{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/r785h7cn0p/manifest","type":"Manifest","label":{"en":["Delandria Mills oral history, 2003 May 29"]},"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":[" Delandria Mills is a jazz, gospel, and classical flutist, composer, educator, and author. She has studied at Prairie View A\u0026amp;M University and the Peabody Conservatory. Interview by Elizabeth Schaaf. (Abstract)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2003-05-29 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Mills, Delandria (Interviewee)"," Schaaf, Elizabeth M. (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/215378"]}}],"summary":{"en":[" Delandria Mills is a jazz, gospel, and classical flutist, composer, educator, and author. She has studied at Prairie View A\u0026M University and the Peabody Conservatory. Interview by Elizabeth Schaaf."]},"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/000/117/460/small/mills_photoshop.jpg?1650138405","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460","type":"Canvas","label":{"en":["Media File 1 of 4 - pims0091_MillsD-1_01.mp3"]},"duration":1806.02776,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/460/small/mills_photoshop.jpg?1650138405","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/460/original/pims0091_MillsD-1_01.mp3?1624270920","type":"Audio","format":"audio/mpeg","duration":1806.02776,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438","type":"AnnotationPage","label":{"en":["MillsD_101_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ELIZABETH SCHAAF: Delandria, I would like to start out our interview, here on\nthe 29th day of May by asking you tell me where you were born and where you grew\nup, and start out by telling us your full name. \n\n\n\nDELANDRIA MILLS: Okay. My name is Delandria Genese Mills, and I'm a native of\nHouston, Texas, and I grew up in an area called Shamrock Manor, between\nPearland, Texas, and Sunnyside, Houston. \n\n\n\nELIZABETH SCHAAF: What was Shamrock Manor like? \n\n\n\nDELANDRIA MILLS: It was great. Homes that sit on two acres of land, and at one\npoint there were a lot of kids in the community, and we chased each other up and\ndown the street, and it was very peaceful. It was a community that knew each\nother. As time went on, everybody grew up and moved out and went into the\nmilitary and schools away from home, but a nice quiet, peaceful neighborhood.  \n\n\n\nELIZABETH SCHAAF: And what about your parents? ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When did they move to Shamrock? \n\n\n\nDELANDRIA MILLS: I have to say when I was about two years old. I remember that\nmove. I remember driving past the empty lot that my dad told me our house was\ngoing to be built on. They built it up from the ground up back in '78.  \n\n\n\nELIZABETH SCHAAF: And where were your parents from? \n\n\n\nDELANDRIA MILLS: Both parents are from Houston, Texas. My father grew up in an\narea of Texas known as Third Ward. My mother moved around a lot between Fourth\nand Fifth Ward. They came together in college, at Texas Southern University.\nThat's where they met.\n\nMother attended high school at Worthing High School. My father attended Jack\nYates, the very proud Jack Yates High School, where he is still a fan of the\nfootball team. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they met at Texas Southern, both growing up in Houston. \n\n\n\nELIZABETH SCHAAF: Oh, for heaven's sakes. Now, what were their fields? What did\nyour father and mother do? \n\n\n\nDELANDRIA MILLS: I believe my father was in electronics. I think he was known to\nbe the guy in the neighborhood where you could take your radios and your TVs,\nand they actually have a picture of him, this real clean-cut, dark-skinned,\ntall, handsome dude at Jack Yates working on TVs in his pastime. It's in the yearbook.\n\nAnd my mother was an oboe player in the marching band. And I think that was\nsomething she took great pride in. She was first chair throughout middle school,\nat Woodson Middle School, and all through high school at Worthing High School. \n\n\n\nELIZABETH SCHAAF: Oh, that's great. Now what was the musical life there in your\npart of the world of Texas? \n\n\n\nDELANDRIA MILLS: One thing, now that I'm away from Houston, I really appreciate\nthe structure in the music programs in Houston. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I started out going to private\nschools, but my mother sent me to Longfellow Elementary for Fine Arts in third\ngrade, and I believe Houston was trying to fix the school system in a way that\nyou would attend Longfellow, then Johnston Middle School for Fine Arts, and then\nHigh School for Performing and Visual Arts. I attended Pershing Middle School,\nwhich is a great school, and I did well there musically, but sometimes I look\nback and I wish I had attended Johnston. But no regrets. \n\n\n\nI had a fantastic band director, Betty Queen [phonetic], who was really, really\na phenomenal force. She encouraged me so much. She put me in the Six Flags\nMarching Band, and she made sure that I was looked after. If ever I needed some\nprivate instruction, she was very willing, for free, to sit with me after school\nand get things together. She really encouraged me. And she made me feel very\nspecial, so I can't regret that move to Pershing Middle School. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But the HSPVA is definitely a gem of Houston. I definitely got, if there are\nany, if there were any students in the area. Unfortunately, now, PVA really just\nbrings students in from the Houston area, but back then there were students from\nall over the huge Houston area--areas outside of Houston. The students outside\nof Houston were allowed to come in and audition to go to the school.  \n\n\n\nIt was definitely Fame for me. It saved my life. I was a shy, little kid, but by\nthe time I came out of there I was outgoing, and there were students just like\nme who were very passionate about what they were doing. So, yeah, definitely\nHouston was a great place for music. \n\n\n\nELIZABETH SCHAAF: Well, what were your earliest recollections of music in your\nsurroundings, and what got you fired up with all of this? \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'd have to say -- and this a beautiful memory for me -- my\nfather got a report from the doctors that he had high blood pressure. I think he\nwas maybe twenty-nine, thirty. And he was one of those people, and he is still\none of those people, that if you mention to him that there's something going on\nwith his body, he wants to be in his control of his health. And so\nautomatically, he changed his diet right away, and he found ways to relax himself. \n\n\n\nSo this meant shorter work hours because he's a self-employed businessman. He\nhas his own landscaping company. I remember him coming home from work about\neight or nine o'clock, and I was maybe three or four years old. And the lights\nin the house -- I used to love when the lights in the house were off, and just a\nfew dim lights in certain places. I love that feeling in the house. And he would\nblast Rachmaninoff, Pavarotti.  \n\n\n\nI just heard these classical sounds late at night. And it never seemed to bother\nhim that, oh, the kids are sleeping let me turn this down some. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If anything, he\nwanted us to be hearing this throughout the night. You know? But I remember him\ncoming home, and he's put on these shorts, and had this huge Afro and this\nreally thin t-shirt that he wore to relax in. He was lying down on the couch in\nthe living room. And I just remember Van Cliburn playing Chopin. And I went in\nthere, and I climbed on top of him, and I fell asleep on his chest, and that\nnight I think is what brought me into music the most. I believe that night I\nmade the decision that that was the most beautiful thing that I'd ever heard.\nAnd if felt like my dad was using it as an escape, and I felt like that was more\nthan an escape for me. That was my life. \n\n\n\nIt can sound pretty corny, but I do believe that because I felt he used music.\nAnd he didn't only listen to classical. He listened to the Platters, he listened\nto the Eurythmics and stuff like that. But I think I started tuning in from that\nnight on. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I tuned into my father's emotions and what he listened to when he was\nin these certain moods, and it would begin to affect me. To this day, I can\nlisten to twelve different genres in one day or even in one outing.\n\nIf the sun is out, I want to listen to a rock and roll group like No Doubt or\nLimp Bizkit or something. And if it's raining outside, I will probably turn to\nBjork or Miles Davis. It's interesting. But I really appreciate my dad for that.  \n\n\n\nAnd then growing up knowing that my mother had the discipline of playing oboe.\nMy dad couldn't play any instrument. He minored in music in undergrad. \n\n\n\nELIZABETH SCHAAF: Including the oboe? \n\n\n\nDELANDRIA MILLS: Right. I tried the oboe for about a week, and just knowing how\nhard it was to get a sound out of it, and knowing that my mom had mastered it\ngave me just a little bit of inkling that I can do it in some form.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so, I went through so many instruments in elementary school before landing\non the flute. \n\n\n\nELIZABETH SCHAAF: Did she tell you how she chose the oboe? \n\n\n\nDELANDRIA MILLS: I don't recall that she did. Oh, I know that she was really\nsmart. And I think the teacher may have used some psychology well, only the most\ntalented and gifted students can attempt the oboe. That type of thing. But she\nnever came right out and told me what made her choose it. She just knew it was\nhard, and she knew it was a beautiful sound.  \n\n\n\nELIZABETH SCHAAF: Well, ultimately. \n\n\n\nDELANDRIA MILLS: Yeah, definitely. [Laughter] But I know that she carried it\naround for years all the time. Popping it in and out of the case, practicing.\nAnd she made sure it was always in the case because she had four sisters and a\nbrother. It was always in the case, and when it was not, it was to her lips\nbecause she was practicing four or five hours a day. She definitely made an\nattempt to master it, but I don't think she thought of it at all as a possible\ncareer choice. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was definitely not that.\n\nBut, no, I have no idea. I'll have to ask her why she chose it. I don't know\nwhat. [Laughter]. She's a phone call away.  \n\n\n\nELIZABETH SCHAAF: And what instruments did your father play primarily? What was\nhis instrument? \n\n\n\nDELANDRIA MILLS: He never played. \n\n\n\nELIZABETH SCHAAF: He never played. \n\n\n\nDELANDRIA MILLS: In undergrad, he was given an opportunity to write a paper for\nhis music appreciation class run by Lanny Steele. I met this man once. I know he\nwas a tall, white man, with a gray ponytail. This is all I know of him. I've met\nhim once at my high school. He was a friend of my band director in high school.  \n\n\n\nHe passed away a few years ago, but he probably does not know how much he\ninspired my dad. I do believe that, even though my dad was an electronics major.\nI think today it would be called some form of engineering, maybe mechanical\nengineering. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But he told all the students to attend Scott Joplin's Treemonisha.\nAnd I think my dad was sort of inspired by that. He went the following week to,\nonce again to Miller Outdoor [Theater], this is where he saw Treemonisha, and he\nsaw the Itzhak Perlman play. To this day, he will always refer to those two things. \n\n\n\nELIZABETH SCHAAF: So that was his introduction to the world of classical music. \n\n\n\nDELANDRIA MILLS: That was his introduction. Yes. Even as a child, he'll tell\nyou. He had nine siblings as well, and he was the only one of the siblings to\ngo, sneak out to see Disney cartoons just for the music. So even as a child, his\nescape was the music. And then cartoons and the music, that was it.\nTchaikovsky's, what was it, Sleeping Beauty? When that cartoon came out, he was\nright there on the front, maybe in the back, because things were still\nsegregated, but he definitely wanted to be a part of music. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so to take that\nmusic appreciation and make the decision to minor in music in undergrad was\ngreat, but he never played. He never played an instrument. \n\n\n\nELIZABETH SCHAAF: Did you and your parents ever talk about the racial climate of\nthe area where you grew up? Because the difference between their early years and\nyours must have been so dramatically changed. \n\n\n\nDELANDRIA MILLS: I appreciate that question. Race was never an issue with them.\nThey never brought it up, I don't think, and I'm very fortunate, but I just did\nnot have bitter parents, which is odd because I know that their parents went\nthrough a lot of struggles. But I don't know. Maybe because they grew up\nprimarily in the '60s, where things, where the climate-- \n\n\n\nELIZABETH SCHAAF: Things were already starting to change? \n\n\n\nDELANDRIA MILLS: Yeah. Yeah. And I know they grew up, each of them grew up in\npredominantly Black areas, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but they just never made it an issue with me. And I\ndid start out going to two private schools that were a hundred percent Black,\nand when the decision was made for my brother and I to attend the Elementary\nSchool for Fine Arts, it was never an issue ever. \"Now you be careful because\nthis school--\" Never. It was nothing like that. And they totally at all times\nmade me feel that they supported any decisions I ever made. \n\n\n\nNow my dad did say to me, I do believe since I was born, well, look at those\nbeautiful hands. Oh, they're going to play great piano. He was always trying to\nget me to play the piano. He wanted to see baby girl play the piano. [Laughter]\nAnd I remember him taking me to a private lesson, and I kicked that poor\nteacher. That lady just couldn't understand the moment it was said, the moment\nmy dad said, \"Well, I guess she doesn't want to play piano,\" I think I was\nthree. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The moment he said that I went to the piano and effortlessly tried to\nmake melodies, they said, well, she has a gift. She just doesn't want to do it. \n\n\n\nAnd I think back, and I wish I could kick myself. [Laughter] I was so spoiled\nand I was daddy's little girl, and I knew. It just looked intimidating to me,\nand from that day forth, I always looked at it as this huge instrument that I\nreally wanted to take on and master. But it just intimidated me so that to this\nday I can't sit it at for a long period of time without just getting frustrated,\nbut I really wish I had. \n\n\n\nBut I went through piano, the violin, trumpet, clarinet. Kept chewing up the\nreeds, and my band director at the time, Walter Smith II, decided, \"Okay, I'm\ngoing to introduce you to this instrument.\" And I remember looking at it on a\nsheet of paper, this silver stick, and saying I don't want to play that. He\nsaid, well, you won't stop chewing the reeds.\n\nAnd I just took the paper home, and I looked at it, and I thought okay, well it\nlooks unique. I don't even think I recall seeing it in person before that day.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When I saw that sheet of paper, and I looked at it for a couple of days. And I\nsaid, \"Okay, Mr. Smith.\" He said, \"Yes, because I know you'll be great at it.\" \n\n\n\nI'm so appreciative that I had people around me who were good at encouraging me.\nBecause I think I was one of those kids that needed to hear somebody say, \"But\nyou can do it!\" And I remember the way my mom suckered me into getting, well,\nshe didn't sucker me into getting my ears pierced. She said, \"Now, Dee, you know\nthis is going to hurt. Are you sure you want to do this?\" I said, \"It's going\nhurt?\" She just went on and on saying, \"Dee, it's totally up to you. But it's\nreally going to hurt.\" And she just had a way of making me take it on as my\ndecision. Yes. Well, it can't hurt that bad. The other girls at school had it. \n\n\n\nI'm just glad that there were other people outside of my parents who had a way\nof helping me make decisions on my own. I just thought about that.  \n\n\n\nELIZABETH SCHAAF: So, what did you think when he handed you that box? \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I thought it was clunky, but it was cute. I liked the case. I\nthought it was a nice, sleek, cute case -- that I kept leaving everywhere. I\nleft it in the stores! I remember running home, almost a mile, when I was seven\nyears old, the bus dropped me off. It was the first day I had my flute. I\ncouldn't wait to get home, but before I went home, I had to go the corner store\nfor my Nestle Crunch Popsicle or whatever it was called. I ran in there, and I\nput my flute down so I could dig into the little freezer to get my Popsicle and\nI paid for it, and I ran home to show my mom my flute. And I was like, oh, I\nleft it! And my mom got into the car and she followed me, but I had already\ntaken off running trying to get my flute. Several times that happened to me\nthroughout my life. It was heartbreaking. \n\n\n\nThe one time that I never got my instrument back was when I begged my mom to get\nme this piccolo. It was silver with a gold mouthpiece, a lip plate. And I kept\nit in my purse. I thought it was so cute -- I'd keep my instrument in my purse.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I had it for a good week, and I think I left it on the bus. And it was a\nsubstitute bus driver, and I don't think she was very honest. I called the bus\nbarn, and I begged my mom. My mom worked at night, so getting her to do anything\nin the day was just a hard task. I said, \"Mom, I think I left it on bus.\" She\nsaid, \"I will call the bus barn to be sure.\" I said, \"No, I think we should go\nup there, so I could check the bus.\" I didn't make it to the bus barn until my\nfather got home later, and he took me there. And I asked every bus driver that\nwas still there, \"Do you know this lady? I think she has my piccolo.\" And it was gone.  \n\n\n\nI had nightmares for years that I left it on the bus stop. And my mom took me to\nthe police station late that night before she went to work, and we reported it\nmissing, but I knew I wasn't going to get it back. I checked pawn shops. For the\nnext five years I checked pawn shops hoping it was there. And wow. After that my\nmom also told me you'll be responsible for purchasing any of your instruments\nfrom now on. At the time, I took it hard. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I can't afford my own instruments,\nthat type of thing, but it instilled in me. Years later when I decided to get\nthe instruments I have now, I got studios of forty or fifty kids to get my own\ninstruments. And to this day I definitely don't look back and think well mom was\nbeing too hard on me. If anything, she was teaching me to be responsible. \n\n\n\nBut, yeah, but going back to that silver stick, I really appreciate him for\nputting me on the flute. It's a gorgeous instrument. Unfortunately, trying to\nput it into the world of jazz and being a female player, it can be a little\nhard. But that is a challenge that I've definitely taken on and that I'm going\nto see until the end. Because there have been flute players before me who have\ndone it well, and I think that I can meet them and take it a step further.\nThat's going to be my goal. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm going to get the saxophone, the jazz instrument,\nthe saxophone, and try to do my best to present what I have to say through the\nsaxophone, but I know ultimately my voice is the flute. It chose me a long time ago. \n\n\n\nELIZABETH SCHAAF: Right. There are a lot of jazz sax players.  \n\n\n\nDELANDRIA MILLS: Oh, yeah. \n\n\n\nELIZABETH SCHAAF: The world doesn't need that many more. \n\n\n\nDELANDRIA MILLS: Thank you very much. I try to tell them that. No, I'm kidding.\nBut yeah, it's definitely a saxophone player's world. \n\n\n\nELIZABETH SCHAAF: So, what did you think when you made that first sound with\nthat instrument? Did you fall in love? \n\n\n\nDELANDRIA MILLS: Not only did I fall in love, but the young kids around me who\nare having a hard time, I immediately wanted them to get that excitement. I\nremember him, saying I can do it, Mr. Smith. I can do it. I can remember him\nsaying, well, help her, help her. And I went around the room, and the next thing\nI know, days later I'm helping them learn to finger notes that I taught myself\nthe next day. \n\n\n\nI wonder if he got a kick out of watching me do that. And there was this solo. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I\nremember my first jazz tune I played at Longfellow was \"Watermelon Man\" by\nHerbie Hancock. We were a swinging elementary band. [Laughter] We played a\nlittle bit of everything, but I look back on it. You could tell by looking to\nhis son, he's a phenomenal tenor player, that he had a heart for jazz. Anyway,\nthere was this one solo in there. It was one bar long. The whole band cut out\nfor the first flute player. And we went into rehearsal, and I couldn't play it,\nand the girl next to me could. And I was first flute. I was so heartbroken. It\nseemed every day when we got to that part she knew I was going to buckle up, and\nshe played it. And so the night of the concert I told her, I'm going to do it.\nI'm going to play that solo. So, she left it alone, and I played that so loud\nand so strong, and he looked at me. He winked. He's like yeah. I was so proud of\nmyself at that moment. \n\n\n\nAlmost twenty years later I saw him at a performance that his son was giving in\nHouston. I said, \"You made me feel so good that day I had that solo.\" He's like,\n\"Yeah, I know. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said you really made me feel like I was a special player.\" He\nsaid, \"Well, you are a special player.\" Now this was when I was in high school\nand I saw him. And his son was, I think, going to be a freshman the following\nyear. And I thought back on that moment. \n\n\n\nWhew! Yeah, that was a great feeling. I think that was the day that--it felt\nlike an improvised solo even though it was written. But because my dad had\nplayed a little bit of jazz around the house, and I knew that felt like a solo.\nI grew up curious, wondering if I could ever play a full-length solo like that.\nYeah. That makes me think back to the Jerry Lewis movie. I don't remember which\none it is, but he is -- Cinderfella, that's what it is. My dad loves Jerry\nLewis, and there is this one scene where he is cooking in the kitchen for his\nstepbrothers and his stepmother, and he's such an idiot. He's dancing around the\nkitchen, and there's something playing on the radio. Who's the big band leader?\nI can't remember. \n\n\n\nELIZABETH SCHAAF: Ellington? \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Count Basie. My goodness. Count Basie's band was also featured\nin that movie. And he's playing along as if he's playing the flute solo. And my\ndad played that for me once. I was thinking I want to play that solo. Little\nbitty things like that throughout my life helped me to realize that that was\nsomething I wanted to do ultimately. I strive for it every day.  \n\n\n\nI got away from it for about three or four years, and I came to Peabody and got\nlost, and found the jazz department, and played for Gary Thomas. And it's funny,\ntwenty-five years later, I'm picking up where I left off. You know, that's so\ninteresting. Almost twenty-five years. I'm making myself older. Almost twenty\nyears later.  \n\n\n\nELIZABETH SCHAAF: Let's back up a little bit. \n\n\n\nDELANDRIA MILLS: Okay.  \n\n\n\nELIZABETH SCHAAF: Getting in here as a flute player is not easy. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I always felt\nsuch compassion for the flute players who audition here because they come in\ndroves. And you can't be good. You have to be spectacular to get in. And what\nled you here?  \n\n\n\nDELANDRIA MILLS: It's amazing when I look back on it. It definitely makes me\nfeel like I was doing something right that God said, \"Okay, you've gone through\nthis other stuff long enough. Now I'm going to show you what I really want you\nto do.\" \n\n\n\nI graduated undergrad after I did three years of engineering and pre-med. I was\nsure that was the direction. \n\n\n\nELIZABETH SCHAAF: Where was this? \n\n\n\nDELANDRIA MILLS: This was at Prairie View University outside of Houston. I did\nthat three years, and Greg Osby and a friend of mine, Jason Moran, came to\nMiller Outdoor Theater to give a concert. Hubert Laws, just weeks before that,\ngave a fantastic performance, and I remember crying during his performance, but\nthen I remember crying again. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What a baby! I remember crying again when I\nwatched Jason Moran, who graduated with me from HSPVA. He announced that he was\ngoing to sign a contract with Blue Note Records, a six-CD contract! And I was\nthinking, we almost took the same path but I decided that trying to do music was\ntoo much of a gamble. \n\n\n\nSo that following Monday, after I saw his performance, I made up my mind I'm\ngoing to major in music. Because I've gone through the music portion of the\ncampus and there was nobody practicing, and I was thinking, these people are\njust playing instruments. They're not trying to be musicians. Let me get in\nthere and show them what's going on! \n\n\n\nSo, I wrote the president of the university several times asking for them to\nbring in a full-time flute teacher. I said I'm an engineering student, but I\nwould like to take lessons on the side. Well, I had done that since my freshman\nyear, but now that I had made a very strong decision, I had voiced it to my\nparents. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All of a sudden, a flute teacher just arrived. They said, \"Oh we're\ngetting a flute teacher next year.\" I said, \"Oh great.\" \n\n\n\nSo, I talk to the head of the music department, Dr. Danny Kelly. This is the end\nof the school year. See this is why I felt like my path was just being written\nout for me because it was the end of the year, and he said, \"Well you know,\nyou've already been here three years. Next year is going to be your fourth year.\nWhen do you plan on graduating? We got to get you out of here.\" I said, okay. \n\n\n\nMy teacher, I met Dr. Bergen, my flute teacher, Dr. Wendy Bergin, and she told\nme, well, you need some experience playing in some different orchestras, and she\nknew the right people, and she had me audition, and I was principal of the\nBaytown Symphony. And I was the substitute. I had practiced so much to prepare\nfor this because I hadn't really been touching my flute. And I immediately went\naround Houston, and I got forty to fifty kids in my private studio. I drove to a\ndifferent school every day where I taught a minimum of eight to ten kids. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I\nsaved all this money, almost over $9,000 for a new flute.  \n\n\n\nSo, I got a new flute. She told me I needed new equipment. She told me, so I'm\ntaking her word for it. So, I get the new flute. \n\n\n\nELIZABETH SCHAAF: What did you get? \n\n\n\nDELANDRIA MILLS: A Powell. I was so proud of that Powell. It was brand-smacking\nnew, and she was with me when I made the decision. I went through all these\ndifferent flutes, and I said, \"Okay, I want these features on the flute,\" and\nthey said, \"Well, you know, we have them here.\" I said, \"No. I want it brand new\nand handmade. I want it brand new.\" And it took a year to get to me.  \n\n\n\nSo anyway, I'm in these community orchestras, and I was practicing a lot. And I\nasked the head of the music department if I could do some community bands. This\nhad never been done before. But I went outside of school. because Baytown\nSymphony was affiliated with Lee College, I asked to get it as a credit. Because\nI was a member of the Houston Symphonic Band, I asked, and that was affiliated\nwith HCC [Houston Community College]. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean the wheels in my head were just a\nturning. I don't give credit to myself for that. I asked that HCC give me credit\nfor that.  \n\n\n\nAnd then I was also affiliated with the jazz band at HCC. It was another part of\nHCC. I also got that for credit. So now, all of these credits that I didn't\nhave, I had in my pocket over a summer. And I only needed like eight credits\nbecause I missed marching band all those years. But I also joined the wind\nensemble, which was a pretty good ensemble. I did that for four credits. That\nwas my eight credits. And I told them, well, you know, I've taken some music\nhistory and theory classes in high school. Maybe if I study really hard over the\nsummer, you can make a test for me to take so I could test out these courses.\nNever been done before, I was the first. \n\n\n\nSo, I tested out of two years of curriculum and still graduated in six years\nwith a music degree.  \n\n\n\nELIZABETH SCHAAF: Great. Great. \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I'm so proud of that. I'm proud of the fact that even that\nyoung, twenty-one, twenty-two, I had it in my mind that I was not going to stay\nin school forever, and I was going to be a musician. So, I did the music\nprogram. I came out. And this is how Peabody came into my life.  \n\n\n\nI was certified to teach. Now, I didn't have to be. Many of my teachers\nencouraged me to be a performance major, but my dad received his certification.\nAnd my parents are definitely models for me.\n\nAnd I was thinking my dad always bragged on the fact, the whole time I grew up,\nthat he could teach any time he decided to, but he really loved landscaping. He\nhad a passion for landscaping, but he always talked about how if he ever got\ntired of it or when he gets ready to retire, he is an all level-teacher for a\nlifetime. Something like that.\n\nSo, I was thinking, okay, I think I should get certified to teach. So, I did.\nSo, I taught elementary school. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I graduated on a Saturday, and I was teaching\nfull time on Tuesday. [Laughter] And that's it. That's just how much they needed teachers. \n\n\n\nSo, I'm teaching K-5 elementary school at Bain Elementary in Mayfair Independent\nSchool District. And I'm wearing the flowered dresses every day. And I totally\ngained forty pounds. I was eating everything the kids were eating, but I was\nstill practicing every day. And it got to a point I realized, not only had I\ngained a lot of weight, but my technique was slowing down. \n\n\n\nSo, after about five months of that, I started bringing protein shakes and\nSlimFast, so I could practice. Not only was I thinking about getting my body in\nshape, but I was using every nook and cranny, every opportunity in the day to\npractice. So, I practiced early in the early in the morning, from like 6:30 --\nno, like 5:30 -- until when I had to be at work, practiced during my lunch\nbreak, practiced during my planning period, which is not so great because I was\nsupposed to be planning for the students. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, after doing that for about a year, my previous teacher, Dr. Bergin, told me,\n\"Well, you know, there's this military audition coming up in D.C.\" About the\nsame time that she told me that, I was preparing for the -- I forgot -- the\nPresident's Own, I think it was called. It was a ceremonial band. The Navy Band.\nAbout the same time that I was preparing for that, I read an issue of Flute Talk\nmagazine, where Emily Skala was being featured. She mentioned that she had these\nproblems with her hands. Now granted, before I started teaching, I was working\nat night at the post office, which nearly killed me, and I was also teaching\nprivate students, and I had two jobs outside of that. While being principal of\nBaytown Symphony, and one of the principals of the Houston Symphonic Band and\ngoing to school during the day.  \n\n\n\nELIZABETH SCHAAF: What did you do with your spare time? \n\n\n\nDELANDRIA MILLS: It was the weirdest schedule. I was going to school. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/transcript/38438/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I had to\nbe at school every day by 10:30 until 4:00. I came home-- \n\n\n\n[END OF PART 1] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1800.0,1860.0"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771","type":"AnnotationPage","label":{"en":["Delandria Mills oral history, 2003 May 29 07-06-2022 13:36 [Index]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Racial climate / Beginning to play the flute","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=667.0,1105.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses the racial climate for her and her parents growing up in Houston. Mills also reflects on the instruments she tried to learn before she came to play the flute. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=667.0,1105.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/34","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Did you and your parents ever talk about the racial climate of the area where you grew up? Because the difference between their early years and yours must have been so dramatically changed.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=667.0,1105.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/35","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Developing a love for the flute","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1105.0,1310.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/36","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes her excitement when she first began playing the flute and her first jazz solo. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1105.0,1310.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/37","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: So, what did you think when you made that first sound with that instrument? Did you fall in love? ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1105.0,1310.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/38","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Choosing Peabody","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1310.0,1806.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/39","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills reflects on the choices she made and the life experiences that led to her choosing to attend Peabody. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1310.0,1806.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/40","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Let's back up a little bit. DELANDRIA MILLS: Okay. ELIZABETH SCHAAF: Getting in here as a flute player is not easy...","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=1310.0,1806.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/41","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills's parents / Exposure to music","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=53.0,667.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/42","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses her parents' histories and their influence on her musical journey growing up. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=53.0,667.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460/index/51771/annotation/43","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: And what about your parents? When did they move to Shamrock?","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117460#t=53.0,667.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461","type":"Canvas","label":{"en":["Media File 2 of 4 - pims0091_MillsD-1_02.mp3"]},"duration":1809.03184,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/461/small/mills_photoshop.jpg?1650138418","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/461/original/pims0091_MillsD-1_02.mp3?1624270922","type":"Audio","format":"audio/mpeg","duration":1809.03184,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439","type":"AnnotationPage","label":{"en":["MillsD_102_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DELANDRIA MILLS: My schedule was go to school, come home, practice, sleep, wake\nup, go to work at the Post Office. Come home around 5:30, sleep until it was\ntime to drive an hour to school. And I did this in the summer. So, I went from\ndoing that to teaching, but my hands were so worn out, and not to mention that I\nbought a new head joint that was even heavier, so it was even killing my hands.\nThe two hours of driving every day back and forth from school, and then I was\nthe flat sorter clerk at the post office. I was constantly typing and sorting\nmail, and my hands were torn up.  \n\n\n\nAnd so, when I read this article about Emily, she mentioned that she had a lot\nof problems with minor carpal tunnel. And I was thinking, huh, I'll be in the\nD.C. area. It was only like a forty-minute drive, so I think I'll make an\nappointment with her. So anyway, I got bold enough to call her. She said,\n\"Well, you're going to be in the area, why don't you audition for the school and\napply.\" ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No, my teacher actually said that. She said, \"Well, since you'll be in\nthe area, why don't you apply and at the same time audition for Peabody.\"\n\nI didn't audition for any other school. In my mind, I figured, oh well, I want\nto be a great musician, but I'm just going to do it on the side while I teach\nelementary school for the next twenty years. Well, I came into the panel, I\nauditioned, I got in. It was a great life decision. It changed my life.  \n\n\n\nI came to Peabody, and I'm walking around the school, and I get lost in the\nConservatory Building, and I come upon this door that said, Gary Thomas, Eric\nKennedy, Greg Osby. I didn't know the first two names, but I knew Greg Osby was\nplaying with my friend Jason Moran at Miller Outdoor that day that I made the\ndecision to become a music major. And I knock on the door, and Gary Thomas opens\nthe door. And I'm like, \"Yeah, you know where I can find Greg Osby?\" And Gary\nThomas -- I mean, at that point I did not know who he was. But he's like this\ntowering figure, and he says in this deep voice, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Why are you looking for Greg\nOsby?\" And I just thought, wow, I hope I didn't just offend this guy. And I'm\nthinking, well, I have an interest in jazz, and I did know that there were some\nauditions being held for jazz, so I played for Gary, and little by little I\nfound out more of who he was, and appreciated him for who he was. And I did some\nresearch, and he became my teacher outside of classical, which was a hard thing\nto do. I took the improv classes. I took a few lessons with him now and again.  \n\n\n\nThat first year, it was okay, it wasn't so hard. I could practice the jazz. It\ndidn't sink in how much effort and time I was going to have to put into jazz.\nBut Emily Skala, she was so great. She had a way of looking at me and just\nknowing I was tense. She got me really in tune to my body. With the yoga and the\nbreathing and just taking time out of my day to focus on Delandria's needs. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Just\nslow down and breathe. I lost so much weight just being under her guidance.\n\nNow, of course, flute skills came up quite a bit also. But I appreciated her for\nwhat she did for my mental health. Just getting in tune with my body seemed to\ndo wonders for the rest of, the way I thought, the way I saw the world, the way\nI saw music, the way I related it to myself, and everything, I really\nappreciated her for that. But then she left and Marina Piccinini came in.  \n\n\n\nNow granted, I'm trying to do jazz on the side. I was only practicing my jazz\nlike thirty minutes a day. Well, throughout that year, I started realizing I was\ndefinitely getting more serious about jazz. I could feel it. That thirty minutes\na day became four hours a day.\n\nMarina takes no -- well, what's the saying? I'm about to get it wrong. \n\n\n\nELIZABETH SCHAAF: Takes no prisoners. \n\n\n\nDELANDRIA MILLS: Thank you. [Laughter] And no junk, and which is great. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She's a\nphenomenal player, and in my opinion, one of the best in the world hands down.\nAnd wow, you step into her studio and she means business. And fortunately for me\nher schedule was pretty rough, and she couldn't be here often. She worked it out\non her schedule for the next year, but this year that I had her, I didn't see\nher very often. So, when she came into town and she was teaching me, I only got\nmy bruises from her once a month. [Laughter] \n\n\n\nMy mental bruises. I was like, Dee, you have to do better. I am going to do what\nshe says because I trust her opinion. She's a fantastic player, and I'm going to\ndo my best, but jazz was just taking over and I started putting in not four\nhours a day, but twelve hours a day. And then it was sixteen hours a day. I went\nhome for Christmas. This is how I knew that jazz was definitely the direction I\nwas going into. I practiced one day straight. I'm sure it was twenty-four hours.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And my dad came, and because I didn't want to intrude on anybody's sleep in the\nhousehold -- this was during the Christmas break -- I went into the kitchen\nwhich is at the far end of the house.\n\nMy dad could still hear me, and he came and said, \"Didley\" -- that's what he\ncalls me -- \"you have to get some sleep.\" You have to go to sleep. Okay, so two\nhours later he comes back, \"Didley, go to bed.\" Now this was a stern voice. \"Go\nto bed. You know, this is not healthy.\" So, I'd lie down. I went to bed. I was\njust lying there for a little bit, and I was thinking, but I'm awake.\n\nSo, I get in my mom's car, and I drive to Rice. And I guess it's two o'clock in\nthe morning, and I practice until I know she has to be at work. My car was here\nin Baltimore. I drove back home just in time for her to make it to work. She\ngoes to work. I practice all day while everybody's gone. \n\n\n\nAnd I thought to myself, this is something else! I was so wired up, I was\nthinking if I have the energy -- it became part of my thinking that if I have\nthe energy to do it, I don't like to put it off. Because there are times when I\ncan't touch the flute at all when I'm just so worn out. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So anyway, that time in my life I knew that jazz was going to be my focus, and I\nmade it known to all of my teachers. I told Marina how I felt, and she totally\nsupported that decision because she could see it, and she could definitely hear\nit in my playing. And when I gave my master's recital, I was very disappointed.\nI didn't need anybody else to tell me what they felt about it. I knew how I\nfelt. I didn't wear makeup. [Laughter] \n\n\n\nELIZABETH SCHAAF: You looked like a million dollars! \n\n\n\nDELANDRIA MILLS: Thank you. But I felt like I was just going through the motions\nof it, and that hurt me because I knew that my junior and senior recitals at\nPrairie View, I gave my all. I could feel it through the music, and I know that\nit came across the audience. But I know it did not happen at the master's.\nAnyway, Bonnie Lake came up to me after my recital. She said, \"You have\nsomething special. You really have something to give.\" But she said it in a way\nthat I knew something was lacking. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She genuinely meant it, but I can hear when\nsomebody -- there are undertones they don't even know that are there. \n\n\n\nELIZABETH SCHAAF: Right. Right. \n\n\n\nDELANDRIA MILLS: But she definitely meant it. She was always giving me that type\nof feedback throughout my career at Peabody, my master's career. Then Laurie\nSokoloff came up to me. She's like, \"You know, Delandria, it was a fantastic\nrecital, but something was missing. If you ever need to talk, just let me know.\"\nThen Marina congratulated me on the recital, but I felt something was lacking\nthere too. But because I studied with Marina and I knew what she expected, I\ndidn't need her to say anything else. I beat myself up enough. \n\n\n\nSo everybody leaves the room except my dad and my brother. My towers, they were\nmy heroes that weekend. They came to hear me play, and I loved their presence.\nAnd so they were waiting on the side, waiting to take me out, and Emily Skala\nstepped up to me. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think maybe she wants me to keep that between the two of us\n-- but she knew then that there were some things that I had to let go of. \n\n\n\nAnd she told me: \"Dearie, dearie, you need to make some decisions.\" And because\neverybody knew how passionate just my audition at the Peabody was, that people\ncould feel it was lacking. And she told me jazz. Everybody knew it, that it was\nthere because people talk. Oh, she's taking these classes. Oh, she sounds so good.\n\nI knew that I need to make that decision, and I did. I graduated, and I\nauditioned for the jazz department and that was it.  \n\n\n\nELIZABETH SCHAAF: You played first flute with the orchestra. \n\n\n\nDELANDRIA MILLS: Yes. The first year I believe I was one of the principals for\nPCO [Peabody Concert Orchestra], and then my following year, I was one of the\nprincipals, the top three principals in the Peabody Symphony Orchestra. \n\n\n\nELIZABETH SCHAAF: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, you weren't doing so badly. \n\n\n\nDELANDRIA MILLS: No. I definitely was growing as a flutist. I was definitely growing. \n\n\n\nELIZABETH SCHAAF: And you played the concert, you were first flute when they\nplayed at Meyerhoff [Joseph Meyerhoff Symphony Hall]. \n\n\n\nDELANDRIA MILLS: Yes. Well, I forget. Was I? \n\n\n\nELIZABETH SCHAAF: Yup. \n\n\n\nDELANDRIA MILLS: Huh! On one of the pieces, and I play alto flute on the\nBernstein. Oh, that was such a beautiful piece. I'm very passionate, still,\nabout classical music. It hurts. It hurts having to make a decision. And I've\nheard many people say, Wynton Marsalis and Branford Marsalis, they pull it off.\nFor me and a lot of people that I've known, there is a time when you have to\nmake a decision. Which one are you going be stronger in?  \n\n\n\nAgain, I can't say Wynton's take on it. I don't even know him well. But I do\nknow that for me there is going to have to be. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Just as I put in more than half\nof my life as a classical music, I'm going to have to do the same with jazz just\nto get to the edge of where I want to be musically in jazz. It's such a journey\ntrying to build a vocabulary in jazz.\n\nIt takes years for you to understand how you're going to approach this way.\nMaybe trying to play by ear or just trying to play theoretically or just trying\nto play, singing and speaking through the instrument, it's definitely a\nlife-long journey. And I felt like I put it off so long that now that I'm just\ngoing at it full force.  \n\n\n\nELIZABETH SCHAAF: Well, don't you feel like it requires a fluency? I mean,\nanalogous to what you have to bring to classical music. \n\n\n\nDELANDRIA MILLS: Oh, definitely. More so, in my opinion. A lot of classical\nmusicians I know look down on jazz musicians as if we're just up there swinging\nand playing what we feel. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But it's so not true. Not only do you have to be able\nto play with the facility that classical musicians play, you have to be\ncomposers on the spot. And it's such a challenge. People who know me, friends,\nthey know I beat myself up. I'm constantly trying to get this out. \n\n\n\nThere are patterns that I worked on in classical music. I mean for one, I have a\nlot of friends who play classical music, and they start on the tonic and end on\nthe tonic. They start on the root of the scale and they end on the root. And\nthat's all they ever do. Occasionally from the three, the five, and the seven.\n\nWhew! In jazz, you have to be able to approach it from so many angles. You have\nto play on the modes of the different scales. There are seven degrees in each of\nthose scales, and you need to be able to dissect them from every degree of the\nscale, which is something I'm totally working towards all the time.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's unfortunate that a lot of classical musicians still think that jazz\nmusicians are up there just playing what they're feeling, and I challenge every\none of them to give it a try. \n\n\n\nELIZABETH SCHAAF: Well, to be fair, there are a lot of jazz musicians, even\nthose with some fairly serious names, that a classical musician looks at, and\nyou think, \"What?\"  \n\n\n\nDELANDRIA MILLS: Definitely. Yeah definitely, definitely. We'll be able to edit, right? \n\n\n\nELIZABETH SCHAAF: Oh, yes. \n\n\n\nDELANDRIA MILLS: I'm thinking I want to go back into that, but I want to say\nthat in a different light because I think I want to take Wynton out of there.\nSay what you just said again. \n\n\n\nELIZABETH SCHAAF: Well, there are a lot of jazz musicians. And many, I mean some\nof whom are well known that have brought those criticisms down on their own heads. \n\n\n\nDELANDRIA MILLS: Definitely. \n\n\n\nELIZABETH SCHAAF: I mean, they can't play anything but clichés. They've got a\ncouple of good riffs, they play them a couple of different ways, and it gets old\nand boring.  \n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There is definitely some give and take. A lot of jazz musicians\nlook down on classical musicians. Because I've learned that classical musicians\nput a lot of time into their repertoire and their tone. Whereas I feel, and this\nis only my opinion, but I'm starting to learn that jazz musicians put more\nemphasis on the rhythm and the vocabulary of what you're playing.\n\nThe tone is great because you don't have to have a perfect tone, whatever that\nmeans, whatever perfect means. You just to have your own sound. I mean because\nit would be great for someone to turn on the radio and know that that's me\nimmediately. Aside from Hubert Laws, aside from Bobbi Humphrey, \"Oh, that's\nDelandria. I'd know that sound anywhere.\" \n\n\n\nELIZABETH SCHAAF: Well, the people who play Renaissance music have the same\ncriticisms of the people whose realm is classical music because they're\nbasically doing the same thing the jazz musician is doing. They're creating\ntheir own music based on this sketch. \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Definitely. It's the weirdest thing because the music is just\nmusic. And they could easily come together and be one with each other because I\nknow that when I write my compositions, a lot of my inspirations comes from the\nclassical composers. \n\n\n\nELIZABETH SCHAAF: Okay. Now you've just taken a left turn. When did you start writing? \n\n\n\nDELANDRIA MILLS: Actually, last summer.  \n\n\n\nELIZABETH SCHAAF: Really? \n\n\n\nDELANDRIA MILLS: Greg Osby gave a master class, and he told us, out of the blue,\nall right, let's get some original compositions. \n\n\n\nELIZABETH SCHAAF: Good for him. \n\n\n\nDELANDRIA MILLS: He went around the room, and I would say 70 percent of us did\nnot have anything to present. Now a few of us did, and they ran home and they\nbrought their compositions back. And he asked me, and I had a sad report. I\nwrote one in undergrad with a friend. I wrote another one a few summers ago with\nanother friend from Berklee, but they weren't really my tunes and I didn't know\nanything about the theory behind it. I just thought hey, let's do this for fun. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, when he made that challenge, a lot of people don't know -- some people are\nlearning about me, I don't need a challenge. I challenge myself enough. You give\nme some great advice, I'm going to take it and run like it was on fire. And when\nhe told me, \"You need some original compositions,\" that summer I made an effort.\nI made a strong effort to write a tune every day, and I ended up with twenty-six\ntunes at the end of the summer.\n\nNow only three of them I have bothered to try to play in public. \n\n\n\nELIZABETH SCHAAF: That's okay. \n\n\n\nDELANDRIA MILLS: Yeah. \n\n\n\nELIZABETH SCHAAF: You've done the exercise. \n\n\n\nDELANDRIA MILLS: And I would have to say Bernstein, there are some colors that\nhe and Mahler use -- in Mahler 4 and Rachmaninoff. The list goes on and on. To\nthink that people try to separate genres of music is just idiotic because the\nharmonies that jazz musicians used initially were those of the European -- they\nwere definitely European harmonies brought together with African rhythm. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's\njust me.\n\nNow, I can't say African rhythm. I have to say rhythm that seemed to be derived\nof African slaves once they got here. I mean, that's been a lifelong tale of\nmusic that the slaves use or that of the Black church. Gospel music. That just\ncame together and formed this beautiful music. I hate to hear anyone who would\ntry to claim it. \n\n\n\nOf course, most of the pioneers and the influence did come from African\nAmericans. But if we can come together, we could make some beautiful music. And\na lot of the jazz musicians are doing that. I mean, as far back as Coltrane and\nMiles Davis, they definitely checked out what Shostakovich was doing, and\nStravinsky, and what was going on in Rite of Spring. [Crosstalk] \n\n\n\nELIZABETH SCHAAF: Who were checking in on what they were doing! [Laughter] \n\n\n\nDELANDRIA MILLS: Exactly. Definitely. Debussy was definitely checking out what\nthey were doing, and Bartok was definitely checking out what they were doing,\nand Gershwin. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All of the American folk composers, they were definitely checking\nout what was going on with jazz.\n\nSo, this has been fusing for a while, so it's interesting how we still stay\nseparate from each other. \n\n\n\nELIZABETH SCHAAF: Especially since the drawing together started such a long time\nago. Where has it been? \n\n\n\nDELANDRIA MILLS: The communication is still not there. Yeah, that gap just stays\nthere. Everybody is so in tune with self, still, that it's kind of hard to break\naway from that. When you find other selves that are into themselves, and they\njust stick together like glue, I guess. \n\n\n\nELIZABETH SCHAAF: Well, did you encounter any criticism about your decision to\nedge over into the world of jazz? Or not edge over. My goodness, this is a path\nyou've been on for a long time.  \n\n\n\nDELANDRIA MILLS: Yeah. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I don't feel it was criticism. I think a lot of people\nwere just concerned that I gave myself less options. But I've definitely been\nmindful of that. I've always been a person with an A, B, C, and D plan. \n\n\n\nLike I said, when I was doing engineering, I was doing pre-med, but I was also\ntrying to teach private students -- the same students I had since I was sixteen.\nIt was always about, if pre-med didn't work out, I was considering\npre-dentistry. It always had to be another path that could perhaps lead to\nsomething else. So that's always been me. \n\n\n\nBut I continued to try to play in community orchestras. Or I'll play with\nfriends who are giving composition recitals or I try to continue to read etudes\nand stuff at least every other day. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then, of course, the fact that I still\nteach a lot of my students classical music -- it's still there, and I try to\ncontinue to listen.  \n\n\n\nBut yeah, I could tell that there was some concern. \"So, you're not going to\nplay at all?\" And then I had one friend -- I won't mention her name -- she's a\nstudent at Peabody. She actually did, \"Whew!\" One of these numbers. One less -- \n\n\n\nELIZABETH SCHAAF: Competition. \n\n\n\nDELANDRIA MILLS: Yeah. One less person to be in competition with. And I met her\nat a Julius Baker master class a few years ago, so if she ever reads this\ntranscription, she will know that I'm referring to her. [Laughter] But she just\nremembered being so intimidated by me. The one summer, after I had gotten back\ninto classical music when I was an undergrad, I started attending all the master\nclasses that I could. At Rice University, anywhere, Baylor College, anything was\nin the Texas area that I could drive to, I was there, in the audience. I may\nhave not been skillfully there to participate yet, but I got there. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, I auditioned for the Julius Baker master class in Connecticut, and I\nparticipated. I played the Ibert concerto. I heard this a year prior to that,\nplayed by a girl, and I was thinking, oh, that's a challenge. And I went for it,\nand I played it. And this girl, a year or so later, was also a student at\nPeabody, and we met up for the first time since then. We couldn't place each\nother. But we finally -- \"Oh, that's where I know you from.\" \n\n\n\nTwo years after that she said, \"I remember you played that Ibert concerto, and\nwe were all looking at you on the stage and thinking this girl is going to be\nfamous.\" The way she put it was that I put so much muscle behind my playing.\nThat I had control of the instrument. It hurt me when she said that because I\nfelt like I didn't have it anymore at that point because I wasn't practicing\nclassical music with that much effort. Well, it had gone into jazz. But it hurt\nme because I already began to miss the way that I took on a piece and mastered\nit. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I began to miss that feeling already. But, yeah, there was definitely no\ndiscouragement. If anything, people were supporting the fact that it was a\ndecision that I made. \n\n\n\nELIZABETH SCHAAF: Right. \n\n\n\nDELANDRIA MILLS: Yeah. All of the faculty at Peabody. \n\n\n\nELIZABETH SCHAAF: All of them? \n\n\n\nDELANDRIA MILLS: All of them, even [Hajime] Teri Murai, the conductor of the\nPeabody orchestras, said to me, \"So how does it feel improvising?\" Or, \"How does\nit feel to be in that part of the building where you're improvising all the\ntime?\" [Laughter]\n\nAnd I was thinking, yeah, it was great. I apologized. That was the first time I\nhad really spoken to him all year during the first year of my jazz studies. And\nI told him, \"I really appreciated working with you.\" Now, of course, students\ncomplain. It's just one of those things. Kids complain about their parents, and\nthen students complain about their teachers. \n\n\n\nELIZABETH SCHAAF: And their musicians complain about their conductors. \n\n\n\nDELANDRIA MILLS: Exactly. \n\n\n\nELIZABETH SCHAAF: It's a rule. [Laughter] \n\n\n\nDELANDRIA MILLS: Exactly. But I have always appreciated any leadership in my\nlife, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"even if they said something that I felt was too harsh or some type of\ncriticism, I always had a way of turning a negative into a positive. But with\nhim, it was. I really didn't even have to do that. Every run-in that I had with\nhim was always a positive one.  \n\n\n\nBut I remember, in the Bernstein, it was the end of my second year in the\nmaster's program, and we played at the Meyerhoff, and I played alto flute, and I\njust kept losing focus in the rehearsals. And he said, \"Alto flute, let's get it\ntogether.\" He does not know how close to tears that brought me. And it was not\nbecause of him. It was because I knew that I was not going home doing what I\nused to do, which was sit with the music and listen. I was internalizing the\nmusic before that point. But now I was internalizing something else. I was\nlistening to something else all day long. \n\n\n\nI was working in the café, the Maestro's Café. If you came in there when I was\nworking, I was either writing out music, jazz, writing out patterns, writing out\ntranscriptions or listening, or both. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This was my life at that point. And I had\na recital coming up, I had this concert coming up, and I had nothing coming up\nin the Jazz Department, but I was doing it for myself.  \n\n\n\nAnd so anyway I apologize to Teri Murai when I saw him a few months ago. He's\nlike, \"Oh no, you were fantastic. What are you talking about?\" And it's funny. I\nheld that in for a whole year, and just to hear him say that was just like,\n\"Dee, you really have to lighten up on yourself.\" Because even back then, I look\nback on it. He didn't make a big deal out of it at all during rehearsals. He did\nhave to do it two rehearsals in a row, which bothered me, and he probably didn't\neven think twice about it. Well, maybe he did. I don't know. \n\n\n\nELIZABETH SCHAAF: Because you sounded great in performance.  \n\n\n\nDELANDRIA MILLS: Thank you. [Laughter] \n\n\n\nELIZABETH SCHAAF: How'd you feel during the performance? \n\n\n\nDELANDRIA MILLS: Actually, during the actual performance, I was so into the\nmoment of what was going on. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's the one thing I will miss. And, you know,\nmaybe ten years from now I will make the decision to audition for a symphony.\nBut I miss being in the center of all that massive sound. I feel like as\nflutists we have the best seat in the house. I have all these brass players\nbehind me, and then they'll put a chorus behind them. It's the best feeling in\nthe world. You can't get that from sitting between speakers at home. You just\ncan't get it. \n\n\n\nELIZABETH SCHAAF: That's right. \n\n\n\nDELANDRIA MILLS: And to see a conductor in front of you, sweat slinging, and\nthose facial expressions. He probably has it better than us because he's facing\nthe sound. I just, oh, I miss that. And I miss doing it. And I had played with\ngroups that were at higher caliber than the orchestras here. Not to down them,\nbut before I came to Peabody, I think I was really getting a great experience\nbecause I was playing with community orchestras that were made up of people who\nwere decades older than me. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they used to be in the Houston Symphony, and\nthey had a decision to retire or they were band directors who were playing.  \n\n\n\nThese were great caliber musicians, and rehearsals went by like that. And we got\nstraight to the point, and we were out of there. But Peabody, I was getting a\nlittle slower, I was playing with other students, and it's funny how my -- I\nrose to the occasion in which I was in -- always. That seems to be the story,\nthe base of it all. \n\n\n\nELIZABETH SCHAAF: That's the important bit. \n\n\n\nDELANDRIA MILLS: Yeah. I think I rose to the occasion. And so, when we actually\nhad concerts at Peabody when everybody was at the top of their game, that's when\nI really appreciated being in the ensemble. It wasn't the rehearsals. It was the\nmoment when I can feel everybody else's energy around me, and they're doing\ntheir best. Even if it wasn't quite there, they were doing their best, and you\ncould feel that energy. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I miss that definitely. So maybe one day I'll go in that direction. \n\n\n\nELIZABETH SCHAAF: One of the things that I've always -- it's kind of a perverse\namusement, but I always feel such empathy when students are coming up for their\ngraduation, especially at the graduate level. That feeling of rushing up to the\nprecipice and what happens next. I didn't get the sense that you had that. \n\n\n\nDELANDRIA MILLS: When I graduated? That I had reached it? \n\n\n\nELIZABETH SCHAAF: You didn't have that \"I might just fall off the edge. What's\ngoing to happen to me?\" \n\n\n\nDELANDRIA MILLS: Oh, yeah. It was as if someone put wings on me. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was ready to\ntake off when I graduated. Oh, that is so corny. Bobby McFerrin was the speaker\nat my graduation. And he was so inspiring. I really need to get that in writing.\nBut he said some of you are going to go on to take music by storm, some of you\nare going to decide you want to do something else. I knew that this was just --\nit felt like the first day. I can't say if it was the first day of the\nbeginning, the end. This is the first day, this is the last day of the first day\nof your lives, whatever the saying is.  \n\n\n\nI felt like something was about to happen. I'm on the brink of something. I made\nup my mind that I want to be a leader of my own quartet, quintet, whatever.\nComprised of people, male or female, who respect me and the music that I would\nlike to make, whether it's my own original compositions, their compositions, or\nstandards, but to be just be standing in front of a group. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I thought what do\nI do next to prepare myself for that level. Because as a kid I had such an\nimagination. I remember sitting on the school bus, and I was a very shy kid. I\nmean, I was very soft spoken. I didn't speak to many people. But those in my\ncircle, I expressed everything to them. \n\n\n\nBut as a kid, I remember just sitting on the bus, and imagining that all of\nthose kids who didn't see the potential in me, would one day be in the audience\nwatching me, just in awe of me. And I kid you not, that same image popped up in\nmy head throughout elementary school and middle school for years. \n\n\n\nLike I can't wait to be on stage. I didn't know what I was going to be doing. I\ndidn't even see myself as a flute player. I just knew I was going to be a\nperformance. And then one day in middle school I had this vision -- if you can\ncall it a vision. Because I used to write poetry a lot, and I would try to put\nmyself in a surrounding where I could just drift off. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I saw this image of me\nin a long silver dress with gray hair, natural locks, and I don't know why I\nthought that either, because I had always worn my hair straight. But I saw\nmyself in these gray natural locks in front of an audience, and they were\nappreciating every note that came out of me. And I can't tell you flute or vocal.  \n\n\n\nBut I think I was inspired by a performance of Nancy Wilson that I saw on\ntelevision. I thought, wow, just to watch her just grace, just grace those\npeople in the audience with her presence. And this is on TV, and I felt like I\nwas there. And for some reason that inspired me so much that I think that that's\nwhy, and she wasn't wearing a silver dress. I think she was wearing black or\nsomething, but I was thinking, wow, one day I want to step out on stage and\neverybody feel every note and just be taken by it. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/transcript/38439/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I don't know. I forgot what\nour original point was. \n\n\n\n[END OF PART 2] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1800.0,1860.0"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772","type":"AnnotationPage","label":{"en":["Delandria Mills oral history, 2003 May 29 07-06-2022 14:21 [Index]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Jazz and Classical musicians","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=637.0,842.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses the different skills jazz and classical musicians need and the attitudes and misconceptions present between them.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=637.0,842.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/34","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Well, don't you feel like it requires a fluency? I mean, analogous to what you have to bring to classical music. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=637.0,842.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/35","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"From classical music to jazz","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=81.0,637.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/36","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses how she came to the decision to focus on becoming a jazz flutist during her time as a student at Peabody. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=81.0,637.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/37","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: ...I came to Peabody, and I'm walking around the school, and I get lost in the Conservatory Building, and I come upon this door that said, Gary Thomas, Eric Kennedy, Greg Osby. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=81.0,637.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/38","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills's compositions / Influence of musical styles","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=842.0,1063.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/39","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses how different musical styles influence her compositions as well as the influences the different styles have on each other. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=842.0,1063.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/40","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: Definitely. It's the weirdest thing because the music is just music. And they could easily come together and be one with each other because I know that when I write my compositions, a lot of my inspirations comes from the classical composers. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=842.0,1063.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/41","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Reactions to her decision to be a jazz musician / Favorite parts of performing classical music","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1063.0,1582.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/42","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes the reactions fellow students and faculty members had when she chose to focus on playing jazz. Mills also reflects on the parts of performing classical music she misses through remembering past performances, including a performance with Teri Murai at the Meyerhoff Symphony Hall.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1063.0,1582.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/43","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Well, did you encounter any criticism about your decision to edge over into the world of jazz? Or not edge over. My goodness, this is a path you've been on for a long time.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1063.0,1582.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/44","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Plans after graduation","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1582.0,1809.03184"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/45","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes the goals she had when she reached her graduation from Peabody. She also reflects on the dreams for her future she had while growing up. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1582.0,1809.03184"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461/index/51772/annotation/46","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: One of the things that I've always -- it's kind of a perverse amusement, but I always feel such empathy when students are coming up for their graduation, especially at the graduate level. That feeling of rushing up to the precipice and what happens next. I didn't get the sense that you had that.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117461#t=1582.0,1809.03184"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462","type":"Canvas","label":{"en":["Media File 3 of 4 - pims0091_MillsD-2_01.mp3"]},"duration":1815.04,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/462/small/mills_photoshop.jpg?1650138427","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/462/original/pims0091_MillsD-2_01.mp3?1624270923","type":"Audio","format":"audio/mpeg","duration":1815.04,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440","type":"AnnotationPage","label":{"en":["MillsD_201_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ELIZABETH SCHAAF: Let's go back. You were at graduation in the Peabody Concert\nHall, and you made this statement about how you felt that this was just the\nbeginning of something. \n\n\n\nDELANDRIA MILLS: Definitely. I was anxious to get started. To be honest with you\n-- and I love my family. They came out in droves to support me for my\ngraduation, but I was anxious for everybody to go home. I was anxious for them\nto go home, so I could practice. And this is the second summer that I've decided\nto stay home and just practice.\n\nAnd of course, I'm going to go home a couple of times, but it takes a while for\nme to get into a train of thought so that I can have very focused practice. As a\njazz musician, or just as a musician in general who's trying to be very serious,\nfocused practice is really the practice that counts. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"To just go through the\nmotions and just playing patterns won't get it. And for myself I've learned that\nhas to be a situation that I can be focused in.  \n\n\n\nELIZABETH SCHAAF: But you had talked earlier about discovering jazz at Peabody,\nbut this has been a continuous path for you. And you had talked about going to\nworkshops when you were in college when you were still looking at engineering\nand pre-med? \n\n\n\nDELANDRIA MILLS: That's interesting you brought that up. And when I was in high\nschool, the band director there, Dr. Robert Morgan [phonetic], who is definitely\na phenomenal person as well as teacher -- I was in the classical program in my\nhigh school, and I don't know why I was always curious about jazz. I could never\nput my finger on it growing up.\n\nBut after going to a band concert, my ex-boyfriend, at the time, was a trumpet\nplayer -- ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've had two boyfriends that were trumpet players. The first one, he\nwas in the big band, and I went to one of his concerts just to support him, and\nI think I was in the ninth grade, and \"Shiny Stockings\" was played. The big band\nplayed it. And I thought, wow, I really wish I could be a part of that. \n\n\n\nSo, two years later I was now dating another trumpet player, and I told the band\ndirector, they were going on these different trips. And I said, \"Is there any\nway you can put some flute parts in the tune?\" He said, \"Well, actually, Jose\nDiaz\" [phonetic] -- who was another band director at another school in the area\nthat had the most fantastic jazz department, MacArthur High School -- Jose Diaz\nhad just written this tune called \"Lisa's Theme,\" and it actually was going to\nfeature flute and trumpet. And he said, \"Yeah, you can play on this tune.\" We're\ngoing to be playing in Galveston, Texas, at some festival. \n\n\n\nAnd I played it, and it had like this Latin feel to it. And he loved what I was\ndoing to do it. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I had no idea what I was doing. I was just using my ears,\nand I was improvising. He said, \"You're great at this.\" So, he found ways to use\nme again in the big band because a lot of people back then were not doubling on\nflutes. And so, it just became one of those things. Those two years, those last\ntwo years of my career there, I dropped the opportunity of being in symphony to\nbe in the big band.\n\nWhich was great for me in two regards because I could practice, but I was\npracticing classical stuff when he wasn't using me in the big band. And I could\ntry to get my chops up. I forgot where I was going with that.  \n\n\n\nOh, it was taking advantage of jazz workshops. Okay. So, my senior year in high\nschool he announced that we were going as a big band to San Antonio, Texas, for\nthe annual International Association for Jazz Educators convention. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we went,\nand I loved it. It was in the hotel off of the River Walk, and then every\nballroom there was big band, and there were exhibits where they selling\ndifferent CDs and instruments and stuff.\n\nAnd once I graduated, I found out the big band was going again in '95, and I\ndecided -- I asked the band director, the old band director, if I could attend\nwith them in Anaheim, California. So, I went. And then two years later I was\nthinking, well, maybe I'll make this a biannual thing, and I couldn't afford it\nin '97. And I went again, on my own, in '98 in New York.  \n\n\n\nAnd it's the weirdest thing. I was not playing jazz anymore. I could not read\nchanges, but I just felt a need to be around jazz musicians and to know what was\ngoing on in the jazz world. And it's funny, also, like I got inspired the most\nwhenever I was practicing, if I got tired, I didn't pop in what everybody else\nwas popping into the record player. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Even when I was driving in my car, I don't\nrecall ever listening to pop music for more than ten minutes in my car if I was\nalone. It was always Ella Fitzgerald, Charlie Parker, John Coltrane, Wayne\nShorter, Roy Hargrove, Billy Harper. Joe Henderson. I always felt a need to be\nable to see exactly what they were playing, to know their nuances.\n\nSo when a player came on the radio, I wanted to know if that was Dexter Gordon\nor if that was Sonny Rollins, versus John Coltrane, versus Pharoah Sanders,\nversus Illinois Jacquet. I got to a point where I wanted to know this. For no\nreason. I knew I needed something outside of engineering, and I knew that I\nloved the music.  \n\n\n\nAnd I just remember going to jam sessions. I remember in '98 I was walking\naround the hotel by myself, and Roy Hargrove walks up, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and he's trying to be\ncharming, and he's talking to me, and he asked me what did I play, and I said\nflute. And immediately the conversation went somewhere else. And I felt, \"Oh,\nwell, she's just a flute player.\" Which was cool, and I knew that I didn't play,\nso I didn't mind the conversation going into another direction. And then hours\nlater I'm hanging out with some friends that I made, and Jason Marsalis,\nWynton's youngest brother, was talking. He's the life of the party over there,\nand I kind of get in the circle, and he introduces himself to me and me to him,\nand we became pretty good friends during the convention, and he's telling me\ncheck out this flute player, check out this saxophone player, check out--  \n\n\n\nHe was telling me check out Joe Farrell on Chick Corea's recordings, and James\nMoody, and all these different players, so that was the first time. And now at\nthis point in my life I'm a classical major at Prairie View, and this is my last\nyear there. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's funny. Now, it was becoming personal. Flute players -- and not\njust flute players who were also playing classical music, or not just flute\nplayers who were playing cute stuff over music. These were flute players digging\ninto the changes and the music.  \n\n\n\nFor me, James Moody -- I love Hubert Laws' approach. His fusion with classical\nmusic, but for some reason James Moody, who is primarily a saxophone player,\nreally met me where I was. I felt like that's kind of the sound -- he had that\nsound of a doubler to me. What I call a doubler. I could tell he played\nsaxophone, but he was playing a killing flute.\n\nAnd Eric Dolphy. Something about Eric Dolphy's sound and approach scared me half\nto death. I listened to him, and he was a bit over my head, along with Charles\nMingus. So, I never came back to them for years to come. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But when Jason took time during that weekend to present those flute players to\nme, that was really all I needed to get my curiosity running, to think, okay,\nwell, maybe I can do this, but I don't know how it's going to happen. And it\nseemed so farfetched, still, that I didn't bother. I still pursued the classical\nworld, the repertoire. \n\n\n\nELIZABETH SCHAAF: Now how do you juggle the double whammy now of first female in\nthe world of jazz, and flute player, and then there's the other -- it doesn't\neven matter that it's the world of jazz, the extra baggage that women have as\nmusicians, period? Because I remember my own teacher at Peabody saying, you're\neither married to your music or you're divorced from your music. \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Wow. It's really hard because I feel like I'm living constantly\nin a world of patronism [patronizing]. But I feel like I'm constantly patronized\nby men. \"Oh, you sounded good, baby.\" Now are you saying that because I'm a\nfemale, and you didn't expect me to sound that well? Or are you patting me on\nthe head? Like a little kid. \"You're doing a great job. Try harder.\" That type\nof thing. \n\n\n\nLike I had a musician tell me just this past summer -- I was playing a jam\nsession, in D.C. Occasionally, I try to make it to the Twins [jazz club] in D.C.\nto play the sessions on Sunday nights. And this guy told me, \"Girl, when you got\nup there and you played, I fell in love. I just fell in love. You know you're\nbeautiful. Do you know that?\" And I begin to realize I had such an anger in me\nin that moment, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I know I had a smile on my face. I said, \"Wow, I really\nappreciate that.\" I said, \"I try hard. I'm always striving to make the music.\"\nAnd I walk away and he said, \"Oh yeah, when you come back, I want to talk to\nyou.\" Because I went to the restroom. \"Come back. Girl, when you tilted your\nhead to the side and leaned back, I knew I was in love,\" here he comes again. I\nthought, this is garbage.\n\nHe can't help it. I mean, I was wearing jeans. I was wearing baggy jeans and a\nregular shirt. And other people have told me many times, it does not matter. If\nyou look halfway decent and you're playing this music, you've just got to be\nready to face the wolves. And I feel like, it used to really bother me, but the\nbottom line is if my music is happening, they won't be able to do anything else\nbut take notice.  \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, it's become my personal goal to let my music do my talking for me. So, they\ncan say whatever they have to say. But on the stage, once they get the past the\nfact that they're looking at me, they're going to start to actually listen to\nme. And I think that when I reach my personal goal -- because I think I'm going\nto get good -- but when I reach my goal, that's when they're actually -- because\nthen I'm really going to be saying something. Because I can sound good along the\nway. And, of course, we never quite reach that goal. We're always reaching\ntowards it, but when I feel like I've gotten to the point, I think it's going to\nbe noticeable in the way I carry myself.\n\nWhen I get to the point where I'm actually comfortable in my skin, just a little\nbit. Because I'm constantly being told that you're never going to get\ncomfortable. You're never this and that. When I feel like I'm on the edge of it,\nat least there, I'm going to carry myself in a way that those who want to come\nto me with that type of approach, they're going to think twice. It's just going\nto be written on my face and in my body language. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, I think it's a battle that I have to fight, but I don't think I really have\nto fight it. I think I just have to go through the motions of learning to deal\nwith the situation. And I think God is going to just -- right now I think he's\nallowing me to be uncomfortable in my skin so that when the time comes, he's\ngoing to just put it in people's -- just touch them, and just leave that one\nalone, listen to what she's doing.\n\nI think when that day comes, I'm not going to have to worry about the wolves\nanymore. [Laughter] But yeah, that challenge is there. \n\n\n\nMeanwhile, back here on Earth, it's unfortunate. And I'm so thankful for the\nwomen who have come before me, like Billie Holiday and Sarah Vaughan. I mean,\nthey weren't flute players, obviously, but they knew how to put the men in\nplace. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not in their place, but in place. So that they could what they had to do\nas women to. \n\n\n\nELIZABETH SCHAAF: Well, Billie Holiday still needed a little work on that. [Laughter] \n\n\n\nDELANDRIA MILLS: Oh, definitely, definitely. But one thing that I feel that she\nhad, that I'm working towards, is just a boldness. \n\n\n\nELIZABETH SCHAAF: Right. Right. \n\n\n\nDELANDRIA MILLS: Because I feel like a very meek person. Like I feel like I'm --\nI wonder if you can really be humble if you say that you're humble. That's weird.  \n\n\n\nELIZABETH SCHAAF: When you put that weapon in your hands and you walk on stage. \n\n\n\nDELANDRIA MILLS: Yeah. [Laughter] Weapon, I like that. Yeah. When I'm on stage\nand I'm confident in what I'm doing. And it's about the music. It's not about,\nthis musician showed up late, or I was running late or I wonder if we're going\nto get paid on time. When I'm actually in the position to make music, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I feel\nlike those who are standing behind me making music with me, I feel that they've\nalready been acquainted with the serious side of me, the musical side of me.\nThey know what my goal is.\n\nI feel like I'm growing out of not being bold enough. Learning that I am a woman\nand that I'm not going to try to fool myself and try to say that I can do this\nas a man would. I'm not, and I don't want to. \n\n\n\nELIZABETH SCHAAF: Right. Why should you? \n\n\n\nDELANDRIA MILLS: Exactly. I want to present myself as a strong woman who is\ntaking a serious, serious, serious stand in the music, to make the music. To at\none point be a legacy for my kids. That is a goal of mine. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Spiritually as an\nartist and financially. I want to leave a legacy for my children and their children.\n\nI don't know why that's been important to me all of my life. But I think that's\npart of the reason why I need to get it together. That's why I've stopped\nwhining about the fact that I'm a woman, and the fact that I play a very soft\ninstrument. I just have to find a way to get around it. Because I have to\nbecause it's the desire that's been put in me. \n\n\n\nI don't know how I'm going to do it. That's part of this journey, this painful\njourney, getting there. But this is going to happen, and I definitely am not\ntaking the route, as I said, of Sarah Vaughan and Billie Holiday or any other\nwomen, but I do appreciate those women that have come before me, that have had\nto go through what I'm going through, especially vocalists. Vocalists, in my\nopinion, have it rougher because many times musicians do not respect them. Many\ntimes, I feel singers, in general, are just not respected enough ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because of what\nthey may be lacking in theory, theoretically, the theory that they know about\nthe music and musicianship. And many singers can't help it. They've always been\naccompanied. They are it when they hit the stage, and many of them cannot help\nthe fact that when they get in the spotlight, they are the diva for the moment,\nand they don't care what the musicians are doing as long as they doing it in the\nright key.\n\nThey start, and they don't take too long of a solo, and it's back to them and\nthey take it out pretty much. So, I do feel for the women who are singers\nbecause I feel like that's even a harder struggle. I don't really see that big\nof a bear on the road that I'll have to conquer. I feel like once I get my music\ntogether, in many aspects, and get my attitude right on, not being a baby or\nwimping down. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have to meet that one guy who doesn't want to pay or who knows\nthat he's bigger and taller and stronger than me. I do feel like if I get my\nmusic together, I will naturally begin to develop the tools.\n\nBecause the fact that I have to beat myself up in the practice room on my own to\nget this together, the more that I have that tenacity in me to pursue the music,\nI feel like I'm going to build that tenacity when it comes to dealing with people. \n\n\n\nELIZABETH SCHAAF: I think that people don't realize that musicians often face\nbigger battles by themselves in that practice room than anybody could throw at\nthem outside. \n\n\n\nDELANDRIA MILLS: Definitely. Definitely. \n\n\n\nELIZABETH SCHAAF: If they're serious about what they're doing. \n\n\n\nDELANDRIA MILLS: Definitely, because the business has a way of taking so much\nfrom the music. When you have to deal, yeah, you see that person on stage, you\ndon't know what they had to go through before that curtain opened, and what\nthey're going to have to deal with when that curtain closes. And I haven't\nreally had to go through that, but I've heard stories, and I'm constantly asking. \n\n\n\nI want to go back to what I mentioned earlier, IAJE [International Association\nfor Jazz Education]. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you ever have a chance to come into my apartment, and a\nlot of people think this is funny, but I have a collage of myself with famous\npeople from Wayne Shorter to Nancy Wilson to Cassandra Wilson to -- I missed\nDizzy Gillespie and Ella Fitzgerald by that much. In '93, before we went to the\nIAJE convention, he came to my high school, and I forgot. How can you forget\nDizzy Gillespie? And I was a classical major now, but I knew I saw him on The\nCosby Show, and I knew he had some strong significance in music, and I caught\nthe bus home. And, of course, by the time I thought about it on the bus, Dizzy\nGillespie's at the school. I called my mom. She was on her way home from work. I\nsaid take me back to school. He was gone.\n\nAnd they say, \"Well, he's going to be at the IAJE convention.\" So, I'm on the\nbus, I'm listening to my headphones, on my way to San Antonio for the\nconvention. He passed away. He slipped through my fingers just like that. And\nthe same with Ella. She passed on June 15, I think, of '97. I remember that day.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Maybe it was '98, but I remember someone telling me, oh, well, she's in New\nOrleans, I'll introduce you, and I missed her. And Betty Carter. Betty Carter\npassed away, I believe, just a couple years ago. I met her at IAJE in '98. And\nwe stood together, and somebody was about to take a picture. I did not have any\nmore film. And she said, oh, that's okay. And you'll catch me. I'm going to be\ncoming down to Houston to do something for the jazz program. She passed away\nbefore I could catch her. She was there for the jazz program in Houston, but I\ncouldn't make it back down. \n\n\n\nAnyway, so I appreciate -- I use that word a lot -- those people ahead of me so\nmuch that I get in awe of them when I'm in their presence. And I've always been\n-- my parents, they know. I mean, since I was the first child and the only child\nfor a little while, they were always taking pictures of me. And for some reason,\nwhen I was old enough, I wanted the camera. And I am always taking pictures of\neverything. I really appreciate photography. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I love photography.\n\nBut I have all these pictures of these famous people. Herbie Hancock, everybody\nwith me on the wall, and I call it my collage of inspiration. \n\n\n\nELIZABETH SCHAAF: That's great. \n\n\n\nDELANDRIA MILLS: Some people think, you're always trying to get pictures of\npeople. You're this and that. Yeah, well, it's my thing. It's my thing. I can't\nexplain it. It's my thing. And I've been doing that since I had just a little\nbit of appreciation for jazz, and before I thought I'd even play it. And I'm so\nglad I did because now I have these pictures of me when I was younger with these\npeople. And you'll never know that I wasn't playing jazz back then. You'll never\nknow that. All you know is that you see me on the picture with Joe Henderson,\nyou know. I'm so glad that my mind. \n\n\n\nAnd it was one of those things where as a kid I've always said things, and I\ndon't know why I said it. Like, when I decided to come to Peabody, somebody\nasked me, \"Why Peabody?\" I said because it's in Baltimore. That's where Emily\nSkala was, and it's close to D.C. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then when I got here, people said, this is\njust funny that you came out of Houston not knowing much about Peabody, and\nyou're here in Baltimore. But you're just kind of here.\n\nAnd then I begin to say, it's just my go-between, between here and New York. And\nI don't know why I started to say that. And when you say something over and over\nagain, it becomes part of who you are, and then it became a serious statement.\nAnd I plan on moving to New York. Maybe not to stay, but definitely to meet the\nright people. And I already have friends there now who are phenomenal people.\n\nBut I've always felt like as a child, that if you asked me the right question, I\nwould say something that would be over my head and always lead me to this path.\nAnd I think, ultimately, it's been the music, it's been jazz. \n\n\n\nMcCoy Tyner, who I have a picture of on my wall, as well, McCoy Tyner told me\nthat you don't find jazz, jazz finds you. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he said this in the same breath\nthat he told me that Hubert Laws played -- they recorded \"Amazing Grace\"\ntogether. And he told me you should really check that out. Because I think they\nrecorded it about the time that Hubert's grandfather passed away, I believe.\nThis is maybe in '60s or '70s. And that he looked at Hubert and felt the\npresence of his grandfather, a man he did not know. And he just thought, from\nthat moment on he appreciated flute. And he said \"I know you're going to want to\ntry to play saxophone, and this now, you're going to feel pressure, but you let\nyour instrument choose you. Don't let other people influence you.\"\n\nAnd this is just last year. And I was really to hear him say that. Occasionally\nI need to hear little revelations from God through people. \n\n\n\nELIZABETH SCHAAF: So, he just told you this last year, and you're sitting here\ntelling me about the saxophone. What does this mean? \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Exactly. You know, it's the weirdest thing. I feel like I want\nit there just to know, like if somebody calls me for a gig, and they say, \"Hey,\nwe have this thing. Can you play a little saxophone?\" Or somebody see me play\nsaxophone and they say -- just for the sake of gigs. Only so that I won't have\nto worry about eating peanut butter and jelly sandwiches at one point. \n\n \n\nLike I said, I'm an \"A, B, C, D\" person. But it's only so that I know it's\nthere. And then, like he said, your instrument finds you. Who's to say I'll put\nthe saxophone to my lips and it won't be the love of my life that I've been\nwaiting for? I don't know. And I'm also taking up guitar and just stretching\nmyself. But I guess I just want to have the comfort of knowing that they're\nthere, and maybe I'll take them off the shelf one day in case I need them. But\nright now, I have to admit, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"right now in my life it feels like flute has enough\nto fulfill those every needs for me right now. \n\n\n\nSo, we'll see. Yeah, that's funny. Yeah. I feel like part of me is selling out\ninto the saxophone. But for any of those kids who come after me, I'll let them\nknow that I did make a strong effort. Whether I land on saxophone or guitar and\nstay there, I know that I allowed myself to be open to something else. I didn't\nwant to be closed minded. Maybe saxophone is the journey -- is supposed to be\nthe instrument I'm on. But I feel like it's flute. I don't really feel like I\nhave to compromise that decision that I've made. \n\n\n\nELIZABETH SCHAAF: Well, so many nineteenth-century musicians played everything. \n\n\n\nDELANDRIA MILLS: Right. \n\n\n\nELIZABETH SCHAAF: Gustav Strube, who was the founding conductor of the Baltimore\nSymphony Orchestra, played everything. \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Right. \n\n\n\nELIZABETH SCHAAF: And his instrument was the violin, but there's no reason why\nyou can't do that. \n\n\n\nDELANDRIA MILLS: Exactly. And then Rahsaan Roland Kirk, who was a phenomenal\njazz musician, played everything. Eric Dolphy played everything. The only thing\nthat concerns me is, this has been my only concern, was my tone. I didn't get\nbraces as a kid because I didn't want it to mess up my tone. It was the weirdest\nthing. And then as I got older -- that was a decision I made when I was like ten\nor eleven. As if I had been playing flute forever. I didn't want it to mess up\nmy flute sound.\n\nThen I got older, and I was like sixteen or so and here I am, seventeen. I had\nbought my first few recordings of Hubert Laws, and there was this address that\nyou could write to for his transcriptions of his solos. Well, I said, I would\nlike the transcriptions, but I would also like to have a lesson with Hubert Laws\nif that's okay. Because I know he's from Houston, Texas. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I read the back of his\nalbum covers. I know he went to Rice. Maybe his mother lived here. And I wrote\nmaybe ten letters before he responded, and it was a secretary who responded\nsaying that, \"Well, here's the number of Hubert's mother. Please do not give out\nthis number. He would be willing to speak with you.\"\n\nSo, I spoke with him when he came into town. I had that lesson with him, and he\ndid play saxophone at some point.  \n\n\n\nBy the way, I have to talk about this lesson. I brought my baby sister with me.\nAt the time she was twelve. I was seventeen. And it was my first year in\ncollege, and his son, who was holding a flute, answers the door. His son Sky.\nAnd I hear Hubert in the background just killing over these changes, and my\nsister, who's twelve, knew, she started humming the song. He was not playing the\nmelody. He was playing [hums]. He was just improvising over the changes. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But my\nbaby sister, who, granted, grew up in the same household I grew up in listening\nto the same music I listened to and was not a musician, she was humming it. She\ndoesn't even know, and I never told her. She was humming Duke Ellington's\n\"Sophisticated Lady,\" and Hubert Laws asked me during my lesson. She was talking\nwith Sky in the far corner of the room, and he said, \"Do you know that tune that\nI was just playing?\" And I said, \"Um, I don't.\" And he's like, \"Oh, that was\n'Sophisticated Lady.'\" And it took me ten years later to realize that my baby\nsister knew that. She had that kind of ear, too. And I don't know what made me\nremember that just last week that he was playing it.\n\nThat's just how much he had dissected those changes, to the point that he\noutlined the chord so much that my baby sister could hear the melody. \n\n\n\nELIZABETH SCHAAF: Wow! \n\n\n\nDELANDRIA MILLS: Because my dad played Ellington from time to time. She was --\n[hums]. That was \"Satin Doll.\" [Continues humming] I won't even bother to try to\nsing it. But she was humming it the whole time, and she was humming it in the\ncar on the way back. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1620.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She was like, \"I like that song.\" [Laughter]  \n\n\n\nBut anyway, it was something Hubert told me that it was a decision that he made\nto stay on flute, although he had played some saxophone, and his brother, Ronnie\nLaws, was a fantastic tenor player, as well. It was a decision he made because\nhe felt, why not do everything on flute? And it didn't stop him. He was on many\nsoundtracks. The Color Purple, The Wiz. He worked with Quincy Jones a lot.\n\nSo that made me feel -- \"Yeah, I don't have to play saxophone. Huh!\" So, I took\nthat and ran with it. Over time it just became one of those things. I kept\nhearing people say, even Hubert on that day, and his son commented on the fact\nthat they liked my tone. And his son came in the room, \"She has a nice tone.\"\nIt's a big open sound. And Hubert was like, \"Yeah, you have a great tone. It\nsounds like you worked on it.\" And he was giving me more. We never really got to\nvocabulary. I was upset about that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1680.0,1740.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Hubert really helped me with even more with\nmy tone and my double tonguing and stuff like that. And he thought we would see\neach other a lot more, which I wish we had. I may call him up. \n\n\n\nI won this competition with the National Flute Association. It's a master class\ncompetition. I'm going to be performing in Vegas this coming August. \n\n\n\nELIZABETH SCHAAF: Great. Great. \n\n\n\nDELANDRIA MILLS: Thank you. The best part is that I found out Hubert is going to\nbe getting a lifetime achievement award the same night. \n\n\n\nELIZABETH SCHAAF: Wonderful. \n\n\n\nDELANDRIA MILLS: So, I am going to call him before this week is out to let him\nknow, we're going to see other again. This will probably be ten years, exactly\nten years, from the last time I saw him, which is great. Wow! I love that. \n\n\n\nELIZABETH SCHAAF: You going to ask to team up? \n\n\n\nDELANDRIA MILLS: That would be great. I really would love to. Ooh, I just get\nchills thinking about it. But going back to be a doubler, I think that's the\nonly reason why I had decided not to play a million and one instruments. Only\nbecause most doublers that I hear sound like doublers. I haven't really been\nable to hear a flute player. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1740.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/transcript/38440/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've always said that if I decide to play classical\nmusic again, I do want to have that refined sound. And part of me has not given\nup on the idea that I may -- \n\n\n\n[END OF PART 3] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1800.0,1860.0"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773","type":"AnnotationPage","label":{"en":["Delandria Mills oral history, 2003 May 29 07-06-2022 17:18 [Index]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Involvement with jazz before Peabody","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=74.0,508.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses the ways in which she was involved in the jazz music scene prior to studying jazz at Peabody. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=74.0,508.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/34","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: But you had talked earlier about discovering jazz at Peabody, but this has been a continuous path for you. And you had talked about going to workshops when you were in college when you were still looking at engineering and pre-med?","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=74.0,508.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/35","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Being a female jazz musician","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=508.0,1074.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/36","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses the different challenges and situations she's had to face and navigate as a female jazz musician. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=508.0,1074.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/37","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Now how do you juggle the double whammy now of first female in the world of jazz, and flute player, and then there's the other -- it doesn't even matter that it's the world of jazz, the extra baggage that women have as musicians, period? Because I remember my own teacher at Peabody saying, you're either married to your music or you're divorced from your music. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=508.0,1074.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/38","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"\"Collage of inspiration\"","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1074.0,1350.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/39","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes the collage of photos she made of her and famous figures such as Wayne Shorter and Nancy Wilson that she got pictures with over the years as well as some people she was not able to photograph, such as Dizzy Gillespie and Ella Fitzgerald. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1074.0,1350.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/40","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: ...I want to go back to what I mentioned earlier, IAJE [International Association for Jazz Education].","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1074.0,1350.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/41","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Playing multiple instruments / Hubert Laws","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1350.0,1815.04"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/42","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills discusses her reasons for learning to play the saxophone and guitar, as well as why she decided to focus on flute over anything else. Mills also reflects on a lesson she took with Hubert Laws in her first year in college. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1350.0,1815.04"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462/index/51773/annotation/43","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: ...\"I know you're going to want to try to play saxophone, and this now, you're going to feel pressure, but you let your instrument choose you. Don't let other people influence you.\"\r\n\r\nAnd this is just last year. And I was really to hear him say that. Occasionally I need to hear little revelations from God through people. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117462#t=1350.0,1815.04"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463","type":"Canvas","label":{"en":["Media File 4 of 4 - pims0091_MillsD-2_02.mp3"]},"duration":1658.04408,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/463/small/mills_photoshop.jpg?1650138438","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/content/4/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/463/original/pims0091_MillsD-2_02.mp3?1624270925","type":"Audio","format":"audio/mpeg","duration":1658.04408,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441","type":"AnnotationPage","label":{"en":["MillsD_202_OHMS_20220608 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DELANDRIA MILLS: ...I would practice flute for maybe two hours prior, then\nsaxophone, and then end off the day, maybe two or three hours, back on flute.\nJust to get the sensation back. So that is definitely something I'm going to consider. \n\n\n\nELIZABETH SCHAAF: Now, tell me a little bit about the musical community that\nyou've been floating around with in Baltimore. Who have you met, and who are\nsome of your favorites? Tell me about that. \n\n\n\nDELANDRIA MILLS: Well, I have to say that my first inspiration to launch out\ninto meeting people here in the area was when I took the class, the oral history\nclass, about Baltimore's music history. We had a class at the Eubie Blake\nCultural Center and Camay Murphy was interviewed. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=0.0,60.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She asked the question, and\nshe opened the floor to everybody in the room, and I stood up and I introduced\nmyself, and I made a comment about the fact that I'm an inspiring musician. And\nI'm so glad I made that announcement because some other people in the class who\nattend Hopkins came up to me and said, oh, yeah, I play jazz. Oh yeah, I play\njazz. And one of them, her name was Melody [Abedinejad], trombone player. I\nintroduced her to the big band. But her schedule was just too rough at Hopkins\nso that she couldn't stay in it. And I also met a guy named Tony DePaolis, whose\nappearance -- n\n\now we didn't make this clear when we first met. He's like \"Oh, I'm a bass\nplayer.\" I said, \"Oh, I should get your number because if I have to do some\nplaying, I'd love to have you play.\" \"Well, okay, I'll come back to Tony soon.\" \n\n\n\nSo anyway, at the end of that class I went up to Camay Murphy, and I told her,\nI'm a musician, and I would like to start playing in the area more, so if you\never have any functions or if I can serve you in any way, please let me know.\nBecause I was honored to be meeting Cab Calloway's daughter. Well, we are making\na great team. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=60.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She decided she wanted to start teaching from Eubie Blake, so I\nteach, I'm her flute instructor. And she had me do a few workshops for her\nafterschool program teaching about jazz.  \n\n\n\nAfter I met her, I was also given the assignment to interview Whit Williams. So\nnow I have this connection with Camay Murphy. Then Whit Williams, who is an\ninspiration on legs. First of all, I thought Emily Skala was influential in my\nlife to health. This guy is so in tune with his body, and he's so generous with\ninformation and just knowledge that when I went to his house to have the\ninterview with him, whatever, he just inspired me just in his presence. But then\nhe started to ask me after the interview about the health of my family and just\nthe well-being of my family. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=120.0,180.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he took me into his kitchen. He had this huge\ncabinet full of vitamins and stuff. It was funny. I was looking at it and I\ncouldn't believe all the stuff. And he opened his refrigerator and it was more.\nHe has studied this stuff.  \n\n\n\nAnd from that day, I started to take certain vitamins that I felt that were\nessential to my life. I knew I was stressed out. I knew I was suffering from a\nlot of fatigue because I was going at practicing pretty rough. And I started\ntaking Vitamin D for this and Vitamin E for that, and I was taking -- what was\nthat one he had me on? I was taking everything, but I was taking it after doing\na lot of reading and research. And he gave me the books to read, to know, and I\nwas passing this information on to my family, and I really appreciate those\npeople in my life who taught me something that I could extend to my family. \n\n\n\nWhen I say appreciate, it's usually because of those people. Like Emily Skala,\nthe moment I walked in, because I've carried so much tension in my body for so\nmany years, she can just see it in my shoulders. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=180.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we do these certain\nstretches. I showed them to my mom. When I was walking down the street, I was\ndoing these inhaling and exhaling exercises that she had me doing and stuff. It\nwas just great. And then with Whit Williams, now my family takes these certain\nvitamins. Everybody feels good. When I go home, everybody just looks healthy.\nAnd I've gone back to Houston, and my friends say, \"Wow, you haven't changed a\nbit. If anything, you're getting younger! You look great.\" These are my friends\nfrom Houston Flute Club who will tell me, \"Wow, you just look so youthful. You\ndon't look stressed out anymore.\" And I feel like it comes from the fact that\nI've really been trying to get into my spirituality, but also because through\nthat I'm meeting the right people who are giving me the things here on earth\nthat I need to take care of myself better. And Whit Williams was definitely one\nof the people who gave me more tools to do that with. \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=240.0,300.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Going back to meeting people. Jimmy Wilson, I just met him, but I know he's\ngoing to be really big in influencing me in this part of my journey towards my\nmusical goals. I feel like, just in the small conversation I've had with him,\nI'm looking forward to interviewing him, but I know he has a lot to offer me.\nAnd then Gary [Thomas], I mean, just being in Gary's presence. Now Whit Williams\nalso taught Gary, and inspired Gary a lot while he was growing up. And Gary just\nhas a way. He's not as open. He's not as outspoken, I guess, about stuff as Whit\nis, but when he says it -- when you ask the right question, and he says it,\nthat's just what you were waiting for to hear him say. And I appreciate that\nwith Gary. He doesn't beat around the bush with stuff at all. \n\n\n\nELIZABETH SCHAAF: Right. \n\n\n\nDELANDRIA MILLS: He may laugh about it, but he's very serious. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=300.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'll say, \"You're\nso silly.\" \"What, why?\" Then you ask the question. And then, all of a sudden,\nhe'll get serious, and he'll laugh again, but he's very serious. And he's right\nto the point. \n\n\n\nBut every teacher that I've ever had -- and Greg Osby, he's very practical in\nwhat he has to say. And then Mike Formanek. I could go on and on about each one\nof them. Paul Bollenback. He also does not take prisoners. He's the ear-training\nteacher here. He's phenomenal. I think he's the best, so far for me, the best\nclass I've ever taken. Anyway, if you can get your ears opened up, I think it\njust changes your music altogether. Just, even the way you deal with people,\ntalk to people, you're definitely listening more to everything.  \n\n\n\nAs for the rest of the Baltimore community and people that I've met, I'm trying\nto think of any people. I mean, especially peers in the area, my contemporaries.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=360.0,420.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Just trying to get myself out there. Like I go to more hangouts now where other\nmusicians are. Because I've always felt like it's not going to happen for me\nuntil I get to -- \n\n\n\nELIZABETH SCHAAF: So where are you hanging out? \n\n\n\nDELANDRIA MILLS: There's this place called Organic Soul Tuesdays. I love it\nbecause it feels organic. You go in there, and there's this young positive --\nit's primarily Black, but they're so positive towards each other. You go in\nthere, and there's a room full of dreadlocks and Afros. \n\n\n\nELIZABETH SCHAAF: And where is this? \n\n\n\nDELANDRIA MILLS: This is off of Saratoga, every Tuesday. It's open mic. And last\nsummer I played there. There are people selling T-shirts, and there are flyers\nof people who are performing in the area, just keeping each other informed on\nwhat's going on. Last summer, I performed, and there was this funk band behind\nme, and I played John Coltrane's \"Impressions.\" ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=420.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let me make a note to myself.\n\"Craig's comment.\" \n\n\n\nWhen I got off that stage, everybody went wild. Like, \"Wow, that was great. Oh,\ngirl! Oh, I didn't know you could play like that. I didn't know you played!\" It\nwas just great. And then I had one person, it's always somebody you're close to\nthat can say something to rain on your parade. [Laughter] He said, \"Well, you\nknow, the fact that you're a woman, you know --\" And, all of a sudden, I felt\nlike it was just hate. He said, \"A lot of the guys get up there, and they can be\nplaying some killer stuff, but the fact that you're a female, you know --\" I\nsaid, \"Wow, I really resent the fact that you're telling me this.\" At the same\ntime, I appreciated it though, because, of course, part of me already knows. \n\n\n\nIt's funny some people feel like they need to tell you, which is cool. But you\nreally don't need them to tell you that. And I put it to him this way. There are\ndisadvantages and advantages on being a woman, and the advantages that come my\nway, I'm going to take them and run. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=480.0,540.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because there are definitely some that come\nto us as individuals, you just have to take the cards you're given. And those\nthat are given to me. And I told him this on the phone, and he was like, \"Oh,\noh.\" I was like, \"Man, forget that.\" I was like, \"You know, maybe somebody will\ngive me a nice shot because I have a nice figure. Maybe somebody will give me a\nshot because when I smile, it's genuine. But I know one thing, there's another\nwoman or there's another guy who has something that I cannot contribute that\nthey're going to get props for.\"\n\nAnd I'm going to take mine, and these are my gifts. The fact that I play the\nflute, the fact that I'm female, the fact that I'm 5'5\", the fact that I'm dark\nskinned, the fact that I have natural hair, whatever. Those are the things that\nI have to contribute, and God's going to give me favor in the eyes of certain\npeople because of those things that I have to offer. Because I can't be anybody else.\n\n\n\n\n\nELIZABETH SCHAAF: Right. \n\n\n\nDELANDRIA MILLS: And I just told him. At first, I was insulted, and I was hurt\nby it, and then I was thinking, nope. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=540.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No, I'm not going to take that. I mean I\ntold him I didn't take it personally from him. At the time I did, but then I\njust switched it around. I was like, \"You know, that's okay.\" And he was like,\n\"I really do apologize if I offended you.\" I knew that he really didn't mean it,\nbut he didn't want to lose my friendship. But he felt the way he felt in that he\nis a young Black man performing, and he's never had a crowd. I'm sure he has,\nactually. I'm sure he has had a crowd react to him in that manner, but because\nhe felt like I was playing less material because I hadn't been playing jazz, the\nvocabulary that long, that to see me get that kind of reaction just kind of\nrubbed him the wrong way, and he just spoke it.\n\nAnd I don't mind him saying it because like I said, I kind of like when people\nspeak their minds because then you know what's really going on back there, and\nit just makes you a little wiser. It's always just another process in the\ngrowing, the growing process.  \n\n\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=600.0,660.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I went and I've exposed myself to a lot of great things. When I first moved\nhere, I was broke. My parents left, my aunts left, my brother left, everybody\nleft, and I sat in my car thinking, \"I have a dollar!\" I was mad. My parents\nasked me, \"Do you need anything? You okay moneywise?\" And I was like, \"Yes, I'm\nfine. But I was lying.\"  \n\n\n\nI brought them out here. I took four days out of their lives driving up here,\npacking, unpacking. Me whining about, \"I don't want to live in this apartment. I\ndon't know anybody.\" All that whining is all about me, and I was starting to\nfeel guilty about it, and the last thing I wanted to do was ask for more, so I\nlet them drive off. And I sat in my car the day later thinking I'm hungry and I\nhave a dollar. And after scrounging in my car and just scrounging around my\napartment, I came up with like $2.15, which was enough to get a garden salad at\nthe Maestro's Café. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=660.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I finally called my mom, like that evening -- no, the\nnext day -- and I said I don't have any money, and now I don't have any gas and\nmy car is overheating, and I was crying.\n\nShe said, \"Dee, why did you do this?\" And she called my godmother. \"Why didn't\nyou feel like you couldn't ask?\" I didn't have anything to say except I knew it\nwas becoming part of me naturally to not want to ask anymore. And so, she said,\n\"Okay, we'll go, I'm going to the store after work and I'm wiring you some\nmoney.\" So, she did.  \n\n\n\nAnd I just sat in my car thinking. And it was hot, whew, it was hot, but my\napartment was hotter. I was thinking, \"What am I going to do?\" I found 21\nresumes. I went to the yellow pages and I flipped through to the schools, and I\nwrote them all down. And I had my mom send me some stamps. And she sent them\npriority mail and some other stuff. She didn't even know why I needed the\nstamps. She thought I wanted to send her deposit slips for my bank account or\nsomething. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=720.0,780.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I sent every one of those resumes out, including the Eubie Blake\nCultural Center. This was before I met Camay. Because when I called the\nBaltimore School System, the City School System, they said \"Well, you could\ncheck with Eubie Blake Center, see if you could do some teaching there.\"\n\nSome people don't even know why they give you information. They just give you\ninformation, random information. So, I had sent my resume to Camay almost a year\nbefore I even met her. And the Waldorf School, and the Baltimore School for the\nArts was the only -- okay, let me back up. So I sent out my resumes, and the\nSchool for the Arts, three months later, in October, said, \"We're starting this\nnew program that we're getting a grant for, and we would like to have you come\nout and teach.\"\n\nSo I taught, and it was a great experience. I was teaching, as you know, inner\ncity youth. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=780.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kids who are living in disadvantaged areas, in kind of sad\ncircumstances. And I felt so honored to do this. This year, this concluded my\nthird year in the program, and it was the last year of the program. And I was\njust thinking, \"Wow, that money came right on time.\" That program, that\nopportunity, that teaching experience came right on time in my life.  \n\n\n\nAnd these students, I was proud of the fact, I was honored by the fact that\nthey, I don't think, come across too many twenty-five-year-olds with no kids.\nTwenty-four years old at the time, and then I was twenty-seven by the time it\nwas all over.\n\nI didn't have any kids, I had a master's degree, working towards another degree.\nAnd something in me wanted to reach out to a couple of students, so I became a\nmentor for one. And I loved that because I could bring them to my apartment. And\nI love art. So they saw Van Gogh on one wall, Monet on another wall, Cézanne on\nanother wall. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=840.0,900.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At the end of it all, they asked me to send a comment to the\npeople who had the grant. What do I feel the students got out of it, and what\ndid I get out of it. And I was honored. I was honored by the fact, not so much\nthat they hired me, but the fact that it gave me an opportunity to do for those\nkids what someone had done for me at one point. \n\n\n\nNow, no one really sat down and gave me free weekly lessons. Because it was free\nweekly lessons for them for all that time. But to just be. Because there were\nopportunities when, \"I hate her.\" \"Who is that?\" \"My sister.\" The stuff,\nlittle-bitty things like that. I'm like, \"I'm miles away from my sister, but I\nguarantee if she was right here, I'd hug her, and there is no way I would say I\nhate her.\" I'd say, \"Look at each other.\" These are just one of the instances\nwhere I felt honored to be in the situation because they probably would not hear\ntheir mother or somebody else tell them, \"Look, both of you are beautiful.\" ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=900.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I\nwould say, \"Wouldn't you say she's pretty? You all look so much alike. Do you\nknow how many people would love to have a sibling that looks like them and talks\nlike them?\" I love getting on the phone with my parents or my brother and\nsister, and hear how much Texas is coming back at me. I love the fact that they\ntalk with that twang. Something is just home about it. It's home.\n\nI said, \"You have that right here and you don't appreciate it. Shame on you. You\nneed to appreciate that. Some parents can't give their kids siblings, and you\nhave many of them. You can look after each other until you grow old, and that's\na beautiful thing.\" And I said, \"And there'll never be another her, there'll\nnever be another you.\" \n\n\n\nThat's just one instance. There were just many like that that when I look back\nover it when they asked me to write something about the students, I just felt\nhonored in many regards. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=960.0,1020.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Talking to them about racism. \"Why do you sound like\nthat? I thought only white people sound like that on flute.\"\n\nYou get some random questions. Stuff that you would never expect.  \n\n\n\nAnd I showed them a picture of my godsister. She's nine years old, beautiful\ngirl. They're like, \"Oh, that's your daughter. I knew you had kids.\" \"No, that's\nmy godsister.\" \"Well, when are you going to have kids, Miss Mills? You're\ngetting kind of up there. You're getting kind of old,\" and this and that. I\nsaid, \"When I complete myself. I'm going to meet someone who has completed\nhimself to the best of our abilities. We're going to get together. We're going\nto get married first, and then we're going to have kids because that's the order\nof things. That's the way God intended it to be.\" And I was teaching at a\nchurch, so I didn't mind saying God to the kids, which was great. \n\n\n\nBecause everyone else, all the other programs, the trumpet class, the clarinet\nclass, they were happening at school. But mine was happening at Holy Nativity on\nPimlico Road. So, it was happening at the church, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1020.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"so I felt very comfortable\nknowing that they all attended that church, and I could sometimes put those\nprinciples in there. But I feel like that was the order of things, and I wanted\nthem to know that it was important to me.\n\nSo it was great. That was a great opportunity. \n\n\n\nELIZABETH SCHAAF: So you've already started that family? \n\n\n\nDELANDRIA MILLS: In what way? \n\n\n\nELIZABETH SCHAAF: Well, you know, musicians, especially ones who teach, even if\nthey don't have families of their own, they end up with children. \n\n\n\nDELANDRIA MILLS: Definitely. Definitely. \n\n\n\nELIZABETH SCHAAF: And I remember a lady who taught ballet here for years. She\nnever married. She had her work, and I interviewed her for an article, and I\nasked her if she missed having her family and children. And she said, \"Oh, I had\nthousands of children.\" \n\n\n\nDELANDRIA MILLS: Oh, that's great. Definitely. Especially when I decided to\nmentor one. I knew one, in particular, was going through something, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1080.0,1140.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I woke\nup in the middle of the night, and I thought about her. And I never mentored a\nkid before. I did teach privately, and I had some of them want to confide in me.\nBecause I started teaching when I was sixteen, and I made these big blue,\norange, and yellow flyers, and I took them to the middle schools, and I tried\nback then, as early as then, to teach.  \n\n\n\nI didn't have a lot of students say, \"There's too much bad stuff in the world.\nI'm not going to bring any kids into this world,\" and stuff like that. Kids are\na beautiful thing. To go against the laws of procreation and not try to have\nchildren -- it's a personal choice. This is only my opinion. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1140.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I know children\nare a heritage of God, and I feel that if you're in the position when it's your\ntime to have children that if we deprive ourselves of that, we are depriving\nourselves of something great. And I just told my students when I got the\nopportunity that the reason why I work hard as much as I do and the reason that\nI practice as much as I do is because I know I don't have time to be lazy as a\nwoman. Women, we just have to work harder. That's just the bottom line. \n\n\n\nAnd I know that if I were a man, I wouldn't be as stressed about it. Or I try\nnot to use the word stress now because I try not to stress out over it, but my\nlife is maybe ten years ahead of that of a man in that if I were a man, I don't\nthink I'd be stressed on thinking I have to prepare myself, prepare my career\nnow, because ten years from now, the chances of having a child is slim. For a\nguy it may be twenty years past that. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1200.0,1260.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Some guys probably think, oh, fifty-five.\nEspecially the world we live in now, you are very much considered young as a guy\nin his 50s. Everybody looks great now. You don't have to worry about that\nanymore. But as a woman -- and then the fact that my parents were young when\nthey had me. They were twenty-four and twenty-seven. I feel that I want to offer\nthat. Because I have a great relationship with my mom. I do feel she's my best\nfriend. I talk to her every day, and I will talk to her about anything. There\nare guidelines. There are limits, but I feel like I put those limits there. She\ndoes not. And I feel like I can be open to talk to her about anything, and she\ngives me very good criticism and the generation gaps between aren't so large\nthat she cannot relate.\n\nAnd I want that with my kids, and I know that that initially was some of the\nreason why I really wanted to put forth a strong effort towards my music.\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1260.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because I know once I get married, the focus will begin to shift, and I want to\ntry to prepare myself for that now as much as possible.\n\nAnd that's what I would tell the kids. This is why I do what I do because as\nwomen, we have to be prepared. I have to prepare myself.  \n\n\n\nAll of this stemmed out of another question on meeting people in Baltimore. Tony\nDePaolis, a student at Hopkins. Months go by, and I did not bother to call this\nguy. I don't know what made me do it, and I ran into him again, and we said,\nlet's get together and play, so we did. He's very quiet. Tony is very quiet.\nBoth of his parents are jazz musicians, professional jazz musicians, which is\npart of the reason he has decided that he could do something else. Well, they\nactually encouraged him.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1320.0,1380.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, we play together weekly at the Kiss Café in Canton, and I went into his\napartment, he had all of these rare recordings on LPs. Just as I grew up\nlistening to music through my dad, his parents were the music. And it's so\ninternalized in him, that it's just a treat playing with him, and hearing him\nsay, \"Well, actually, on the recording --\" And it's great to be playing with\nsomebody who does not play with The Real Book. It's in him. He knows it already.\nIt's just there. And he appreciates the fact that with me he can kind of\nexercise -- this is kind of like an opportunity to just exercise what's already\nin him. And he likes sharing his knowledge of the music because there aren't\nmany people around that he can do that with. I'm thankful that he was put into\nmy life, also. To know that there's somebody out there younger than me, who's\nreally involved in the music like that. \n\n\n\nELIZABETH SCHAAF: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1380.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So are you pulling back into your world? Well, in his world, too? \n\n\n\nDELANDRIA MILLS: I have to admit that I think that when he's done with his\ndegree, when he gets his paper, that he is going to definitely go back into that\ndirection some, if not all the way. But at least he will have fulfilled -- and I\nknow what that feeling is like to feel like you need to go to school. You need\nto get a degree. Once he's fulfilled that in his life, and I do see him making\nsome steps towards that again. Definitely. \n\n\n\nELIZABETH SCHAAF: So, is he likely to be a part of this group? \n\n\n\nDELANDRIA MILLS: Well, actually, right now, he is a part of it. I have to say\nthat this early in the game, I've been having to switch out a lot of musicians\nbecause of their schedules and stuff like that, so I don't really see any\npersonnel being constant or permanent.  \n\n\n\nELIZABETH SCHAAF: Well, that's exciting though. \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1440.0,1500.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah. It really is. And then for him, to know that I'm serving\na purpose for him, and that I'm an opportunity for him to be heard, and an\nopportunity to practice and just be an outlet. And then the fact that, in my\nlife, he's taught me so much about just really appreciating \"what Chick Corea\nhad in mind when he did this.\" Or, \"Well, you know, in the original recording\n--\" \"Oh, that's the wrong change in The Real Book, all those mistakes --\" And\nstuff like that. You just get with him and just hear him talk about the stories\nthat he knows about different composers because he heard it first hand from all\nthe musicians that hung out with his dad. \n\n\n\nIt's just, wow! It's funny, and I told him, I said, \"If I hadn't asked him a few\nquestions, we would never be playing together.\" So it's just weird. I made that\none announcement with Camay, I met him almost a year later, we come together,\nnow we make music together weekly. Yeah.  \n\n\n\nELIZABETH SCHAAF: That's great. \n\n\n\nDELANDRIA MILLS: Yeah \n\n\n\nELIZABETH SCHAAF: So where are you going to be in five years when we get\ntogether again? \n\n\n\nDELANDRIA MILLS: ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1500.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have no idea. I just got back from New York this morning. A\nyear ago I would have told you New York. But I have a new friend in my life\nnamed Ben Gali [phonetic], who's a fantastic vocalist. His name is William, but\nhis stage name is Ben Gali. He told me, \"You can bring New York to you. And you\nknow that wherever you go, New York is.\" And sometimes I hear things, and people\nare so deep, and I think, man, that's shallow. But that was so real to me.  \n\n\n\nThe more musicians I meet, the more connections I make, the cheaper living, I'm\nstarting to realize that I can bring all -- I mean, I've known it all along, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1560.0,1620.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/transcript/38441/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but\nit's becoming more of a reality when I'm starting to get three gigs in one day.\nI mean, now, it's getting to the point where I'm getting pretty known out here\nthat I could see myself just picking and choosing anywhere along the upper East\nCoast, or anywhere between Baltimore and New York as my home. You know, Philly.\n\nI don't know. I can't really say. But I know wherever I am, New York is, the\nidea of New York is. I'll just keep it with me.  \n\n\n\n[END OF INTERVIEW] ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1620.0,1680.0"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774","type":"AnnotationPage","label":{"en":["Delandria Mills oral history, 2003 May 29 07-06-2022 18:09 [Index]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/29","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Baltimore music community / Organic Soul Tuesdays","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=16.0,661.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/30","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes how she came to make connections in the Baltimore music community through meeting various people such as Camay Murphy and Whit Williams. Mills also describes her experiences playing with other Black musicians in the community at Organic Soul Tuesdays.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=16.0,661.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/31","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"ELIZABETH SCHAAF: Now, tell me a little bit about the musical community that you've been floating around with in Baltimore. Who have you met, and who are some of your favorites? Tell me about that. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=16.0,661.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Teaching in Baltimore ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=661.0,1339.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes her first teaching job in Baltimore and how she came to be a mentor.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=661.0,1339.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/34","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: So I went and I've exposed myself to a lot of great things. When I first moved here, I was broke. My parents left, my aunts left, my brother left, everybody left, and I sat in my car thinking, \"I have a dollar!\" I was mad. My parents asked me, \"Do you need anything? You okay moneywise?\" And I was like, \"Yes, I'm fine. But I was lying.\"","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=661.0,1339.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/35","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Tony DePaolis / Future plans","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1339.0,1658.04408"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/36","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mills describes a student at Hopkins she plays with weekly that has helped her develop a deeper appreciation for some of the jazz tunes they play together. Mills also considers where her career may take her in the future. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1339.0,1658.04408"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463/index/51774/annotation/37","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"DELANDRIA MILLS: All of this stemmed out of another question on meeting people in Baltimore. Tony DePaolis, a student at Hopkins. Months go by, and I did not bother to call this guy. I don't know what made me do it, and I ran into him again, and we said, let's get together and play, so we did.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44156/file/117463#t=1339.0,1658.04408"}]}]}]}