{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/8k74t6fp3p/manifest","type":"Manifest","label":{"en":["Dorothy Lofton Jones oral history, 2002 May 16"]},"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":[" Oral history interview of Dorothy Lofton Jones, soprano and founder of the Municipal Opera Company of Baltimore, by Marsha Peart. (Abstract)"," Low audio levels on source media. (Physical Description)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-05-16 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Jones, Dorothy Lofton, 1936-2018 (Interviewee)"," Peart, Marsha (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. 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I'm in a class where we study oral histories and the project that we're currently doing is one where we collect different oral histories from people who have been involved in the musical or music scene in Baltimore. You are one of those people, and today on the 16th of May 2002, I'm going to be interviewing you so you can share your story about music, not just here in Baltimore, but anywhere that has influenced you in your entire music career.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=21.07,62.62"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e All right. That's fine.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=63.49,64.51"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e To begin. Um, can you just tell me a little bit about where you grew up, your family?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=66.19,70.88"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, right. I was born in Greenville, North Carolina. And of course, my parents moved the family to Baltimore when I was about four years old. So I had my education here in Baltimore City, of course, grammar school, also junior and senior high. And when I was in senior high I was introduced to music through the choral group at the schools. In fact, in junior high school, we also had a music appreciation and a choir, and I was chosen to sing in the choir there.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=72.13,119.53"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e And prior to that, I come from a musical family, really. And so music was just something that we grew up with and something that we did and enjoyed. The entire family took a part in the musical arena in our home. So I just loved all aspects of music. My dad was a minister and of course, our musical training leaned mostly toward, I would say, Christian music. And that was fine. We enjoyed it all. My dad sang with a quartet.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=120.34,164.38"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e And thinking prior to that, my mom's dad, which would be my grandfather, had a quartet. And I remember him tuning with a pitchfork. I should say tuning fork. Pitchfork is a little different! Well, we use it to make the pitch and he would give a pitch and all the guys would sing together. And I just thought it was so fascinating. And my dad also had a quartet, but they didn't use a tuning fork. He played saxophone. And the guys would just hum a pitch and they sang wonderfully and they stayed together for a long time.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=165.13,211.9"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e And of course, there were five girls in my family and one boy and of course, mom taught us to sing in a trio and we had a soprano and an alto. And the older sister sang tenor and we made nice music coming along. We enjoyed it. And sometimes we'd be taken to church and we'd perform in church and it sort of caught on. People seemed to enjoy us, but my two sisters and I, sometimes my dad sang with us. Sometimes he played the saxophone along with us. So we just had a great time. And he would travel up and down the East Coast to the various churches that he attended, and they would have a program and call on the Lofton sisters. And there we went up to sing.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=212.68,277.57"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e But anyhow, in junior high school, I got to know a different side of music or a new aspect of music with a larger group. And in senior high school it continued and I was able to get a scholarship and it started off very innocently for me. My teacher just chose me to audition, and I did. And I did receive that scholarship. And I took the voice lessons at the Peabody Conservatory with Joseph Victor Laderoute. And from there it went on through my finishing of senior high school. And I started at the conservatory on a part time basis and was able to continue the singing. Singing is a big part of my life. And now that I'm well, well up in age, I still enjoy it. And I do.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=278.65,347.71"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e In 1991, I formed a small group called the Municipal Opera Company of Baltimore. And I did that mainly because there were a lot of talented Black people in the area who did not get a chance to sing a role in opera. And at that time my interest in music had increased, especially after I was on tour with Houston Grand Opera and came back to Baltimore and there was nothing to do, it was such a letdown. I wanted to continue to sing. So I did audition for Baltimore Opera and I got to sing with the chorus for a while. That was from 1984 until about 1990.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=349.63,407.71"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e And then I thought, well, gee, I just need to do something. I don't have that fulfillment. And it was about knowing people that had gone out on tour with us and we thought we better do something. And the nine of us got together and we started doing opera scenes and duets, trios, quartets, quintets. And then the group started to grow because other people heard and wanted to be involved. And so the group began to grow. And to this day we have--we just finished a production of Treemonisha and there was about 60 people totally involved in that production. And the group is still growing. And it's been fun, hard work. I don't think you can do anything that's going to be a value without putting some hard work in it. And I do say it's hard work in the realm of, going to the school, watching the carpenters put a set together, holding pieces of wood material, holding them while they take it down, helping to put things on the set as far as decorations, painting hanging curtains, costuming, you name it. We've done it. And it's been wonderful. It's been a great experience. And at this point, we're still moving on. We haven't set the season yet for 2003 coming up. But we're in the process, and in fact we have a board meeting this coming Saturday to start work on that.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=409.66,543.34"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e I just have a few questions, in terms of what you just said.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=545.53,548.71"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Certainly.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=550.55,550.55"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e You said that your father was a minister. Did he allow the family to listen to secular music?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=550.574,555.7"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes. Well-rounded. Yes. We listened to some jazz. And what else? Spirituals, all of it.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=557.41,567.61"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e The music that you and your sisters, the Lofton sisters, performed. Was it mostly hymns?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=568.33,574.3"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Mostly hymns, mostly hymns. I don't think we were good gospel singers, so we didn't try that. I always felt that you needed a big, strong voice in order to be able to belt out those good gospel sounds that people can make. And I can't do it. I enjoy gospel music also.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=575.83,598.24"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e And the scholarship that you received, is that offered only to Black students?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=600.22,605.17"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e No, no, but it just happened that the scholarship was offered to Douglass Senior High School, and that's where I was chosen to audition for that.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=606.26,622.75"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e And can you just talk a little bit about your experience at Peabody as a student.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=624.02,629.08"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, I remember going to this huge building, I thought, downtown, the Peabody Conservatory, scared to death because during that time it was in the '50s and the segregation was still quite evident. And I didn't get the greatest reception among my peers there. And that--excuse me, please--that also frightened me a lot. And I was comfortable when I got in the studio with Mr. Laderoute and it was still tough trying to get out of my shyness. I had a terrible experience of being shy. And I guess I kind of grew out of it as I kept singing and as I continued to take the voice lessons, I became more comfortable in what I was doing.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=630.34,695.05"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Were you allowed to perform, I guess, during concerts and so forth, that the school held, or were you only allowed to take lessons?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=695.86,703.45"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I was able to participate in the concerts at the school. They had a large concert every year. I'm trying to think of what they called it. I can't think of what it was called, but I did sing on that big concert every year. I got to sing with the Peabody Chorus also. That was quite an experience for me.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=704.53,735.24"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e In reading through an interview that was done previously, it says here that you had to go to New Jersey for a moment, for a few years to work.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=738.27,748.35"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=749.02,749.02"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e When you returned to Baltimore, what were the major differences that you noticed between life in New Jersey and life in Baltimore?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=750.69,759.842"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I didn't stay in New Jersey that long. I went there to find a job because it was very difficult to find a job here. So I stayed in Jersey maybe a year and a half, and I finally got employed by the New Jersey Bell Telephone Company, which was a fairly decent job back then. And I was able to transfer from the Jersey Bell to the C\u0026P telephone company here in Baltimore. And there I made a career out of it.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=761.74,792.46"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e While in Jersey, did you spend--or how much time, if at all, were you able to go to New York City? I guess, see what their art life was like.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=794.53,809.89"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e It wasn't too bad at all. I could just get a train and go over every weekend. And that was quite exciting to just walk around Lincoln Center to see what was going on. I did attend a few performances there and met some friends and it was great.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=810.82,827.08"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How would you contrast against the Black music environment in New York, as opposed to how it was in Baltimore? Would you say that they were very similar?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=828.04,837.75"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e New York was on a larger scale than Baltimore. People, I guess, had more opportunity in New York than in Baltimore. When I came back, it was a little better. And you had to, I guess, be in certain musical groups in order to get the performance opportunities. And I was able to get various church jobs and that helped out a lot. So I got to sing a lot of the sacred music, oratorios, and cantatas. And that was a wonderful experience.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=837.75,888.66"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e And can you just talk a little bit about your experience with the Houston Grand Opera?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=890.97,897.804"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Oh, that was the time of my life. I was just so sorry it came to an end, but all good things must come to an end. And the excitement was that every morning we were up at the crack of dawn racing over to Minskoff [phonetic] studios to have maybe a croissant for breakfast and a cup of coffee and up in the studio to start working rehearsals. We would start at about 10:00 in the morning and we had a lunch break about 2:00, and we go back to work until about 6:00. Then we had a dinner break and was back to work until 10:00. Then you race home and sleep fast and get up the next day and do it all over again. But the hustle and bustle and the fast pace in the city was quite exciting and it kind of stirred up the energy, and the energy was just great and it was wonderful. I enjoyed all the people that I worked with and on occasion have run into them since I left New York. And once we got the opera put together, then we did a test run. Yes, yes. We went to Chicago and from Chicago it was to Washington and from Washington it was it was to St. Louis. And then the trip went overseas. I did not go because I had only taken a six-month leave of absence. I was still working for the phone company and my leave was up. So I went back to work. I missed it, but it was necessary to go back to work.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=898.79,1016.63"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How would you say you developed a love for opera as opposed to other styles of music?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1020.755,1027.361"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Listening to Marian Anderson and several of the other Black singers like Roland Hayes. I can't think of the guy who was the football player, the big tall guy. I can see his face and think of his name. Sign of age! He and this man came to my high school, which was Booker T. Washington. And I was just floored at the sound that came from his body. I couldn't believe that a human being could sing like that. Trying to think of who he was--oh, dear. Oh, I can't think of it right now, but, it was a bass voice, a big bass voice, and in fact, he was banned from the United States for a while. He was called a communist because he spoke out against a lot of the inequities that was happening with racism and what have you. I'll think of it in a moment.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1029.55,1109.48"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e OK, the baritone that I couldn't remember, the name is Paul Robeson and, oh, I was just so taken aback when he came to Booker T. Washington Junior High School and did a concert for us. I was just so in awe, I couldn't even speak to him. I just stood there and looked at him. He was so tall. He was over six feet tall and just a huge person. And of course, he played football. So he had those shoulders and what have you. And I thought, oh, my goodness, this is something that I really wanted to do. I wanted to sing in that type of singing.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1119.45,1167.21"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e So as I continued in school, I ran across various teachers. One teacher who was just so great in particular was Robert Earl Anderson. And he just took--there was two other ladies, Junetta Jones and Veronica Tyler, and myself, he just took us under his wings. All three of us [were] at the Peabody taking voice lessons from Mr. Laderoute. And he helped us to learn various pieces of music. He helped us with the language. And also my choral teacher at Douglass High School was Marion T. Smith. And they were just wonderful. They took special interest in students who were trying to further their musical career. And so we went on various tours with the school choir and we were constantly taken to concerts where various singers would come to town, especially the Black singers, to hear what they were doing. And so I guess that's how I developed that appetite for opera and classical singing.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1168.2,1253.97"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e They said that you wanted to start--you started the Municipal Opera Company because you felt there was something missing. That there was a lack of something. Could you just elaborate?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1257.0,1272.209"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, there wasn't a lot of opportunity for Black singers on the opera stage here in the city. And it has improved a little. Most of the professionals--well, the people that they choose to sing roles have come from overseas or something here. And on rare occasions now, they use local people to do roles for the company. And that's Baltimore Opera.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1273.92,1317.809"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e What would you say the greatest contribution is, then, of the Municipal Opera to Baltimore?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1319.01,1329.39"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, Municipal Opera has given several Black singers a chance to learn and perform roles, and that could be used to help--that has been used to help further their own careers.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1330.98,1350.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e And it's just because they've got experience--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1351.81,1353.96"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e They've gotten the experience, because to do a role, you have to become the person that you are portraying in that role. Oh, it's help with the acting and developing the voice, the developing stage presence and how to get the makeup on and all of the hair and the costuming. And we also have given youngsters, particularly from [Baltimore] School for the Arts, those youngsters have come over and helped or taken part in the opera. And they have worked as, I guess, stagehands and helping on the set as stage managers, some have helped with the lighting. We've had students from Carver School of Arts in Towson, and those kids have come over and run lights for us. Some have come, the dancers have come over to dance, and some have also come to help with the scenic design. And it's just wonderful. And there are about five people that started out with us [who] have gone on to Europe to sing. And two of them, right now, are still over in Europe singing. And so this was a good, I guess, what would you call it--a stepping stone for them to help to move them in larger careers professionally.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1354.979,1458.36"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Is there a particular type of opera genre that you like, such as tragedies? Well, I guess, what type of opera do you favor most, and is there a particular one that the Municipal Opera Company does more so than anything else?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1462.68,1484.349"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e We try to produce operas written by Black composers, and we've done an opera by a contemporary composer, Leslie Adams, Blake. And we did a full production of that opera. And we did another by William Grant Still, and that was the Bayou Legend. And the other was Bent Twig by-- the libretto was written by a young lady who lived in Randallstown, Maryland. Unfortunately, she passed away a couple of years ago, but she did get to see the opera produced. And her colleague who wrote the music lives in New York. That was called Bent Twig. That went over very well. And let me see, what other Black composer have we done? Scott Joplin's Treemonisha. That's always a favorite opera. And it has a lot of ragtime written into the music. And it was just wonderful.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1484.354,1564.81"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Are these mostly tragedies? I'm not really familiar with--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1566.58,1571.112"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e The one tragedy was in the Bayou Legend, where a young man was hanged. There was another tragedy in Blake, that had to do with slavery. And this one young woman who wanted to be free, as she was trying to escape, she was shot. So, Blake and Bayou Legend was tragic. But Treemonisha is based on a young woman who was educated, living in backwoods in Arkansas, where they believed in superstition, and she was able to turn the people away from a superstition and persuade them to be interested and try to get an education to bring them out of that state of ignorance. Let's see, what was the next one. Treemonisha. What was the fourth one? We said to Treemonisha, Blake, Bayou Legend--oh, the other was Bent Twig. That was based on the life of Helen Roberts Williams. She was a social worker living in New York. And the story talked about everyday life as a social worker, looking at youngsters being raised by parents who were on drugs and alcohol and abused by sometimes the parents, sometimes neighbors and sometimes relatives. And it talked about the life of this one family whose mother had a live-in boyfriend, and he abused the daughter. And it took the mother a long time to be able to see that she did not have to live in that condition and was able to get rid of the guy who was abusing her daughter and press on and encouraged her daughter to stay in school. And this was a true-to-life situation.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1571.04,1723.54"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Do you tend to choose operas that have some form of social commentary? Or has that just been a default of dealing with Black composers and the content that they usually--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1725.52,1746.48"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, it has largely to do with the content of the opera. But we have done others. We've done [Madama] Butterfly, Puccini. We do a traditional opera every Christmas, Amahl and the Night Visitors. In fact, I have a whole packet here for you. We've done Gianni Schicchi. That's a comedy. Carmen last year was just super, and we sang to a full house, standing room only. And so every now and then we try to do a favorite, like The Magic Flute. We've done that a couple of times and that's always a crowd-pleaser. So, every now and then we have to do something that will please the crowd.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432#t=1747.92,1801.44"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117432/transcript/30482/annotation/51","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/030/482/original/open-uri20210715-1572-1wwkb5z?1626360394","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/030/482/original/open-uri20210715-1572-1wwkb5z?1626360394"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433","type":"Canvas","label":{"en":["Media File 2 of 2 - pims0091_JonesD_2002_02.mp3"]},"duration":1300.03592,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/433/original/pims0091_JonesD_2002_02.mp3?1624270874","type":"Audio","format":"audio/mpeg","duration":1300.03592,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483","type":"AnnotationPage","label":{"en":["AUTO_TRINT_pims0091_JonesD_2002_02.mp3 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e We sang to a full house, standing room only. And so we every now and then we try to do a favorite, like The Magic Flute. We've done that a couple of times and that's always a crowd-pleaser. So, every now and then, we have to do something that will please the crowd and, of course, help our coffers, if you understand what I mean [laughs].","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=5.9,35.31"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e We did The Merry Widow also. That's always a crowd-pleaser also.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=43.15,47.29"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e I'm going to shift gears a little bit.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=49.03,50.29"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Okay.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=50.8,50.8"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e I'm not sure how much experience you've had with--or involvement you've had with the Royal Theatre, and just performing there or going there to see different shows, but if you could just talk a little bit about the experiences that you have had with the Royal Theatre--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=52.57,66.629"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Unfortunately, I heard a lot about the Royal Theatre, and I was too young to go to the theater when it was in full bloom. But very often my aunts would get dressed up in their evening gowns, in their fur stoles and their high heels, and their wonderful--they wore the pompadour where the hair just had this nice big roll across the top--and got in a cab and went down to Pennsylvania Avenue to the Royal Theatre. And of course, at that time we were too young and Dad would not permit us to go into the theater. But I missed a lot from listening to people that were able to attend. And it was it seemed like it was a wonderful time that they had.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=67.54,123.73"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e What has been your favorite production? Not just the Municipal Opera Company, but overall. What about performing is-- [distortion]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=127.47,135.37"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, the thrill of being involved and becoming a part of the production and to sing--with Baltimore Opera, I was in the chorus, but we did Aida and I got to meet the main characters that were on stage. They were always so very, very kind to us. Some, in fact, just about all of them that I came in contact with were very, very kind to us. And I was encouraged to continue with the singing. Also, another favorite opera, Magic Flute. I enjoyed that. It's a lot of fun. You have to have a lot of imagination in that. And these experiences bring out all types of emotions, all type of ideas. It's almost magic to get on stage and be a part of a production. And of course, when the orchestra starts playing, the music just does something to you. It gives you a special kind of a thrill. You just become whoever you are portraying. You become that person. And the curtains open and the scrim goes up and you're live, you're there on the stage, you're performing. You're a part of that community. You're doing something that you love to do. It's just wonderful.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=141.4,235.09"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Not including the Municipal Opera Company, but the other companies [in] which you were involved, were they all Black?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=239.04,247.32"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e No, no, no. Houston had--of course, Porgy and Bess is talking about a Black community. That's why they were majority Black people there. But with the Baltimore Opera, it was just all various operas, from Aida on.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=248.23,272.13"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e The people who were involved in the opera, they were mixed.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=274.53,278.99"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=279.81,280.7"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e I was just wondering, if they were all Black, had you been able to perform in front of all White audiences and how that might have played a role in the dynamics of the performance.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=282.22,293.34"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Okay.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=294.02,294.02"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Would you say that you had a vision for the Municipal Opera Company once you came back to Baltimore?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=304.44,311.72"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, I did.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=312.71,313.34"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How did that develop?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=313.8,313.8"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, I was just determined. Well, Baltimore is a huge place and there is space for a Black opera company. Why not try to do something to help people that are interested and want to sing? Lots of people had come out of music schools looking for a place, a venue to sing. Municipal, fortunately, was able to provide that venue to some large extent.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=315.38,350.93"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How would you place the musical contribution of the collective power of Baltimore City, relative to bigger cities such as New York or Chicago? Or even on an international level, since you did have people who were in companies here that performed overseas? How would you place Baltimore in that big picture?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=353.26,377.8"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I think Baltimore is well on its way. It has gotten larger since 1991 as far as being placed on a larger scale in that area of music and performance. And although the other cities that you named are much larger and does it on a larger scale, Baltimore is moving right on up and coming into its own, I feel.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=380.86,415.18"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e You said that music has always been very important to you. How has it impacted your life, or just your experiences throughout? Not just with performing, but overall.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=418.599,433.1"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Overall, I feel like I'm a better person. If there's tragedy, music is always comforting and it somehow soothes you, it is calming. It's just a great thing for the mind to be involved musically to take away the attention that you would put on the--I would say not so good things that happen in life. It kind of elevates you. And emotionally, it's also a good thing to be involved in.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=434.72,484.92"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e From discussing other interviews with my classmates, the topic has come up about segregation and what that did to the Black music community in Baltimore, and there are some mixed feelings about it. It has been said that segregation was actually a bit of a benefit to the Black community because, for example, in the high schools, you have these wonderful Black musicians teaching there because they couldn't teach anywhere else during segregation. And then once that ended, they were able to go to other schools and teach, so that kind of took them away from, you know, being able to develop the talent among the Black community. So I was just asking if you could comment about your opinion on that topic.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=488.63,542.354"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Okay. Of course, during segregation, we were very, very fortunate to have these professional Black people that came in to work with us and to teach us and train us. And then, of course, when it was lifted a little bit, it gave those people a chance to go out and further their careers. Then those that had that training [were] able to use it for the generation that also was coming along after we did. Not to fear, segregation is still here. It's alive and well, but there are ways to work around it. And fortunately for my group and myself, we just have been able to find people that are just in favor of what we are doing. They are encouraging. They are supportive. And we haven't come across any real hardcore segregation for quite a while.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=544.77,608.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e What are some things perhaps that I have not touched on yet that you would like to express to whoever may log on to this website and [see] this interview. What are some things that you would like them to know or understand, something perhaps that can be a misconception about Black music here in Baltimore, or just in general?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=611.95,638.28"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Black music is a part of our culture, a part of our history, and it's a part of us. We should not ever turn our back on it. We must always do whatever it is that we can do to support, encourage and uplift and do whatever we can to reach out to our young Black people, especially, who are just down on their luck or just have not had the opportunity to do and experience the good things in Black culture and Black life and Black music and Black history that we have experienced. We must bring them forward and encourage them to go onward and live a better life for themselves and for generations to come.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=641.61,698.67"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e This is going to be a little bit off. Going through this previous interview again, I found here that you lived on a farm for a while. Could you just talk a little bit more about your experiences there?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=701.26,711.58"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I was very, very young at that time. And of course, when we moved to Baltimore, I was four. But every summer we'd go back home and it was just wonderful to wake up to the crowing of the rooster. And Grandma would get up and go and gather the eggs, come in and make the breakfast with the eggs that she'd gathered, and she'd also milk the cow. And it was just so fascinating to watch her with the churn. Do you know what that is, the churn ? Oh, she would churn the milk and take the butter and the cream off. And we'd have that for breakfast. No preservatives, no additives.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=718.12,764.29"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Just pure--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=767.45,767.723"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Right. She'd make those biscuits. Country life is just fun. I thought it was fun, but my dad and my parents were just having a fit. It was hard work! And of course, little did we know that it was hard work. I just thought it was fun to see all the animals running around. There were pigs and cows and goats, and we just had a great time. And my granddad, I remember he would get up, especially on Sunday morning, and he said, okay, I'm going to go squirrel hunting. And he would shoot a squirrel, he'd shoot a rabbit. He could bring those things home. Grandma knew how to clean them, skin them, clean them, cook them. And when I was eating that stuff, I thought I was eating chicken!","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=767.87,817.81"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Everything tastes like chicken.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=819.88,820.003"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e [Laughs] Yeah. As the commercial goes, \"Tastes just like chicken.\" It was wonderful. It was a good old life. I didn't know it then, but I just had fun. And that's basically the way I am now. Whatever I do in life, I try to make it fun. And my saying is that when it's not fun anymore, it's time to give it up?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=821.63,844.63"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e In terms of living or visiting the farm, did your family just sing together? Did you hear them sing while she milked the cows?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=847.42,855.129"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Oh, yes, yes, yes, yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=855.37,858.82"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How was music--","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=859.75,859.91"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Well, Grandma was always humming. And of course, we'd always have family prayer. It was either in the living room or in the dining room. We were having breakfast. We'd always pray together first and then we'd have breakfast. And in the evening, they'd sit down, read the Bible to us, and there was some singing. We were little. It was just a nice life.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=861.19,888.91"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Would you say that all those experiences helped to foster or nurture your own, I guess, natural love for music, or desire to be a part of it?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=890.9,902.258"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e And for people, definitely, yes, yes. I'm able to look at people and see some good in them, no matter who they are and especially my--[unclear]. Yes, yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=903.19,919.15"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Is there anything that you feel that I'd encouraged you to talk about?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=922.56,925.138"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I can't think of anything. Not at this time.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=929.7,935.97"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e So, the Municipal Opera has been on now for eleven years?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=940.53,942.57"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, yes. We had a gala last year celebrating ten years. And we're in our eleventh year now.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=943.47,951.39"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e What is the size of the company?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=952.02,952.86"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Oh, my goodness. Including the sixty people that perform in the production. We have people that come in to take tickets at the door, pass out programs, to help with dressing people with a costume. I would say we have a good eighty people. Yeah.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=955.38,983.08"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Do you feel that with all the experiences that you've had in these eleven years, has it fulfilled that which you'd hoped for when you envisioned having this company?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=983.71,996.65"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e To a degree. I would like to see the support increase drastically so that each time we get to get ready to do a production, we don't have to struggle so frantically to get funding to make sure the production goes over.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=997.64,1018.52"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Do you feel that that lack of support is due to a lack of interest in opera?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1020.02,1028.99"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Yes, yes, there are lots of people around, when you say opera, they just run the other way. They just don't know. And that's one of the reasons we try to do our productions in English. To appeal to that group of people who would be interested in opera but don't come because they don't understand the language. And if you do the production in English, that helps a little. And of course, they also get a chance to read the story and then to hear it sung in English is always helpful.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1029.77,1068.53"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e So, I guess, to paraphrase, you would say there's a lack of understanding of opera as an art form. How would you define it, then, to help better that understanding, or increase the understanding?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1069.99,1084.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I still feel that if the story is written in the program and if the audio is good, that's a double shot for people to understand what you're doing on the stage. Although the big house has the surtitles and it takes a little bit of doing, you know, to read the titles and follow the language. But there are some people who are, I guess, mature to that point, and it's not too bad for them.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1088.05,1121.56"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e How would you define opera?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1123.59,1125.194"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Opera is a great--I would say great story being sung and acted out. If the person who is portraying a role loses himself and becomes the person that they are portraying, that brings the story to life.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1128.19,1153.82"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Whereas other types of music, such as jazz or the blues or gospel or so forth, there isn't so much of a role play there as there is in opera, because with the operas you are acting out that which you are singing.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1158.43,1176.79"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e I think blues, jazz, it all tells the story. It relates to some person's life in some way or another, good, bad, or indifferent. It all tells a story of somebody's life. Somebody is sad, somebody is hurting, somebody is happy. It all tells a story about life itself and the people that [are] living that life.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1180.05,1207.77"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Well, if all of these types of music are stories in themselves, what would you say is--other than the obvious differences between opera and everything else--what holds opera so distinct from the jazz or the blues?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1209.45,1230.39"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e The only difference with opera is that it's acted out on stage and people that are singing jazz or blues, the action comes in the words that they are saying--singing, rather--and how they get the story over to the person that's listening. And they're usually sitting still, where the people in the opera is kind of running around the stage, you know, acting out the story.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1234.75,1266.861"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e Well, I guess we're going to end now. If there's anything else that you'd like to add, feel free, but I don't have any more questions for you.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1273.219,1281.04"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Okay, well, I do need to run.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1281.66,1283.7"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eMarsha Peart:\u003c/strong\u003e I understand.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1286.79,1287.201"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433/transcript/30483/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDorothy Lofton Jones:\u003c/strong\u003e Thank you so much. It's been wonderful. I hope this was helpful and I hope I said things that make sense.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44142/file/117433#t=1287.355,1295.35"}]}]}]}