{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/kk94747g0t/manifest","type":"Manifest","label":{"en":["Camay Calloway Murphy oral history, 2002 February 7"]},"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":[" Daughter of bandleader Cab Calloway and niece of singer Blanche Calloway, Camay Calloway Murphy attended Hunter College and New York University. She taught in West Africa, then served as supervisor of early childhood education and as principal in the public schools in Arlington, Virginia. After moving to Baltimore in the early 1980s, she became the director of the Eubie Blake Cultural Center in Baltimore, where she has been instrumental in encouraging and providing opportunities for young artists and musicians. Interview conducted by John Spitzer in front of an audience at the Eubie Blake Cultural Center. Interview begins at 1:15 on recording. (Abstract)"," Ending of side 1 cut off. (Physical Description)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-02-07 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Murphy, Camay Calloway (Interviewee)"," Spitzer, John (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/215381"]}}],"summary":{"en":[" Daughter of bandleader Cab Calloway and niece of singer Blanche Calloway, Camay Calloway Murphy attended Hunter College and New York University. She taught in West Africa, then served as supervisor of early childhood education and as principal in the public schools in Arlington, Virginia. After moving to Baltimore in the early 1980s, she became the director of the Eubie Blake Cultural Center in Baltimore, where she has been instrumental in encouraging and providing opportunities for young artists and musicians. Interview conducted by John Spitzer in front of an audience at the Eubie Blake Cultural Center. Interview begins at 1:15 on recording."," Ending of side 1 cut off."]},"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/000/117/471/small/Murphy_Camay_photoshop.jpg?1650139438","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471","type":"Canvas","label":{"en":["Media File 1 of 2 - pims0091_MurphyC_01_edited.mp3"]},"duration":2999.90204,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/471/small/Murphy_Camay_photoshop.jpg?1650139438","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/471/original/pims0091_MurphyC_01_edited.mp3?1624270941","type":"Audio","format":"audio/mpeg","duration":2999.90204,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477","type":"AnnotationPage","label":{"en":["MurphyC_1_OHMS_20220609 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JOHN SPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"[Discussion of interview recording equipment]\n\nCan you tell me your full name?\n\n\n\nCAMAY CALLOWAY MURPHY: Yes. Camay Calloway Murphy.\n\n\n\nSPITZER: And your address?\n\n\n\nMURPHY: 3513 Sequoia Avenue, Baltimore, Maryland 21215.\n\n\n\nSPITZER: Date and place of birth.\n\n\n\nMURPHY: Date of birth 1/15/27. New York City.\n\n\n\nSPITZER: And your education. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think starting way back probably.\n\n\n\nMURPHY: Well, I went to public schools in New York City, PS 149, and I went to\nStitt Jr. High school. I went to Morris High School, which incidentally is the\nsame high school that Powell graduated.\n\n\n\nSPITZER: This is Adam Clayton?\n\n\n\nMURPHY: No, not Adam Clayton.\n\n\n\nSPITZER: Oh, Colin Powell.\n\n\n\nMURPHY: Colin Powell. I came out a little while before him. Morris High\nSchool in the Bronx, and then I went to, for a short time, to Hunter College in\nNew York, and then I left there and went to California and came back and\ngraduated from New York University.\n\n\n\nSPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We can't do your whole employment here. I think for many of our\nsubjects that's going to be really too long a story. What was your major\nemployment in northern Virginia? I guess we should get that down.\n\n\n\nMURPHY: I was at a private school when I came into this area, a private school\nin northern Virginia. Burgundy Farms County Day School. And I was a\nkindergarten teacher there. And then I taught in West Africa in a place called\nIkenne in Nigeria, West Africa. Then I came back and for a little while I was\nat Burgundy Farm, and then I went to Arlington, Virginia.\n\n\n\nSPITZER: In the public schools?\n\nMURPHY: In public school in Arlington, Virginia, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I retired from that position.\n\n\n\nSPITZER: Did you work as a teacher? Yeah, you were the principal.\n\n\n\nMURPHY: I was the principal. Well, when I first came back into Arlington, I\nwas supervisor of early childhood education, and then was the principal.\n\n\n\nSPITZER: Several schools or a single school for a long time.\n\n\n\nMURPHY: Several schools, but I was twenty-five years at Ashlawn Elementary.\nIt was a blue ribbon school.\n\n\n\nSPITZER: And then it says military service which I think we'll. Did you have military?\n\n\n\nMURPHY: No. I had no military service. I had plenty of service, but not military.\n\n\n\nSPITZER: So that's a capsule biography. And then we have, which is really\nquite important, a release form which I think I'll hand you a copy and read to\nyou. In many cases we want to make sure that people understand the release.\nThat you hereby give to the archives of Peabody Institute ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the exclusive rights\nto publish, duplicate, or otherwise use the tape and transcript of the interview\ntaped on 7th February 2002. And Peabody may copyright all or portions of the\ntape or the transcription, and the interviewee, that is you, waives any claims\nin connection with the use of this material such as copyright claims. And the\nPeabody Institute will provide you with access to the taped interview, and in\nthis case also with access to the transcripts. When we have it transcribed.\n\n\n\nMURPHY: You have a typo here. [Laughter]\n\n\n\nSPITZER: Sorry. Then I'll sign this, date it the 7th of February, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and Miss\nMurphy will sign it. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"[Discussion of the Peabody archives and access to the interview]. We really are very careful with access to the interviews\nand with use of the interviews. Over ten or fifteen years Elizabeth Schaaf has\nreally taken care of the interviews.\n\nNow when we talked before in a little pre-interview, we just went over some of\nthe things that Camay Murphy has done in the past, and so we'll pick up with\nsome of the issues that we talked about. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So this is actually the interview itself.\n\nYou used to spend summers in Baltimore, right? You were growing up in New\nYork, and you had family in Baltimore. So, what were summers in Baltimore\nlike, and who did you come and see and so on?\n\n\n\nMURPHY: Well, I would visit my aunt [Mrs. Clarence (Bernice) Monroe] and my\ngrandmother [Mrs. J. Nelson (Eulalia) Fortune]. And summers in Baltimore were\nalways very different from summers in New York. Baltimore sort of had a\ndifferent schedule of life really than you had in New York. In New York you\nwould kind of play all day. You could come outside with your friends, or go\ninto somebody's apartment or something like that. In Baltimore you kind of had\na schedule of getting up early in the morning, and then doing whatever little\nchores you had. Then you would have a kind of an early dinner. Dinner hour\nwould be early in the day, and then you'd have a rest period after that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kind\nof like a European almost style of life. Then you would get up in the\nafternoon and get dressed up. You'd put on some kind of really nice little\noutfit and sit on the steps outside of the house.\n\nAnd generally, of course I didn't have a father coming home, that kind of thing,\nbut generally the little kids would be waiting for dads to come home, and they\nwere all kind of dressed up and looking, you know, very nice. And then you'd\nhave kind of a light supper later in the evening, and then everybody would go to bed.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I think it was, it was more or less a kind of a European type of lifestyle,\nespecially with that nap in the afternoon that I just wasn't used to coming from\nNew York, sort of protested, sliding down the little banisters and what not, and\ntold to get back into bed. But it was fun, because Baltimore was quite\ndifferent and because I had some really good friends here, I was telling someone\na story that they thought was very interesting.\n\nWe're having the connection now with the new Hippodrome Theater that is being\nrenovated on the west side. The Eubie Blake Center is going to have a\nconnection with them. And I remember I came down from Baltimore, I guess I was\nabout ten years old or so, and I had a friend here named Joy Shipley, and she\nwas very fair. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She really looked like a white person. You really could\nhardly tell her from a white person. So when I came down there was a comedian\nnamed Joe Penner who was appearing at the Hippodrome Theater, and so she said,\nwell, let's go to the Hippodrome to see Joe Penner. I said, well we can't go\nto the Hippodrome, you know, because we're colored and they won't--that was the\nexpression we used in those days--and they won't let us in. And so she said,\nwell, I know I can go in, but we'll fix you up so that you can go in. And we\nwent to Mrs. Poindexter's Beauty Place, and she's straightening my hair all\ndown. So my girlfriend said, well, you have to wear gloves ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because sometimes\nthey look at your fingers and you have a little brown, everybody who's black has\nthis little brown thing at the end of their fingernail, and that's how they can\ntell that you're colored. And so we put on, so I put on these gloves,\nstraightened my hair, and walked down, I guess down Druid Hill Avenue then, to\nturn down to go to the theater. And she was standing there and she just sort\nof melted in with everybody else. And I got panicky. I thought I looked\ndifferent from everybody else and what not. And I never got in to see Joe Penner.\n\nBut that was the kind of experience I probably would not have had in New York.\nIn New York you had kind of discrimination or segregation in a different way,\nbecause all of the theaters had ushers with little flashlights. So if you came\nin, they may give you a kind of an undesirable seat if you were a black person,\nbut you still got in. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so I just never forget that particular incident.\nAnd now that I'm going to be very much associated with the Hippodrome, and\ntelling them, \"oh yes, I can do this . . . I can do that.\" You know. It's\njust a difference in the years. But I enjoyed, I enjoyed being in Baltimore\nvery much.\n\n\n\nSPITZER: But did you feel then that you had different codes, all different\nkinds of different codes in Baltimore from New York, like not only where you\ncould go and where you couldn't go and how you had to behave in the family.\nWas it really, like for a kid, that you had to act one way in Baltimore and\ndifferent in New York?\n\n\n\nMURPHY: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Baltimore I would say was much more churchy than New York. Everybody\nwas expected to go to church. I mean, some people went to church almost every\nday. And these little smaller churches that would have a lot of, we used to\ncall them holy roller churches. I'm not sure that they are, they're sort of\nstreet corner type of churches. They would have services almost every single\nevening, and they were very emotional and, you know, and tambourine type music\nand people jumping up, and, you know, getting very excited about religion. So\nthat was different certainly from New York.\n\nAnd in New York I think, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"well where I lived and I went to school, you had an\nelement of intellectualism. Everybody was trying to get A's in school.\nEverybody was trying to outdo somebody else. Everybody was trying to get into\nHunter College. You spent a lot of time in the library. You spent a lot of\ntime at museums and what not, to really, you know, be a high achiever, to achieve.\n\nAnd my experience with Baltimore even though my aunt lived out in Morgan Park,\nand her husband taught at Morgan State University, there just seemed to be a\nmore casual lifestyle in Baltimore. As I recall at the time. Of course, it's\na long time ago. And maybe my recollection is not that clear, but I do feel as\nthough New York was always kind of busy, you know, people pushing on the\nsubways. It was always kind of like a crowd. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Baltimore just seemed to be a\nlittle bit more spaced out and leisurely.\n\n\n\nSPITZER: Was your family involved, your Baltimore family, involved in some\nkind of church? Did you go to church at least once a week in Baltimore, and\nwhat kind of church was it?\n\n\n\nMURPHY: Well, my family, they considered themselves kind of highbrow and they\nwent, we went, to the Episcopal Church. And we went to St. Mary's Church at\none time, and then we went to St. James Episcopal Church in Baltimore.\n\nAnd that was pretty much, you know, I don't know if any of you are Episcopalian,\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but it's sort of like one step from the Catholic Church, with a lot of incense\ngoing back and forth and ritual and that kind of thing. And the Episcopal\nChurch didn't do anything in the way of good music at all. I mean it was just,\nyou know, the music was pretty bad.\n\nNo, you'd have to go, you know, actually you could hear the music from some of\nthe churches, as you would just go along the streets. And you'd say, wow, that\ndoes sound good. But your family would say oh that's Baptist, or that's holy\nroller. Or those people are something that they used to call rail walkers.\nThey had benches in the church, and when the people would get very, very\nexcited, they supposedly would go up on these benches and sort of balance\nthemselves and walk across and look up in the sky and what not. So it was,\nwell, very exciting, but not in the Episcopal Church.\n\n\n\nSPITZER: And you only heard the others from outdoors. You never would.\n\n\n\nMURPHY: I never got in. No.\n\n\n\nSPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And was that a broader attitude of your family towards pop music or\npopular culture or other aspects that you would hear around you?\n\n\n\nMURPHY: Yeah. I think it was. My aunt was very what we used to call\n\"sadiddy.\" She just, you know, would say--even though my father was and her\nsister were both in, you know, very popular type of music and jazz and rag time\nand what not--she wanted the family really to go on the classical end. And our\ngrandparents, well I guess she had been my great-grandmother was an organist,\nand she played the organ in some of the churches around. She also played the\norgan at one of the theaters. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When they would have the changing of the movies,\nthe silent films and what not, they would have someone play an organ in between.\n\nAnd my father [Cab Calloway] claims, of course, he had all of these stories that\nyou'd have to sort of take with a grain of salt. But he always said that he\ngot his musical coming into his head and the aspects of music, because he was\nkind of hyperactive, and they used to put him on the floor under the organ.\nAnd of course when she would pedal the organ, she might take her foot off the\npedal and put it on him to hold him in place.\n\nBut he used to go with her. And he got his sense of the music and what not\nthrough that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But he was actually trained at Douglass High School. He was\nsinging both classical music and jazz. So I mean he was doing his jazz thing\non the side, but he was really, most of the students at that time were trained\nin classical.\n\n\n\nSPITZER: Now did you have any kind of music lessons either in New York or Baltimore?\n\n\n\nMURPHY: I took the beginning piano. I think about fifteen different times.\nEvery time I would start, and then I'd stop, and then they'd come back and say,\nall right, start. You know, \"Row, row, row your boat\" or whatever those little\nsongs were. No. I was not, I didn't really get that music thing.\n\nI was interested in dance and did some dance at New York University and when I\nwas in high school, but I wasn't, I wasn't gifted in that way. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think my son\nis gifted in that way. He's a guitarist, and he went to the Conservatory. So\nI think some of the genes do pass along.\n\n\n\nSPITZER: Now, let's see. It should have been your grandmother, that is Cab\nCalloway's mother, was a violinist. Right?\n\n\n\nMURPHY: Yes.\n\n\n\nSPITZER: Was that something that you knew about and were involved in any way?\n\n\n\nMURPHY: No. I really didn't know about that. I only knew about piano.\nThe persons in the family who, a lot of them played them in the piano, because\nmost homes in Baltimore at that time had a piano. Maybe some of you saw the\nplayer piano that we have downstairs. They had player pianos, if you couldn't\nreally play, you could just put the rolls on and listen to the piano music.\nBut mostly the young people were trained in piano. So that on a Sunday\nafternoon if guests came over or something, you were kind of required to play a\nfew little tunes on the piano.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I only knew about my family members playing the organ and playing the\npiano. I did not know about violin.\n\n\n\nSPITZER: Now, I'm interested in your two aunts. One of them is Aunt\nBernice. Is that the one you're talking about whose husband works at Morgan State?\n\n\n\nMURPHY: Yeah.\n\n\n\nSPITZER: And the other is Aunt Blanche who was a performer. Right?\n\n\n\nMURPHY: That's right.\n\n\n\nSPITZER: Did you know Aunt Blanche, and was this somebody who was around a lot?\n\n\n\nMURPHY: Yes. I knew Aunt Blanche, and I loved Aunt Blanche, and I just\nthought she was the world's most wonderful woman. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She was in Eubie Blake's\n\"Shuffle Along.\" She was quite young at that time. She had a pretty good\nsinging voice. And when they only had a few people on stage -- I think they\nstill do this in some opera companies -- they have people on the side who would\nsing to make it sound like a whole, you know, that there was a big chorus or a\nbig sound on stage. So she did that.\n\nAnd then actually she was a dancer, one of the chorus girls in \"Shuffle\nAlong.\" And then she later, she's very, very energetic. Of course, in\n\"Shuffle Along\" was Josephine Baker, and Josephine Baker was also a very highly\nactive entertainer, making faces and sort of having a real relationship with the\naudience. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think my aunt kind of used that model of Josephine Baker to\ndevelop a style all of her own. But she was a much better dancer. My aunt\nwas a much better dancer than Josephine Baker, and she also had a wonderful\nfigure and long hair hanging down. So she was quite something.\n\nAnd she was one of the first women to do the splits, what they called the splits\non the stage. You've seen people do that, just, you know, do that. I just\nthought that was hard. And I just thought it was just a wonderful that she had\nall this flexibility and what not with her body.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then she went to, and sort of had a little group of her own, and developed\nan orchestra of her own, and she had the [Andy] Kirk band, and she called them\nthe Joy Boys. But they were an established band that someone, a gentleman in\nPhiladelphia, when she appeared there at the Earl Theater, was able to negotiate\nand get her this band. And so she traveled as one of the first women band\nleaders to travel throughout the country. She traveled in the south, and she\ndid things. Of course, she spent a lot of time in Chicago. So she traveled\naround in Illinois and that area. And she was with all these men in her band,\nand, you know, people kind of questioned all of that and what not. But she had\nabout five or six husbands somewhere along the road. So that didn't, you know,\nthat didn't bother her.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But she was a very unusual person. She, in her later years, she developed a\nproduct and worked for a company, cosmetic company, called Afram, and she also\nhad a radio show in Florida in her later years. And she, when she was in\nPhiladelphia, she would also, she sponsored prize fighters. They would sort of\ncome to the house and eat, and she would get something from that. If they won\nsomething, I think she got some money, but I don't know what she did besides\njust kind of feed them and encourage them. And she was into all kinds of\nthings. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She was very, very unusual.\n\nShe was somewhat into politics, and I think she was one of the greatest role\nmodels that we had in our family. She really was. She never, of course,\nreceived the acclaim that my father did. Although she claims that she started\nthe Hi De Ho. And, you know, that's questionable.\n\nBut she did some of the Hi De Ho kind of thing he did. But she never did, she\nnever did, you know, reach his level of fame.\n\n\n\nSPITZER: Did you hear her perform, attend her shows?\n\n\n\nMURPHY: Oh yes. I attended her shows. I heard her perform. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She wasn't\nsort of like my father. When my father came off stage, he was off stage and\nthat was it. She would, if you'd say, Aunt Blanche, you know, sing\nsomething. She used to have this song called \"Growling Dan, and I loved the\nsong. And so I'd say, Aunt Blanche, sing Growling Dan. She would just sit\ndown and there's a guy named growling Dan, da da da, you know, whatever it\nwas. And she would just go ahead and do it at any time.\n\n\n\nSPITZER: So she was like always performing.\n\n\n\nMURPHY: She was always performing. She didn't feel as though stage life or\nthe work that she had on stage was so far from her regular life, from her daily\nlife. So she, I think, spent a kind of happiness that spilled over from her\nstage life into her, into her daily life, and she just enjoyed herself really.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Like when people really enjoy their work, like students who just study all the\ntime or just don't do studying in school but also when they're home, that was\nthe same kind of person she was with her music.\n\n\n\nSPITZER: And I guess I get the impression that your other aunt got along with\nher very well, although . . .\n\n\n\nMURPHY: They were close.\n\n\n\nSPITZER: Okay. Okay. But then was she also like always lifting her\neyebrows what if.\n\n\n\nMURPHY: But Blanche didn't care less. She just went ahead, you know. And\nmy Aunt Bernice was very petite, very pretty. She managed the Cotillions that\nthey had here in Baltimore. And she was feather boa kind of person, and giving\nteas and little artsie kinds of things out at Morgan. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But she had that\ntheatrical thing within her also. And she was, she was podiatrist, the person\nwho does, works on feet, right. She was a podiatrist, but she didn't practice\nthat to any degree. She felt as though her role was really supporting her\nhusband who was a professor at Morgan State, and they had one son. So she was\nquite a lady.\n\n\n\nSPITZER: Did you get pulled into the Cotillion scene at all yourself? Did\nyou attend them?\n\n\n\nMURPHY: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1800.0,1860.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No. That Cotillion scene was in Baltimore. I would come sometimes\nand see it. That wasn't much, wasn't much in New York, and my mother wasn't\ninto that to any degree so I was not a Cotillion maid.\n\n\n\nSPITZER: Do you know what they did for music at the Cotillions in Baltimore?\nDid you?\n\n\n\nMURPHY: Oh yeah, they had, well, when, they had a kind of a classical band\nwith the violins and this, that and the other, and it was kind of waltz music,\nand everybody kind of moving around in these dance moves. And, of course, they\nhad on beautiful long dresses. Men were all choked up with their tuxedos and\nwhat not. So it was very lyrical. It was not, you know, people doing the\nlatest dance steps.\n\n\n\nSPITZER: So you didn't have to learn these dances?\n\n\n\nMURPHY: No. No.\n\n\n\nSPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1860.0,1920.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm interested in another, in a completely different phase actually\nwhich is when you came back. You returned to Baltimore about when? Or\nsettled in Baltimore.\n\n\n\nMURPHY: In the late '70s. I think how I got back to Baltimore, how I got to\nwhere I am today was kind of an interesting story because they were having for\nAFRAM, which was the African-American Heritage Festival at that time. Sometime\nin the '70s they were having a, they were calling it, \"black genius\" was the\ntheme for that particular AFRAM, and they invited my father to come to a\nluncheon here, at the Holiday Inn or someplace. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1920.0,1980.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so he couldn't come, and\nhe gave me a call and said, if you want to go to this thing and represent me,\nyou know, fine. So I went over and we had the luncheon, and then the next day\nthey were having the exhibit at 409 North Charles Street. And then it wasn't\nthe Eubie Blake Center. It was just 409 North Charles Gallery.\n\nSo I went over to the gallery, and they had, you know, big pictures of Thurgood\nMarshall and of the gentleman who went to the North Pole, and some of the other,\nBillie Holiday. I think they had pictures of her as black genius. And so I\nwent all around this place at 409 and didn't see any picture of my father.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=1980.0,2040.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Didn't see any representation of him. And so I spoke to the person who was in\ncharge, you know, Norman Ross, and I said, look, what's the story here? I\nsaid, we're representing the Calloway family, and, you know, there's nothing here.\n\nSo he said, oh that was some oversight and blah, blah, blah. Well, you know\npeople how do. I mean, I just made too much of it. I mean, it wasn't, it\nwasn't that great, but I just went on and on. He's not being recognized and\nblah, blah, blah. So then they said, well, would you like to be on the\nadvisory board of the Center, [Laughter] and help us to make sure that we\ndon't make this type of mistake again.\n\nSo I said, well, I live in Washington, D.C., but I will do this because this is\nridiculous. And so anyway, that's how I got involved really with the Center.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2040.0,2100.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And shortly after that Eubie Blake and his wife decided that they would send\nhis, I guess everything that he had, his music and other artifacts, to\nBaltimore. And at first I think they were supposed to go into the Eubie Blake\nCenter, but I think Eubie Blake's wife and William Donald Schaefer had some\nkind of little argument, and so it ended up at that the articles went to the\nMaryland Historical Society.\n\nBut the Center was still named in his honor, and many of the things were, and\nthere was an exhibit for Eubie Blake and about his life and about his\ncontributions at the Center at 409.\n\nThen there was a fire about ten or fifteen years later, and at the time of the\nfire, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2100.0,2160.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was involved on the advisory board. And so then the mayor decided, at\nthat time it was Mayor Schmoke, and he decided that he did not want to put more\nmoney into 409. And so as a consequence, we started looking for a building to\nre-establish the museum. And at that time we had some performing arts at 409,\nbut not very much. And so we wanted to increase the performing arts for young\nchildren at a place that would lend itself for that.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2160.0,2220.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we found this building, the building we're in now, and it was a school, sort\nof like a nursing school. And it has, the architects did a marvelous job of\nrenovating it. And so we are hoping to be able to establish the Eubie Blake\nexhibit, but at the present time, that's about three hundred thousand dollars to\ndo that down on the first floor. And so our funds do not permit us to do that\nat this time, although we've been going back and forth to the State and doing\nother things to try to get that money.\n\nBut in the meantime, we have an after school program three days a week. We\nhave instrumental music for children. We have a dance class upstairs, and we\nhave kids that come down from Douglass to be part of the dance class. We have\ndrama classes. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2220.0,2300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so we have the beginnings of what we think is a pretty good\nperforming arts center.\n\nWe have these pieces that are over here that were done by artist Mike Tinson and\nare representing the people that we really want to show here. Nobel Sissle,\nand Eubie Blake and Billie Holiday and Cab Calloway, but we also would like to\ninclude like Avon Long and some of the other people, Chick Webb, other people\nwho have made real impact on the jazz world over the years.\n\n\n\nSPITZER: Now when you came back, you have some kind of band going that runs\nout of here of the Legacy Band or something like that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2300.0,2360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"How did you find\nplayers, and how did you find your way around the Baltimore music scene? Who\nwas playing where?\n\n\n\nMURPHY: There are a lot of wonderful players in Baltimore. There are a lot\nof wonderful musicians in Baltimore, and a lot of people who play jazz. And\nthere have been some outstanding people actually who have come out of\nBaltimore. Of course, you know, Cyrus Chestnut, Antonio Hart and some of those\nyounger players.\n\nBut times are tight, and musicians are really looking for some bread. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2360.0,2400.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean,\nthey don't, there are not very many that just want to come just for the glory of\nit or, you know, just trying to enjoy themselves. However, I was able through\na gentleman named Mr. Hampton Williams and Mr. Junius Wilson, men who had been\nplayers and sort of stopped playing and were into other things, and they had\nsome friends who they said would just, you know, come together. And then I had\nmy son who has the Cab Calloway Orchestra in New York, and he owed me, and he\ncame down once a month and worked with them, worked with this Legacy Band.\n\nSo we had our first little gig last Saturday. I was able to give everybody a\nlittle stipend, a little something, which made them happy, play better. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2400.0,2460.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And\nthen we are also doing something hopefully for the Flower Mart. But it's a,\nit's a kind of a loose group. People come and go. We had I guess about nine\nsaxophone players and, you know, about one trombone player. So I told my son\nhe should write a song called \"Over saxed.\" [Laughter] And we had, we have a\ndrummer, and we have, we finally have a bass player. So it's just been, you\nknow, we've just been sort of building it up.\n\n\n\nSPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2460.0,2520.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But is Chris Calloway trying to build this up from New York or are you?\n\n\n\nMURPHY: I'm building up. I'm doing it locally here.\n\n\n\nSPITZER: Okay. And are there are a couple of guys that are sort of taking\nmost of the responsibility, the energy for it?\n\n\n\nMURPHY: Yes. A guy named Larry Williams who plays trombone, and he also\nworks here as our coordinator. Then there's some guys who work over at what's,\nStreetscape, is it? You know that little cafe that's up on Liberty Heights.\nAnd they have some older players up there, and they play at that site. So\nthey're kind of organizing themselves to a degree. And as I said, Mr. Hampton\nWilliams is taking some responsibility to kind of get them to have some\nrehearsals and what not between these monthly visits.\n\n\n\nSPITZER: I get the impression that with the decline of the Pennsylvania Avenue\nscene that music really fell off a lot in Baltimore. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2520.0,2580.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, thirty years\nago you could have found guys like this just all over town. And has it been, I\nmean is it hard to put something like this together compared to what it used to be?\n\n\n\nMURPHY: Yeah. Because musicians don't congregate where there's no place to\nplay. I mean, you can get musicians much easier in Washington, D.C. In fact\nfor certain events we've had to bring people in from Washington, D.C. because\nthat 's where they are because that's where the clubs are, and that's where the\naction is.\n\nYes. With the demise of Pennsylvania Avenue and with the city never really\nseeing fit to re-establish Pennsylvania Avenue, it has, I think, been a real\nblow to certain types of music in Baltimore City.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2580.0,2640.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's something called the City Heritage Council now that I'm involved with\nthat they're trying to get some state money for the re-establishment of\nPennsylvania Avenue and for the Mt. Vernon area. Because I think this is to me\na very important area in the city, where the music should really come from.\nBecause we have, we're trying to establish the Booker T. Washington School of\nthe Arts up on, which is a school up on McCulloh Street, and it's been a middle\nschool. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2640.0,2700.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But we're trying to get it to change into a high school/middle school,\nwhich is a new configuration.\n\nAnd then, of course, you have Peabody, and you have the Maryland Historical\nSociety that has all this information about music. You have a couple of music\nshops and stores and small places that have some music going on. And, of\ncourse, a few spots on Charles Street, etc.\n\nIn most places around the larger institution, training institution, there are\ngenerally places where the students can go and play. I know when my son was at\nNew England Conservatory, he played in the local hotels and the places that were\naround the Conservatory. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2700.0,2760.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In Boston, you know, there are just a lot of little\nplaces that people can perform.\n\nSo I think that we need to sort of focus on this area, the Mt. Vernon, Marble\nHill, Seton Hill, and Upton, which includes Pennsylvania Avenue, and try to\nbuild this up into the music center of the City.\n\n\n\nSPITZER: Yeah. I mean, there's almost no venue in Upton or Seton Hill.\nThere's the Arena Theater I guess, but that's not a music.\n\n\n\nMURPHY: The Arena Players, that's not a music theater. Although they are\ndoing Bessie Smith this February.\n\n\n\nSPITZER: Yeah. I think I should if I can open it up. I think that the\njazz, the Peabody jazz ensemble now has a couple of night spots or something\nthat people are playing in. Does anybody know? Delandria?\n\n\n\nDelandria Mills: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2760.0,2820.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Last year we had something at 2 North Charles, but not any more.\n\n\n\nSPITZER: No kidding. So really you guys are stuck the same way as we're\ntalking about here. There's just no venue where you can.\n\n\n\nMURPHY: My son played at Birdland in New York. Birdland was interested in,\nbecause it's a franchise now, they were interested in a franchise here in\nBaltimore. Birdland, the Ravens, the Orioles, etc. That's kind of a fit.\nAnd they couldn't get anything going. And they're looking for, you know, some\nbig money people to come in and put some money into some of these things, and\nit's kind of a catch 22. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2820.0,2880.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All of those places in Washington and in Philadelphia\nare dependent on tourism.\n\nI mean, local people go out now and then, but it's the tourists that when they\ncome into the place, they're looking for where's the jazz, where's the music,\nwhere's the small little clubs. And so they've really got to build up\nBaltimore as a spot for tourism, and then I think they will be able to develop\nthings that people can actually do. They can come out into the city and go\nvarious spots.\n\nBut it's a big problem, and it's something that a lot of people are going to\nhave to work on to get it fixed.\n\n\n\nSPITZER: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2880.0,2940.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471/transcript/38477/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Do we have questions that you guys want to sort of toss into the\ninterview, either topics that we covered or other things that you, that came up\nin your reading and stuff? Anything from the audience?\n\n[INAUDIBLE]\n\nAbout the decline of Pennsylvania Avenue.\n\n\n\nMURPHY: The decline I think happened just around the time of the riots, of the\ncivil rights riots. Because I think up until that time it was sort of going\ndown as far as the club scene was concerned. But I think when the riots came,\na lot of those types of areas were --\n\n\n\n[END PART ONE]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117471#t=2940.0,3000.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472","type":"Canvas","label":{"en":["Media File 2 of 2 - pims0091_MurphyC_02.mp3"]},"duration":1669.04163,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/472/small/Murphy_Camay_photoshop.jpg?1650139446","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/472/original/pims0091_MurphyC_02.mp3?1624270942","type":"Audio","format":"audio/mpeg","duration":1669.04163,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478","type":"AnnotationPage","label":{"en":["MurphyC_2_OHMS_20220609 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MURPHY: In D.C. they sort of established that Seventh Street corridor as kind\nof an arts area long ago. I mean, a couple of years or so after the riots.\nAnd then, I think when Baltimore got such a reputation for so much crime that\nthere was a reluctance on the part of many people to put investments in areas\nthat they felt were high crime areas.\n\nSo it's been a, I think the present mayor has come in and cleaned up a lot of\nthe high crime areas, but there is still this perception that Baltimore is not a\nsafe city. Especially in the areas where African-Americans live or have\nbusinesses or congregate or whatever. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So anyway, it's a psychological,\nperceptual type of thing more than anything else.\n\nWhen the Royal Theater was torn down, I think that was kind of almost a symbolic\nthing of the end of Pennsylvania Avenue. Because the Royal, you know, was the\ntheater that all the stars appeared.\n\nI was just reading an article when I was on the train coming from Washington,\nD.C. about what they're doing with Harlem, and they are building Harlem up to\none of the choice spots for tourists, even for people to live. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, of course,\nyou know, Bill Clinton sort of helped that out to some degree. But they are\nbecoming very, the properties have gone up. A man said he bought a house in\nHarlem I guess about ten years ago for thirty-five thousand dollars that is now\nabout a million five in Harlem. And the properties are just out of sight.\nThey're those, you know, big what do you call them, not formstone but.\n\n\n\nSPITZER: Brownstone.\n\n\n\nMURPHY: Brownstone houses that they had there that are in great demand now.\nAnd one of the things that they've done is they've established these kind of\nweekends in Harlem. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And you come to Harlem, and they have, you know, good\nrestaurants and food, and they have clubs. They have the Cotton Club; they\nhave the Apollo; they have several other large clubs in Harlem.\n\nAnd so what they tell you to do, you know, like if you come in on Saturday night\nto go to the clubs, you have a good time. They have included the churches in\nHarlem as part of the tourist package. So that on Sunday morning you have\nbreakfast at Sylvia's, which is a soul food kind of restaurant, and then you\nleave Sylvia's and you go to one of the churches to hear what they call\nknock-down Blues Brothers. I don't know whether you ever saw the Blues\nBrothers where they, the Blues Brothers went wild in church. That kind of\nchurch music, gospel music, excellent gospel music that you could hear on a\nSunday afternoon.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So they've done a real good job in packaging it. And I think we could do\nalmost the same thing.\n\n\n\nSPITZER: But I'm curious about something. Maybe it's a philosophical issue,\nbut if you go back to the '30s or the '40s and music on Pennsylvania Avenue,\nmusic in the churches in Baltimore, music in the black community in Baltimore,\nwas not for tourists. This was people's own, it was the only place that a\nblack person could go and see a show and so on like that.\n\nAnd now you're sort of seem to be saying, well, the only way to make the musical\nscene vigorous again is as a tourist industry. Why has that happened?\n\n\n\nMURPHY: Because people have moved out to the suburbs, and the suburbs are\noffering the same type of things that they can get in the city in the suburbs.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I'm not going to live out beyond Owings Mills, and there's a little club that\nI can go to someplace in the shopping center. I'm not going to take the car\nand come all the way into Baltimore unless there's, you know, reincarnated\nBillie Holiday, or something or other that is going to be really terrific that\nI'm coming in town to see.\n\n\n\nSPITZER: So you think it's the dispersion of the black community.\n\n\n\nMURPHY: The dispersion of the black community. It is the money that\nperformers demand now that makes it very, very difficult. You're sort of\ncaught in this. Unless you have a name, people are not going to come. And\nthen if you have a name, you got to take all the money that you make to pay them.\n\nSo it's very difficult. You know, Ethel's Place which was right over here,\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"across from the Meyerhoff, which should have been a big, big success, couldn't\nmake it in Baltimore.\n\n\n\nSPITZER: Right. It wasn't mismanagement. I mean, it just the audience\nwouldn't come in the door.\n\n\n\nMURPHY: They wouldn't come in the door. And the black community in Baltimore\nhas sort of evolved into kind of a inner, inner type of community. People go\nto things that are, where their fraternities are having something, or their\nsororities are having something, their little clubs are having dances. And\nthen you leave there and you go home. It's not that kind of walk the streets\nand drop in someplace.\n\n\n\nSPITZER: Is that a change or was it?\n\n\n\nMURPHY: Yes. That's somewhat of a change because all the people who lived on\nDruid Hill Avenue, McCulloh Street, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in proximity to Pennsylvania Avenue would at\nsome time in this evening time take a little stroll over to Pennsylvania\nAvenue. Even if it was just to buy ice cream at Arundle's. But people were\nthere. People were on the streets, and that makes the difference\n\n\n\nQuestion from the audience: Do you feel like, it seems to me like there's a\nparallel relationship ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with that whole scenario and like the quality of the music\nand the feel of the music that's going on. Like, you know, in several cities\nall over the country there's like a different quality about every one; there's a\ndifferent quality about Harlem which would make it not Harlem anymore. If\nthere's a different quality about East St. Louis, it's not East St. Louis of ten\nyears ago. And then the same thing with Washington, D.C. These are all\nplaces where I've lived. You know what I'm saying. How do you feel about\nquality of the stuff that's going on? I mean, being you have to do what you\nhave to do now in order to keep the scene alive.\n\n\n\nMURPHY: Well, I think it's kind of the music itself, and what people will\nactually come out to hear and pay money to hear. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so you have a lot of\nyoung people that don't want kind of intimate music with the computers and what\nnot that have become kind of a mechanical type of thing. The hip hop kind of\nthing is more of a, I don't know how to say it. Part.\n\n\n\nSPITZER: Yeah.\n\n\n\nMURPHY: Yeah. And like, you know, to find what you would call an acoustical\nbass player is hard to find. People just don't play acoustical bass. They\nplay this electronic stuff. So it's different, and I think Baltimore has got\nto come up with some kind of plan to satisfy a variety of tastes.\n\nNow we are particularly into jazz. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, I heard Herbie Hancock play. You\nknow, this is, you know, to me that's the end of the world. But to other\npeople that's not what they're interested in, and that's not really what they\nwant to hear. And rap I don't think is that pervasive as people kind of make\nyou feel, but I do think that there is a certain element of rap and kind of hip\nhop and funk and that kind of thing that a lot of people want to hear, but there\nare no businesses or business people that really want to invest their money in\nthat kind of listening or dancing or something relating to this music because\nthere's a lot of fear surrounding the music.\n\nAnd so, it's, when Britton's opened up his restaurant down the street, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and\nantique dealers and the people on this street said, yeah they would support him\nand support his liquor license and all that kind of stuff, but no music. And\nso he doesn't have any music down there. We're trying to work out something\nbetween us.\n\nBut it's, as you say, it's more to it than. It's a complete change because\ncertainly Harlem is not this Harlem that I read about in the thing. It's\ncertainly quite different from what Harlem was when I was a girl, when I was\nyoung, going into the various clubs and what not. So I think it is a knotty\nproblem, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and when you talk about quality, you know, you have to talk about whose\nquality. Was it my Aunt Blanche's quality or my Aunt Bernice's quality? They\nhad different views of quality. So if you're going to depend on tourism, you\nhave to have a real variety. You have to have a cross-section of things that\nare going to appeal to different people.\n\n\n\nQuestion from the audience: I guess what I'm getting at is that it seems like\nit's the same thing that happened before. There was at a time in the past when\nthe opportunity wasn't out there, to be able to go anywhere and to have the type\nof music anywhere. So you had to kind of make your own, or go out on your own,\nor create a certain place where it would survive. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so you would find\npurity, for the lack of a better word. I guess I want to get your opinion on\nhow the cycle's going on or as we've seen the cycle before.\n\n\n\nMURPHY: Yes. And it was, it's sometimes around the musicians themselves.\nBut there is a kind of cycle. Because as you know, even with the jazz, when\nthey went into kind of the bee bop era and the kind of what they call straight\nahead jazz and the cerebral jazz and the solos that would go on for two hours,\netc., there were some people that just kind of got, you know, said I don't\nreally want to do that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so, because of what the musicians had in their\nhead and what the people had in their head was so different that the whole thing\nkind of just died down for a while. And I think you may see the same type of thing.\n\nI mean, when you said something about survival, that is what we're trying to\ndo. Trying to make some of this music that was made by some of these people\nsurvive. You know Beethoven didn't write his stuff yesterday, but people go to\nthe Meyerhoff and respond to it as if it was just done yesterday. And that's\nwhat I would like to see. You know, in the classical vein they're holding on\nto the music. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we're interested in really holding on to the jazz and the\ncontributions that have been made some really great people.\n\nNow, we're just concentrating on Baltimore. I mean, if you go to East St.\nLouis and other places there are other great people who came forth and gave the\nculture, you know, just wonderful music. And everywhere I think throughout the\ncountry they're trying to hold on to this, but how long it's going to hold on I\ndon't know.\n\n\n\nQuestion from the audience: Why do you think people go to listen Beethoven and\nmore traditional rather than jazz? Because when you think about it, jazz is\nthe essence of American music.\n\n\n\nMURPHY: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, my feeling is, and, you know, I'm not, I will say I'm not an\nactivist. But my feeling is that jazz came out of an African-American\ntradition, and you are going to find that Europeans are going to consider\nwhatever they have produced better than something that has come out of the\nAfrican-American tradition. That's fundamentally part of it. The other part is\nthat the whites have had a sense of preservation for a long, long time.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"African-Americans wanted almost to get rid of because we came out of slavery,\netc., and were people that were ridiculed and that things that we did were kind\nof no good, etc. So that you find this kind of throw away kind of culture with African-Americans.\n\nI know Elizabeth Schaaf says that she goes and talks to various people, and they\nsaid, oh yeah, I had all these letters after my grandmother. I just threw that\nout. And, you know, and she's tearing her hair out, if they just kept those letters.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I think white have had a sense that their culture was very important and\nthat it had to be preserved, and that these people like Beethoven and some of\nthose other crazy composers in the European style were geniuses, and people just\nsort of announce them as geniuses because, you know, they were so crazy. And\nthey felt as though whatever they did was very important to preserve.\n\nI mean, it's kind of easier to preserve something from Miles Davis because he\nwas such, you know, he was so crazy. If you say you have been doing something\nwith Miles Davis, people kind of come and want to hear it than it is say\nsomething from Cab Calloway. But the idea of preservation and passing stuff\ndown from generation to generation, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and keeping this important is something that\nhas not been a general, would you say, has not been important in the\nAfrican-American community.\n\n\n\nSPITZER: Well, I guess just over the last twenty years. I mean, since\n\"Roots\" on TV and since Phil what's his name who has an Afro-American\nmemorabilia business, Phil Merrill. I mean, that sort of suggests that the\ntime is much better now for a preservation effort like you're engaged in than it\nwas a short while ago.\n\nYeah, last one. We got to let Ms. Murphy go.\n\n\n\nQuestion from the audience: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"To what extent do you see the culture of segregation\nas contributing to the development of African-American musical culture and\nperhaps its demise?\n\n\n\nMURPHY: Happy that you should ask, and I'll get these flyers for you. This\nyear the African-American, the theme for African-American History Month is the\ncolor line. You know, has it disappeared, is it still there, etc.? And there\nare going to be some lectures, and you may want to have some of these people\ncome and speak to your class.\n\nActually, this man is Dr. Bob Cattaliati. He's a white guy, but he's Italian\nand he's kind of dark. He's close. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he has, he's done a lot of research\non that particular subject of music and the color line. And you know over the\nyears this has been a real problem. Equity in fees, getting into the recording\nstudios, being able to go on the road and stay where your manager can stay.\nNo, the manager can stay here, but you can't stay here.\n\nThe whole idea of the kind of written music and scoring music, etc. was not a\nreal strength with African-American music or with black players. They were\nsort of playing from the heart or from the feeling and whatever. And so a lot\nof things were again kind of lost because they weren't preserved and they\nweren't written down. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the aspect of \"what I'm doing is not that important\"\nsort of played a role in all of this, the jazz and the color line.\n\nAnd, I mean, you can be really beaten down over this. My Aunt Blanche, who I\nmentioned, was arrested in the South because she had to go to the ladies room,\nand there was only a white only men's room in this filling station. And being\nthe woman that she is, she broke away, they said we'll stop on the road, just\nsquat. She said I'm not going to squat. I'm going in that men's room. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've\ngot to go to the bathroom. So she went into the men's room, and when she came\nout, the sheriff or who else was there, and they took her down to the station.\nI don't think they kept her for any period of time. But those kinds of things\njust kind of beat you down, you know, over a long period of time. And that's\nwhy people, very talented people, got out of the business. And it has had, the\nsegregation and the sort of discriminatory laws have had a real effect upon the music.\n\nMy father I know many times had to play, he played with all white audiences a\nlot of times. And blacks were not able to come in. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So his music maybe didn't\nget the widespread thing around the black community simply because he had to go\nwhere he was booked and where it wasn't that diversity of audience.\n\n\n\nQuestion from the audience: When you mentioned earlier about jazz being closed\nin the United States, I think that's very like kind of not true, because in\nEurope it seems to be still flourishing there. There are even jazz camps in\nthe summer over there. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So that probably could change the scene in Baltimore,\nand you were mentioning the tourism. Are there any ways that you all have been\nthinking about maybe bringing the attention of other countries to the scene in Baltimore?\n\n\n\nMURPHY: I haven't at this point. I'm relying on people like Elizabeth Schaaf\nand people at Peabody that have all these contacts and what not. But, yes,\nthat opening up and the diversity and the music that's coming out of South\nAfrica, interest in Third World music that's beginning to develop that's part\njazz, that's part ethnic. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ethnomusicology which at one time was part of most\nof the conservatories and then kind of died down, that I think that some of the\nconservatories now are going back into ethnic music. So all of that I think is\nquite important.\n\nAnd then this Saturday we're having Ruby Glover and a girl named Maysa, a singer\nnamed Maysa who's going to performing here. And they're doing kind of a master\nclinic on jazz singing. And so I'll give you some information on that. And\nthen Coppin State College is having a series of lectures on the color line, and\nBob Cattaliati is going to be speaking to some students. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472/transcript/38478/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Next week, the 11th,\nI think we're about music and the color line.\n\n\n\nSPITZER: I want to thank you so much. It was a good interview really. [Applause]\n\n\n\nMURPHY: Thank you.\n\n\n\nSPITZER: And we'll keep you in touch with our project as we're going along.\nI'm sure you'll hear some of the results of it. Thank you again.\n\n\n\nMURPHY: I'm on the, and also on the school board, and it isn't very often I\nget applause from students.\n\n\n\n[END OF INTERVIEW]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44160/file/117472#t=1620.0,1680.0"}]}]}]}