you had\ngotten a scholarship, actually quite several ones right in your youth when you\nwere studying. How easy was it to get a scholarship as a young man, as a\nmusician, as a young Black man? \n\nJOSEPH EUBANKS: Actually the scholarships came after I made my tour around the\nworld with Porgy and Bess. As a young student at San Francisco State, the\nopportunities came to sing there with the San Francisco Symphony, with the\nOakland Symphony, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and all resulting from studies and my oratorial work up and\ndown the coast. \n\nBut the scholarships never came. I don't think I even applied for one until I\ncame back from Porgy and Bess. That's when I applied for the John Brownlee\nScholarship at Manhattan School of Music, and succeeded with that, and that led\nme to others. \n\nI'm wrong. I did get my first scholarship was in California. It was the\nscholarship to the Music Academy of the West in Santa Barbara to study with\nMadame Lotte Lehmann. And that gave impetus to performing for her and then\nMadame Lotte Lehmann recommending me to Mr. Alexander Smallens for an audition\nto be in Porgy and Bess, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and that's how I travelled around the world. \n\nBut when I got into New York after Porgy and Bess, John Brownlee at the\nManhattan School of Music was very significant because there I was able to learn\na number of roles, like Sparafucile in Verdi's Rigoletto. Yūzuru, the premiere\nof Japanese opera by Ikuma Dan. And you know how it is, one thing leads to\nanother. The press picked it up, and first thing you know I'm applying for a\nJohn Hay Whitney and I'm succeeding in that. \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Was color ever a problem? I mean, was that brought up, did you have to\naddress that? \n\nEUBANKS: That's a very interesting question. Because, when I read the reviews,\nand I think of the people that worked with me in California, they were pleased\nto see a young Black man going ahead, and they gave me opportunities, gave me\nexperiences that I don't think I would have--I sometimes question if I had not\nbeen Black, would I have gotten it? \n\nBut they thought I had an exceptional voice, and they wanted to move me forward. \n\nAnd then Lotte Lehmann, the scholarship there was certainly one that recognized\nme as a Black singer. Grace Bumbry had already gone through the school. The\ngreat soprano was singing then at the Met. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she was anxious for me to make it\nand go through--get further training. But she saw my acting ability of course,\nand then moved me into Porgy and Bess. \n\nAnd that left me in New York and the scholarships there were significant because-- \n\nI was Black, and I, being Black, and not many Black singers on the scene. I\ncan't say that I was ever, you know, discredited because I was Black. They liked\nmy talent, and I think that it's not like in business or other fields, and they\nalways kind of believed that the Black man could sing and dance. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So they liked\nthat, that's part of the American-- \n\nQUINONES: Pysche. \n\nEUBANKS: Yes. So, but evidently I had an exceptional talent that they would move\nme into these other positions. \n\nQUINONES: Now you said through the John Whitney scholarship-- \n\nEUBANKS: John Hay Whitney. \n\nQUINONES: John Hay Whitney. That you heard about a position, an assistant\nprofessor position at Morgan State University. How did you go about it? \n\nEUBANKS: Yes. Actually, the president of Morgan University was on the board, Dr.\nJenkins, he invited me to come down to Morgan and be interviewed by a cadre of\nadministrators, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I was accepted to be a teacher in the vocal area. And that\nwas a wonderful experience. \n\nQUINONES: How was the selection process? Was it just the interview? Were they\nbuilding up their music program, and that's why they needed-- \n\nEUBANKS: Well, actually I was taking the place of a very fine young man who was\ngoing back to Broadway to write and compose. His career took off in that\ndirection. Actually he was a performer and arranger, and they needed someone. So\nI don't know how many people they had interviewed, but anyway-- \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You got it. \n\nEUBANKS: It became my opportunity and I accepted it, and it was quite wonderful. \n\nQUINONES: What was the music program like when you first encountered it? \n\nEUBANKS: Well, there weren't many teachers. I was the only teacher in the vocal\narea. The vocal area consisted of, of course, private voice lessons, the choir,\npedagogy, sight singing, ear training, choral conducting. I had a very, very\nfull load, something like sixteen private students and all these classes, and it\nwas a little traumatic for me--my first college teaching job. \n\nI had taught in the Oakland public schools, high school and junior high. But my\nfirst college job had seemed that I was overloaded a bit. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I managed to\nhandle it, I guess. Stayed there twenty-six years. And was able to keep up my\nvoice work on the side. \n\nQUINONES: What hopes and expectations did you have teaching at Morgan? \n\nEUBANKS: Well, you know, as a voice teacher you hope to be able to lead a\nstudent into the professional world. And I can say out of the years I was there,\nmaybe three went into voice work professionally, singing in New York and doing\nbig things. One is yet busy there with a play off of Broadway right now. \n\nBut the main thing is to be able to share the beauty of music through its\nhistory, cultural aspects. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It becomes a way of life, and it's a beautiful life\nbecause you're exposed to many cultures. And I found as an African American that\nit was very rewarding to be in the area of music, very rewarding, and I wanted\nto pass that on to students. Acquaint them with the great masters from Bach on\nto the present. \n\nAnd also let them experience the beauty of our own music, our spirituals, folk\nmusic around the world, music that's written by, that's composed or created by\npeople that aren't necessarily musicians. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we had quite a wonderful experience\nin that way. \n\nThen I was able to, my interest being in theater, I was able to set up a\nworkshop in opera and music theater. Actually it was through one of the city\norganizations called Job Corps wherein I would be able to audition boys and\ngirls who worked after school or who spent time after school in various\nlocations doing work for the city, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but they're getting paid, but also I'd be\npaid if I could take them into a creative experience. \n\nThat was very wonderful through the summers in particular. It was Job Corps and\nthen was under another organization throughout the year. Where what I did was to\norganize and set up a schedule where I would go to these various sites where the\nboys and girls would be working or playing. \n\nQUINONES: Around Baltimore? \n\nEUBANKS: In Baltimore City. And tell them about the musical experience they\ncould have on our campus, Morgan University. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that we were going to be doing\na musical called--well, can't think of any of it at the moment. And have them\nsing, act and dance for me and for my choreographer and persons that were\nassisting me. \n\nAnd we found many very wonderful, very talented boys and girls. And we brought\nthem up to the campus, and created a double cast and taught them the\nfundamentals of acting, the fundamentals of singing. And put this together in\nterms of the show, The Me Nobody Knows, which I had gotten out of New York,\nwhich was an off-Broadway production, and the producer allowed me to have this\nas a training piece for the work we wanted to do at Morgan. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it was very\nsuccessful. It was at the boys and girls level because the poetry had been\nwritten by boys and girls in New York City in the Stuyvesant area, and the\npriest had gathered these poems. And they were set to music. I forget the\ncomposer's name. \n\nBut I heard it in New York, and I said this is what I want, and I was able to do\nthat. And we were very successful. We performed not only at Morgan, but at CCB,\nat different schools, and I find it very interesting to note that one or two of\nthe boys have succeeded in going on into music as a career. \n\nQUINONES: That's wonderful. \n\nEUBANKS: Yeah. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One young man composes and directs. And so that was on one level. \n\nQUINONES: But these kids weren't college students. \n\nEUBANKS: These were not college students. Then I was permitted to open up the\nprogram to Morgan students, where we had college credit for music theater, both\non the undergrad and grad level. And grad students teaching from the public\nschools would come to Morgan where do their grad work. If they chose to be in\nthe music theater, if they had, for example, only played the piano with the\nchoir, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"they were given an opportunity to become musical directors, or they could\nmove into another area such as lighting, be a tech person. \n\nQUINONES: Yes you taught them the technical aspects as well. \n\nEUBANKS: Yes. Very fine people working with me from Essex, and also a gentleman\nfrom D.C. And they could also learn stage directing. They could direct a show.\nOne year, the next semester move into another area. And it proved to be very\nsuccessful and beneficial to many students. Some students got back, these are\ngrad students, got back into their schools and put on musicals themselves and\nbecame the lead in it, and directed and produced the whole thing. \n\nSo that was the whole idea was to teach them the structure of the musical. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"More\nthan just singing, acting, dancing, it's all the technical aspects of it. How to\nbring an audience in. It was wonderful. It required my working around the clock actually. \n\nTeaching my students, my regular students, my Morgan students from ten until\nfive in the day, and then in the evening until ten o'clock with the musical\ntheater, both undergraduates and grads. \n\nIt was a wonderful period for about seven years. \n\nQUINONES: What did you teach them about, let's say, charming an audience over. \n\nEUBANKS: Well, how to bring an audience in. It requires a good PR [public\nrelations]. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we would develop a PR person to handle that. What are we going\nto say about us? What groups do we expect will come? Are we going to send things\njust to senior citizens homes that have more time, or how about to the public\nschools? And how are we going to do that. And can we use the media, can we use\ntelevision? Radio primarily at that time. And how about letters, word of mouth,\nall this? \n\nSo we would set up a schedule of how we were to meet deadlines on the PR. And\noften succeed. \n\nQUINONES: And what were the answers to some of those questions? Were you able to\nuse the media? Were you able to use-- \n\nEUBANKS: Yes. We were able to use the media. Certainly the radio, and the local\nstations here, and being interviewed. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Or just an announcement, how to design the\nannouncement. It's important to teaching them. So we had certain people who were\ninterested in the administration alone. \n\nIn other words, they were not interested in acting, they were not interested in\nbeing before the lights. They were just interested in how to put things\ntogether. So we covered a broad spectrum. It was very enjoyable for me. \n\nWe worked hard. They were long hours. And we were able to get money, also. \n\nWe were able to get money from the city, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and our very first production was an\nexperimental piece called I'll Be Home for Christmas. It was during that period\nwhen we had the long titles from Broadway musicals. I'll Be Home for Christmas\nor Half the Fun is Getting There, and that was underwritten by Victor Frankel\nfrom his Baltimore construction company, I forget the name of it. He gave us an\ninitial amount of money, which was $500, to pay for the printing of the program,\nto pay the staff that was coming from Essex. \n\nQUINONES: And what staff was coming from Essex? \n\nEUBANKS: Well, the tech man was from Essex. He was excellent. He was a\ncarpenter, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and Essex was different than our situation here because they had been\nputting on productions for years. So they had hired technical people that did\njust that, and he knew how to design a set. He became the person that would be\nin charge of the technical area, the lighting and all. \n\nAnd we learned a lot. One of the things in hiring these people was that they\nwere to teach our people how to do these things. What lighting was about. I\nlearned an awful lot. I had, in my earlier life, been in technical work myself.\nBut I learned a lot about lighting. It's more than just knowing the different\ntypes of lights but what they will do. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's quite wonderful to work with him on that. \n\nSo that in subsequent productions I taught the lighting or one of my students\nwould teach the lighting, and receive the credit for that and light the show. So\nwe become an indigenous company. \n\nQUINONES: And where did you put on the productions? Were they housed at Morgan? \n\nEUBANKS: We always put on some productions, like a weekend production, at\nMorgan. And then we'd take it out into the community as well, wherever the\ndemand opened up. And something like CCB. I had connections with CCB having\ntaught there part time. A school to be one of the agencies that provided us with\nsome funds. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Norman Ross was in charge, but I can't think of the name of the\norganization. But certainly at his center and other centers around the city. \n\nSo we were, and these are centers, also, where in the younger children from the\npublic schools were housed in their activities after school. And received an\nopportunity to be in our organization. So, we were happy to come back to them\nand give them a show. \n\nQUINONES: So these were high school students, middle school, and anyone really\nwho wanted to watch? \n\nEUBANKS: That's right. Anyone who--that's right. \n\nQUINONES: That's great. So this was, we had spoken earlier, this was a music\noutreach program, right? \n\nEUBANKS: That's right. \n\nQUINONES: That's how you characterized it. \n\nEUBANKS: Yes. And Morgan encouraged that outreach. They liked that idea. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And\ndidn't underwrite it, but they allowed me the space. And then in writing a\ngrant, you had to show that Morgan space was worth a certain amount of money. So\nthat became part of the grant, also, the amount of, you know, fifteen hundred\ndollars or whatever for the space. So they didn't give me extra cash, but they\ngave me space. \n\nQUINONES: What did outreach mean for you? What did that word mean for you? \n\nEUBANKS: Well, let's see. I guess from a philosophical point of view, it's\nreaching out, sharing what you have with others. But the actual mechanics of it\nare not the same. It's road work. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's going to the centers, and trying to\ninterest the directors of the centers, and then auditioning the boys and girls,\ngetting them involved. \n\nAnd the wonderful thing about it, sometimes you would see in the faces of the\nboys and girls a wonderful interest in what we were doing. They wanted to be a\npart of this. Sometimes the talent wasn't there. Others the talent was there,\nthe talent was extraordinary in some cases. And your were just delighted to\nrealize that you may have an effect on their life. So that's what outreach is also. \n\nThat you could touch a child and bring them into a new experience. \n\nQUINONES: So as you put on plays, you even recruited simultaneously for future productions? \n\nEUBANKS: Yes. \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, how about the students at Morgan? What was your impression of\nthem when you first saw them and encountered them? Because you weren't that much\nolder than they were. Because you were teaching in your twenties? \n\nEUBANKS: Yeah. \n\nQUINONES: Right. So that's not-- \n\nEUBANKS: That's true. They were wonderful kids. I just enjoyed knowing them and\nhaving the contact with them. However, I felt that they didn't have the time to\ngive to the music theater as the grads did and the junior high and high school\nboys and girls. It was hard for them to come back in the evening and work with\nus. Because they had to work to get to school, work to come to college. So their\njobs were in the evening. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so I didn't have as many Morgan undergrads in the music theater program nor\nthe opera program which was an extension of that. They were enthusiastic. I\nwould try to teach them their material during the day and their voice work, but\nthe actual stage work, getting out in the evening, became a bit of a problem. We\ncouldn't always use the person we were interested in and had the potential to\nsucceed in this area, only because of scheduling. \n\nQUINONES: Were there any hopes of their getting scholarships for their work in music? \n\nEUBANKS: Well, there was no scholarship offered to undergrads that I knew of. \n\nQUINONES: Oh, and period. \n\nEUBANKS: No. I didn't know of anything like that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it usually comes to the\nvaledictorian, you know, the person who is excelling with an A average or\nsomething like that. If you're aspiring to get there, I don't think there are\nscholarships that are offered. \n\nQUINONES: Well, could you give me a quick rundown of what the music program was\nset up? Because you said it went through some stages, it changed. So what was it\ninitially when you found it? It was a vocal department? \n\nEUBANKS: Vocal department, instrumental department. And the department consisted\nof private lessons. Some teachers from Peabody and around the other music\nschools were teaching the private applied instrumental lessons, and we had a\nband. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the band was a marching band, and they played for the games. \n\nAnd the vocal department was the choir, singing for various occasions for the\ninstitution and in the community some for various like Christmas and major\nevents. And the voice department, my area, it was private lessons, private voice\nlessons. There was only one teacher at the time teaching all that. And as I said\ninitially, it was kind of traumatic that whole initial experience of coming to Morgan. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We did enlarge the department. I think a second vocal teacher came in, and I\ncan't remember the particular--but then there was a period, I think about after\nI was there about four or five years, there was discussion about the university\nstatus. Morgan College becoming a university. And then they began to look at the\ncurriculum in terms of what courses could be offered in each area throughout the\ncampus that would be needed for university status. \n\nQUINONES: Well, what would that entail, the transfer from college to university? \n\nEUBANKS: Oh goodness. I can't remember all the--there were a lot of meetings [laughter]. \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408/transcript/38419/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But what did it mean becoming a university as opposed to a college?\nWhy did they see that as necessary or why was it better? \n\n[END PART 1] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117408#t=1800.0,1860.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409","type":"Canvas","label":{"en":["Media File 2 of 3 - pims0091_EubanksJ-1_02.mp3"]},"duration":1811.04327,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/409/small/eubanks.jpg?1649884865","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/409/original/pims0091_EubanksJ-1_02.mp3?1624270826","type":"Audio","format":"audio/mpeg","duration":1811.04327,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420","type":"AnnotationPage","label":{"en":["EubanksJ_102_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"QUINONES: And how were you going to? \n\nEUBANKS: I had a friend in this area. Towson was a college and it became a\nuniversity. University status brings on notable faculty. There's a prestige of\ngoing to a university as opposed to a college. I can't remember all the details. \n\nQUINONES: And what did that mean for the music department? \n\nEUBANKS: Well, it meant that we could offer courses other than just in a\nbachelor's in music. For teaching, actually it was a bachelor of music education\nit's called. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We did offer a BA in fine arts. And that's when music theater and\nopera became more significant on the college level. And I was able to move from\njust the community children working with me to the degree students. \n\nAnd there was also a number given to courses on our campus that were\nexperimental. I'll find another word. In other words, like 500 courses. Any 500\ncourse might reflect the fact that it was promoted by a student. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What do you\ncall that? \n\nQUINONES: Theme courses I think. \n\nEUBANKS: Yeah. something like that. So anyway, we were given a number on the\ngrad level. Because also we were becoming the institution, entertaining grad\nstudents not just college. Almost simultaneously with all this university\nstatus. That's right. \n\nAnd so I had students coming over into my department to take music theater who\nwere let's say English majors, sociology majors, and who were taking this as an\nelective, for what it could mean to them in terms of working with young people.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So that's basically it. I can't remember all of the ramifications. I'm sorry. \n\nQUINONES: Were you happy to expose kids that otherwise wouldn't be able to take classes. \n\nEUBANKS: Yeah. Yeah.. In fact, I found some letters last night of grad students\nwho were evaluating my course. [Laughter] And they were quite complimentary. I\nwas quite pleased. So with the grads, we always, I don't know how many times a\nweek we met, but there was always a period once a week where the grads and I\nwould sit down and talk. We'd just talk. \n\nThey'd ask questions related to not only the current, what we were doing, but\nconcerning music theater as a medium itself in our society. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My experience on\nBroadway, I could bring them something maybe that was always a question in their\nmind. And not only how do I get there, but how does it really operate? What goes\non? And that was very rewarding to be able to share that kind of experience as a\nprofessional coming into the institution. And another one that can be\nappreciated. You just don't talk about those things unless you're asked. [Laughter] \n\nQUINONES: What was the background of Baltimore life while you were doing all\nthis for Morgan? \n\nEUBANKS: Oh yeah. Well, I remember going into a city up at Northwood Shopping\nCenter. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The race question was quite prevalent, you know. And we couldn't go to\nthe theaters up here. I couldn't go to a greasy spoon. I'm trying to think of\nthat, the White Coffee Pot I think it was called. They wouldn't serve me. \n\nAnd that was kind of a shock to me because I'm from California, and I didn't\nexperience anything like that. There was prejudice in California. You know,\nCalifornia as a state is open, and you have a lot of southerners there. Texans\ncoming in and settling in certain areas and so forth. You do have experiences if\nyou live in an area where there are a lot of people from the south. It would be\ndifferent than living in Oakland, California, San Francisco where I lived. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Traveling in the army, it was the Black army, for me, it was a segregated army I\nshould say. And corning out of the army and going to San Francisco State. San\nFrancisco State was so open and wonderful. I have friends that I correspond with\nto this day, and when they're coming this way, they come here. You know, race\nhasn't been a problem in that area of my life because I grew up in an\ninterracial area. \n\nSo Morgan was somewhat of a new experience in terms of the prejudice that I\nfound around. And then there's an outlook by people who have suffered prejudice\nthat is something that I had to really work with and understand too. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, the\ncity finally opened up as you probably know. \n\nQUINONES: Was there ever a case where you would perform at a certain venue and\ncouldn't attend as an audience member another night? \n\nEUBANKS: No. That was just before I arrived. [Laughter] There was a lot of\ndiscussion about the Lyric Theatre where we did Showboat. That Blacks had to sit\nin the crow's nest. \n\nQUINONES: Oh, the Ford's. \n\nEUBANKS: Huh? \n\nQUINONES: Was it Ford's? \n\nEUBANKS: Ford's. Ford's. Excuse me. Ford's. Excuse me. Thank you. Had to sit up\nin the crow's nest. And Black artists coming here you see a great deal of-- \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's very interesting too because in the jazz scene here so many of the great,\ngreat jazz players lived in Baltimore, came to Baltimore, but it was always\nunder the aegis of Black/White, separated, separating the audience. But I never\nexperienced that in my performances when I got here in the '60s. \n\nQUINONES: No? Well, that's good. But Showboat. Tell me a little bit about that. \n\nEUBANKS: Okay. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, I had done Showboat in summer stock. I was acquainted with\nthe work in Lambertville, New Jersey. And when Morris Queen--or when the\nBaltimore Actors' Theatre was casting, they found my name, called me, would I do\nthe part of Joe? The Baltimore Actors' Theatre, under Helen Grigal. And they\ncalled in Morris Queen and provided the Black chorus. \n\nThis is a Rodgers and Hammerstein piece, and it was written way back when you\ncould talk through a musical to about the social conditions, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and that was\nHammerstein's heart, you know, as a writer, as a librettist. \"You Had to Be\nCarefully Taught,\" that comes from South Pacific, you know. You had to be\ncarefully taught about prejudice. And Showboat, in a sense, was dealing with\nthat Black/White relationship.  \n\nSo we had a marvelous production of it. You received a lot of good PR, packed\nhouse every night, and William Bendix was brought in as Captain Andy, the movie\nstar. They didn't like his work too well. He had a little problem which we won't mention. \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, you're killing me here. [Laughter] \n\nEUBANKS: Well, he liked the bottle. And so he wouldn't always remember his\nlines. Let's just put it that way. That's a known fact. \n\nBut the production on the whole was good. We had a good, fine cast. A lot of\ngood local people supporting the Baltimore Actors' Theatre. And I was Joe. And\ngot good reviews by Mr. Garner of the Sun paper and also the critic of the\nNews-American. And it moved a lot of people forward I think and moved theater\nforward too. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Very nice. [Bell rings] [Interruption] \n\nQUINONES: So we're talking about Showboat. Did you have one big number? \n\nEUBANKS: Oh yes. \"Ol' Man River,\" you know. In fact, this is very interesting.\nMy first competition in high school I sang \"Ol' Man River\" and won. [Laughter]\nAs a senior in high school at Roosevelt High School, in Oakland, California, I\nwon and was able to be in the city-wide competition. I took a second in that. [Laughter] \n\nBut that's been one of my strong pieces I suppose. People always like me to sing\nit. And so as the critics speak I always seem to steal the show with it. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I use\nit today as an encore when I perform. \n\nQUINONES: You're going to be able to do a little bit. \n\nEUBANKS: Not now. [Laughter] \n\nQUINONES: But was it a solo? \n\nEUBANKS: Yes. Oh yes. Yes. It's a big solo. It's a big number with a chorus that\ncomes in at the end. It's a big featured number. When you ask anybody about\nShowboat, they're going to say \"Ol' Man River.\" That's what everybody--they\nthink of that song first. They'll mention a few others, but they'll say \"Ol' Man\nRiver,\" you know. \n\nQUINONES: So you had the chorus behind you? \n\nEUBANKS: Oh yeah. \n\nQUINONES: You were right in front. \n\nEUBANKS: Oh yes. Yes. They're stevedores in the story line, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and house servants\nand all like that. But I'm a stevedore, and I'm singing about the old man river\nitself. How it keeps moving along. Though we are caught by the things that\nhappen in our society, which is of course, a limited experience as a Black\nperson. We're told to tote that barge and lift that bale, and if we do something\nwrong, we land right in jail. It all rhymes. [Laughter] \n\n\"And I get weary and sick of trying. I'm tired of living and scared of dying.\nBut old man river keeps rolling, rolling along.\" ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's very interesting. \n\nI've had people tell me you should identify more with the river and not think\nabout the oppression. Great. You sing it that way. I sing it this way. I sing it\nlike Paul Robeson sang it. It was written \"niggers all work on the Mississippi\"\noriginally, with what's-his-name in New York. Paul Robeson changed it to \"we all\nwork on the Mississippi,\" meaning all those Black folks. And I use it. There's\nan old man called the Mississippi. That's the old man I'd like to be. I'd like\nto be like the Mississippi and could take things as they roll. But life isn't\nthat way. \n\nQUINONES: No. Wonderful. \n\nEUBANKS: Yeah. So it's been one of my songs. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I love it because I'm able to bring\nsomething to it from experience in life, and people are always moved by it. They\nsay, I never heard something like that before. I never thought of it that way.\nThe comments. Which is nice. \n\nQUINONES: I wanted to just jump into this because I think it's such a wonderful\nfact. You sang the national anthem quite a couple of times. Can you tell me how\nthat went about and so forth? \n\nEUBANKS: It's really interesting bow one thing leads to another. It was actually\nthe Junior Chamber of Commerce that picked me up for that having heard me in\nShowboat at the Ford Theater. And they were looking for local people to sing the\nnational anthem at the various games and would I be available. Of course, I\nchose that opportunity. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so in '66, we won. I sang for the--what do you call it? Not the playoffs,\nbut the-- \n\nQUINONES: Series. \n\nEUBANKS: The series, yeah. The World Series in '66. Nice review on that. And\nalso in '69. There were three different occasions. And my voice went around the\nworld. I have letters here, that fans I had created and didn't realize it at the\ntime that I was singing. Atlanta, Georgia. New York. \n\nQUINONES: And how did they come to hear your voice? \n\nEUBANKS: Via radio. \n\nQUINONES: Oh. I see. \n\nEUBANKS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The broadcast. \n\nQUINONES: Right. Of course. \n\nEUBANKS: The broadcast. I don't think I've even read all of them. I picked up a\ncouple last night. This is just a note to tell you how much I enjoyed your\nsinging of our national anthem at the second game of the World Series. In a time\nwhen many guest artists are trying to improvise on the anthem with soul or disco\ninterpretations, your solid performance and fine voice were most impressive and\nappreciated. Thomas Evans, Princeton, New Jersey. \n\nAnd there were so many. They were very interesting. \n\nQUINONES: How would you characterize the way you sang it? What would you\ndescribe it as? \n\nEUBANKS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, I sing it the way it is written with a great deal of belief in\nour country, in what America is. And what happened right here. I see the bombs\nbursting in air. I see all of this when I'm singing. I live my work. I live my\nwork. And I think that's what comes through. \n\nI don't know that the reading of these are significant. Here's Florida. What\ndoes this person say? \"I want to thank you for giving me 'The Star-Spangled\nBanner' as I never knew I needed to hear it. You don't need to reply.\" \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"I heard and saw your singing--\" This is in 1979. \"--the national anthem on\ntelevision last night. Never before have I heard it sung more beautifully and\nmeaningfully, and that the expression on your face was marvelous. [Laughter] I\nfelt I had to write and tell you my feelings. Hope there will be other\nopportunities publicized in the paper, etc., ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"where the public will have a chance\nto hear your magnificent voice. I hope to hear you again soon.\" And this is from\na Mrs. Sherman in Baltimore. \n\nQUINONES: And so how did singing the anthem affect other aspects of your career? \n\nEUBANKS: Well, I was asked to sing for various organizations here in Baltimore. \n\nQUINONES: Do you remember that? \n\nEUBANKS: Yes. The NAACP, for this organization, for that organization, for this\ntea, for that tea, for churches, and all like that. And one of my musical\ninterests, has been to sing oratorial. In fact, in California, I sang for a\nnumber of churches in their productions of the Messiah and Elijah. And so I was\nable to pick up on that here too. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Church people would ask me to sing. \n\nHere's a Carol Parr. \"Last night I heard from someone telling me to view the\nbeginning of the World Series, and I heard your singing of our national anthem.\nYour voice is beautiful, deep and rich and strong, and your interpretation of\n'The Star-Spangled Banner' was lovely to hear. Thank you for the few moments of beauty.\" \n\nSo, when they say interpretation and they speak of something they got from it,\nit's really quite a stack. It says something about--as I opened this last\nnight--I forgot I had this one. Maybe I have in my tenure as a singer made a\ncontribution. If you're reaching people. This is saying you've reached me, and\nthat's I think what all of us want to do. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We're not in the pulpit with a prepared sermon, but we through our material,\nthrough the poetry, and through applying life experience to that we come up with\nsomething. And sometimes just inspiration of the moment. It makes it more real\nto you as a singer and enables you to transfer it. \n\nAnd for that I enjoy, I find joy in it. As I think about it I think, well, it's\nnot so bad after all. [Laughter] \n\nBecause you go through some hurdles in the music field. \n\nQUINONES: How do you and other people like you in Baltimore think you have\ncontributed to Baltimore life throughout all these years? To Morgan Park, to\nthis area. \n\nEUBANKS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, I had never thought about it until you asked the question.\nYou said that the other day, something similar to that. I thought, oh, I don't\nknow. You like to feel that your life has been worthwhile. Everybody wants to\nfeel like their life has been worthwhile. And maybe through my music I have\nreached people. \n\nMaybe I've been able to. See I'm a classical singer, and when I go out now to\nsing, and when I train my students, I have some ten students that I teach here\nin my studio in the course of a week, we do classical music. And so maybe we're\nmaking a contribution ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that is significant in the sense that we haven't hopped on\nthe wagon, and we're not doing--I would have to be, I'd have a lot of\nstudents--if I were doing the, you know, R\u0026B, and I have a couple of people who\ncalled and wanted to know if I was going to teach some rap. \n\nI said, I'll help you with your voice. I teach a lawyer, and he is, he's always\nloved Broadway, but I've helped him to be able to gain the confidence in\nspeaking before the bar. \n\nQUINONES: Wow \n\nEUBANKS: Because I believe he now speaks through having knowledge of how the\nvoice operates gave him his sound and the tone. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But as far as a contribution to Baltimore, Morgan Park, Morgan University, staff\ncomes and goes. Each brings something. Mr. Carter brought something to the\ncollege that I was not able to bring in terms of the choir, excellent choir man.\nI couldn't have given myself solely to the choir because I'm a performer. I\ncouldn't have done that. \n\nQUINONES: No, but I think by performing you've brought in something that you\nwouldn't have otherwise had. \n\nEUBANKS: That's probably true. Probably true. But he's done a marvelous job with\nthe choir, and he has a world-renowned name now. The choir has travelled all\nover the world, the Orient and Europe. It's quite acclaimed, which I couldn't\nhave done. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But on my small stage God gives us an opportunity to express\nourselves through various means and through our medium, whatever he's given us\nas a talent. And the stage may not be as large, but as long as you're reaching\npeople, doing something positive, that's all that counts. \n\nI can never know. I probably never will know. Every now and then I meet a\nstudent, and they say \"Oh, Mr. Eubanks.\" Of course, I don't recognize them. I\nwas in your choir way back then and, you know, I just remember that time. And I\nwas a voice student, another person. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I use that material yet. I didn't carry\nout a career in it, but I'm called upon in my church to sing, and I feel, you\nknow, that I was helped. \n\nSo, you never really know. \n\nQUINONES: But so you've made Baltimore your home. \n\nEUBANKS: Yes. \n\nQUINONES: So you like it here. \n\nEUBANKS: Oh yes. I have my two beautiful daughters. And my oldest daughter is\nnow a choreographer and she's in New York. And she's working on her master's at\nColumbia University. This is Karen. And she does commercials and sings, and we\nwere in Porgy and Bess together in New York. She's a dancer. \n\nThis is Leanora, my youngest daughter, she's twenty. And she is at Eastern\nCollege. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they've both had musical training, but they have not pursued the\ncareer. But they're into other things. \n\nLeanora, my youngest daughter, has taken violin, piano. I made sure she went to\nPeabody and got the basics in all of this. I heard she's interested in people,\nsociology. And I think it's going to be in environmental sociology, dealing with\nthe pollutants, what's polluting our nation, our world and all of that. \n\nQUINONES: Is Morgan Park a good area to grow up in? \n\nEUBANKS: Well, when she came along there were a lot of children in this area.\nThere are very few children in this area now. And I built her this playhouse out\nhere. And the kids used to come on the weekends. It was a nice area growing up. \n\nQUINONES: Growing up. \n\nEUBANKS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409/transcript/38420/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh yes. Very quiet. \n\nQUINONES: But a lot of prominent people from Baltimore have lived in Morgan\nPark. I mean, that's the sense I'm getting. \n\n[END PART 2] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117409#t=1800.0,1860.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410","type":"Canvas","label":{"en":["Media File 3 of 3 - pims0091_EubanksJ-2_01.mp3"]},"duration":1130.03102,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/410/small/eubanks.jpg?1649884876","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/410/original/pims0091_EubanksJ-2_01.mp3?1624270827","type":"Audio","format":"audio/mpeg","duration":1130.03102,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421","type":"AnnotationPage","label":{"en":["EubanksJ_201_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"EUBANKS: When I first came to Baltimore, I did not live in Morgan Park. I lived\nin Randallstown, and then I lived on Cold Spring Lane. I guess it was Cold\nSpring Lane, then Randallstown and then, looking for a place closer to the\ncollege, I found this house through HUD [Housing and Urban Development] and\ndecided to make it my home. And it's been great. I enjoyed--it's given me an\nopportunity to--I met some wonderful people around here. First of all there are\nall these lovely people. Some of them are senior citizens plus. And we're\nfriends. It's just a nice community. \n\nQUINONES: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, the community has been continuous since you first came upon it. \n\nEUBANKS: Oh, yes. \n\nQUINONES: It's been pretty constant in that sense. \n\nEUBANKS: That's right. \n\nQUINONES: It's been a strong community. \n\nEUBANKS: And it was first designated, I think it was eighty-five houses were\ndesignated, eighty-five plots of land were designated for Morgan faculty because\nthis was considered a, quote, White area. In fact, the student body had some\nproblems in the neighborhood here because of race. \n\nQUINONES: What do you mean, problems? \n\nEUBANKS: In the earlier years, I understand that there was, actually, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a wall\nthat's along Ellen Road in front of the college there was put up as sort of a\nseparation from Morgan. And then it's gradually broken. Because remember, Morgan\nwas first a--what do you call it--associated with a church in West Baltimore. I\ndon't know. And then the steps that were taken to get the land. It was a\nland-grant college. I think that was the term they used. \n\nSo now it's a university and known the world over. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And to be in Morgan Park is\nvery nice because I have friends from the college that from when I taught there.\nI taught there for twenty-six years. I've been away from there since '85, I\nthink. Yeah, '85 or '86. \n\nQUINONES: So, what are your plans now? Because you still continue performing. \n\nEUBANKS: I do perform. And one of the things that I do-- \n\nThis is Showboat at Fells Point Dinner Theater-- \n\nQUINONES: How long ago? \n\nEUBANKS: --my last year there at Morgan in '86. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And also that year, what else\ndid I do that was significant? This is my annual report. Oh, yeah, I did so many\nperformances. Well, these I guess are reviews about Showboat mainly. \n\nQUINONES: Same role? \n\nEUBANKS: Yeah, same role. Joe. Yeah. Yeah, this is all. \n\nQUINONES: I actually have that article. I said I found it in my research. \n\nEUBANKS: Oh you did? \n\nQUINONES: Yeah. \n\nEUBANKS: So when I left Morgan, I had been teaching privately on the side. And I\ndecided that I would continue my teaching and performing, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I have a studio\nhere now. I don't perform as much. But when the opportunities do arise, I bring\na quartet together and we go out and perform. \n\nAnd the program will consist of--we do four groups. The program will consist of\nsacred material: Handel, Bach, Gluck, and Cameron, stuff like that, and then we\nmove into operatic material, duets and so forth. And then we do a group of\nBroadway, and then we do spirituals at the end. \n\nWe just performed this one on April 14th out in Aberdeen, Maryland, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at the Union\nMethodist Church. And this is our mission statement, I guess. It says, \"Joseph\nEubanks has maintained a private studio for the last twenty-one years. He is\ncommitted to the preservation of excellence in the performing arts, especially\nin the African American community. During the past four years, Mr. Eubanks and\nensemble has been performing for many churches and organizations throughout the\nBaltimore and surrounding area, offering a variety of musical programs, which\ninclude classical, contemporary art songs, operatic arias, oratorio and Broadway\nand spirituals. The purpose of today's program is to feature the rich diversity\nof human experiences in musical traditions in song, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"provide an opportunity for\nthe singers to develop and showcase their talents, and glorify God in sharing\nlove and appreciation for music.\" \n\nQUINONES: That's beautiful, I think. [Interruption] \n\nQUINONES: So you were talking about your standing with the Baltimore Symphony. \n\nEUBANKS: Yes. You know, after Porgy and Bess it seemed like a number of\ndifferent opportunities came about. I was called by Peter Herman Adler, the\nconductor of the Baltimore Symphony, to prepare the Messiah, and we combined\nwith I think it was Towson University and the University of Maryland, providing\nabout 200-voice choir to perform with the symphony. And then other occasions we\nprovided the chorus for the symphony in Beethoven's Fidelio, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I had a small\npart, a couple of my singers had a small part. \n\nWe also did a Gershwin program on several occasions with [Elyakum] Shapirra, the\nconductor Shapirra. And James Nathan Jones was the tenor, one of my students at\nMorgan University, a grad student, performed on the program with me, and the\nchorus, the Eubanks Chorale, it was called. And that made a little problem with\nMorgan. I should have just said the Morgan State Choir. But actually, these were\ncommunity people, but we combined it with Morgan. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But Jeannette Walters was a soprano. A wonderful singer in this area, a graduate\nof Peabody, she was the soprano. I did the bass and James did the tenor. And\nthat was quite a nice event. \n\nWe also did a night with Shapirra singing just Broadway, not Gershwin, not\nlimited to Gershwin. We did quite a number of things. Hammerstein, oh, it was a\nHammerstein program, which included \"Nothing Like a Dame,\" and had some good\nbass section. We handled that section very well, wherein you remember the basses\nhas that unique little part they were singing as a solo. \n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And Baltimore Symphony provided us with quite a--they gave Morgan a showcase in\nthat period. \n\nQUINONES: They could show what kind of talent they were producing. \n\nEUBANKS: Talent we had and what our music department could do. I was choir\ndirector at that time. And it was wonderful to have the symphony conductor come\ninto our rehearsal and polish off the choral material. That was always a thrill.\nAnd say what traditions he wanted and was using. And, for example, Handel's\nMessiah was written really for eighteen voices sung in England you-know-when.\nAnd today we think of the Messiah with a large ensemble, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and so his first-chair\nfiddle player came from England to assist in putting this work together to be\ndone as it was done in its original form even though we were using a larger choir. \n\nAnd so we learned a lot. We learned a lot. Musically, historically, and so\nforth. And my students were able to learn from the persons who were experts. \n\nQUINONES: Now this relationship spanned how many years of your tenure at Morgan State? \n\nEUBANKS: I would say about ten years of my tenure. I taught there for twenty-six\nyears. And I would say there was a wonderful, golden era there where we did so\nmany wonderful things, and just things were opening up. Opportunities were\nopening up one after the other. \n\nLike that Beethoven--that was wonderful. We got a good credit on that too.\nMorgan was pleased on that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"President [Martin] Jenkins was very pleased. And you\nknow, it was a time when Morgan faculty would come to all these concerts. So\nthat it was a very wonderful community experience. \n\nBecause you realize that too segregation had--I always had a feeling that some\nof the things that we were doing at that time were new to some of the Black\ncommunity. That they just hadn't been involved in these kinds of creative\nproductions with a symphony. And they being part of the audience and their\nstudents were on stage. \n\nSo it was all this mingling. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, you'd hear, \"Oh, I was there Mr. Eubanks,\nI was there.\" This is the faculty talking saying that they took part in this.\nThat they were so proud. \n\nQUINONES: Because it was right after integration became-- \n\nEUBANKS: That's right. \n\nQUINONES: So all these new opportunities. \n\nEUBANKS: Yeah. Yeah. So as I reflect back, it's been a wonderful period. I'm\nkind of tired now. I don't have the energy to do a full concert, but I will sing\non these programs. You'l1 see my name beside some of those compositions. But I'm\nworking with two or three of my students having have as a goal to become--I\ndon't want to use the word concert singers necessarily. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of the ladies, for\nexample, wants to be known as a concert artist in sacred music. \n\nWhether that means oratorial, and she's getting good jobs at this kind of thing\nright now right now. She's called on the stage around. I'm very proud of her.\nThat's Jacqueline Anderson. Her husband is a minister at Colonial Baptist Church\nout in Randallstown. And I have others that do sing with the Annapolis Opera. Of\ncourse, then you prepare music, we prepare their voices. And I give them as much\ngeneral knowledge and technique as they can absorb to meet the task. \n\nIt's not easy today to be a concert singer, to be in the classical scene. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We\ngave a program at a rather sophisticated church where the audience is affluent\nand has money to go to concerts and this type of thing. And they would let you\nknow that they heard Pavarotti, they heard all these--and so we gave them a\nconcert with a very beautiful variety of material, but it was very interesting\nhow in talking with them afterwards a lot of the material they were not\nacquainted with at all. And we thought we were picking-- \n\nQUINONES: Picking the ones they'd know. \n\nEUBANKS: They would know, and would appreciate. They loved what we did. But when\nthey articulate and come back to you, you realize they're not that. I think it's\nthe times. They're just not involved in, music is not as significant in their\nlives as it once was. \n\nMaybe when they were younger or when their parents took them to attend major\nevents. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it's something that the Baltimore audience isn't attuned to the\nclassic scene as it once was. \n\nI think even though we have a wonderful opera company, we have a symphony,\nwonderful conductors, our new man, there's still kind of people coming from out\nof the county into the city. Yes, I attended a concert. They can't articulate.\nThey once could. \n\nQUINONES: But they could at one time. It was something that was very real. \n\nEUBANKS: Very real very much a part of their life. \n\nQUINONES: Do you think it's because of the decline of Pennsylvania Avenue and\nthat kind of thing or do you think it's just separate thinking? \n\nEUBANKS: Well, I'm talking about [cross-talk] the White audience as well. I\nmean, when I do a symphony it's a White audience primarily. And I mingle with\nall people. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I don't mingle just with Blacks. And so when I'm speaking, I'm\nspeaking of just the nature of things in our society as a whole. \n\nI don't think that music has the same significance as it had twenty years ago. \n\nAttending a concert meant more to people than. Hearing an outstanding soprano\nfrom the Met was more significant. I don't think it means as much today. \n\nAnd the bombardment of Muzak and what we see on TV, and their children pulling\ninto this thing that's happening now. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410/transcript/38421/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It keeps them, I think, from--They're not\nable to share that with each other. \n\nI can do it in my own life. I can only share to a certain degree to my own\ndaughters the kind of experience I had in the classical world. Times have\nchanged. Times have changed. It's Black and White. I don't think it's one or the other. \n\nPennsylvania Avenue was primarily jazz. \n\nQUINONES: But on all levels of music. \n\nEUBANKS: I think on all levels. \n\nQUINONES: I think that should do it. \n\n[END OF SESSION] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44127/file/117410#t=1080.0,1140.0"}]}]}]}