1 25 47 https://astoriedpeople.oberlincollegelibrary.org/files/original/d22ceb7fe5ce1422500abd35482dd7d4.jpg bff42992f3927bfe3bfb19c3f8cdda91 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kathy Abromeit Creator An entity primarily responsible for making the resource Courtesy of Kathy Abromeit Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian MacMillen and Class Interviewee The person(s) being interviewed Kathy Abromeit OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC01.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Kathy Abromeit Oberlin College IMC01 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Kathy Abromeit Ian MacMillen and Class 0 http://ohla.info/wp-content/uploads/2017/04/Kathleen-Abromeit-April-20-2017.mp3 Other audio 47 Introduction My name’s Kathy Abromeit and I live in Oberlin, Ohio. Ian MacMillen and student Jacquelynn Gaines and Kathy Abromeit introduce themselves and establish informed consent for the interview. Mysterious Deaths ; Orphanages ; Romanies--History ; Slang 17 184 Kathy's earliest conception of her family's Abromeit surname &quot ; So, growing up, my grandmother, uh, her first husband died, and I'm not really sure why&quot ; Kathy relays her earliest conceptions of her family's Abromeit surname, and how her grandmother had a complicated relationship to her absent grandfather, whom her grandmother referred to as a &quot ; goat.&quot ; Kathy grew up understanding she was German, and this conception of her family history stayed with her through college and graduate school. Kathy, a first generation student, attended graduate school for musicology in Library science. first generation student, family lineage, family history, Ethnic identity ; Genealogy &amp ; local history ; Reference Librarians ; Romani language ; Romanies--History ; Shamanism 17 250 &quot ; Ooh, Gypsy woman&quot ; He said, “ooh, Gypsy woman, Gypsy woman.” And I said, “What? What is that” and he said, “Oh, Abromeit, that’s a Gypsy name.” A German history professor at Oberlin College suggests to Kathy Abromeit that her surname has Roma (&quot ; Gypsy&quot ; ) origins. The professor referred Kathy to the novels of Siegfried Lenz in which Roma characters with the name Abromeit are featured. Kathy came to understand that Roma in Germany had adopted &quot ; Abromeit&quot ; as a clan name. Genealogy &amp ; local history ; Librarians ; Romani language ; Romanies--History 17 595 &quot ; I could become a prostitute or I could become a bootlegger.&quot ; “I had two choices. I was an unskilled woman with 5 children, and I could either become a prostitute or I could become a bootlegger.&quot ; Kathy describes her grandmother's efforts to support her five children and make a living after the departure of her second husband, Friedrich Abromeit. As an unskilled woman in 1925 during Prohibition, her employment options were limited. She turned to bootlegging corn whiskey which she referred to as &quot ; distributing,&quot ; and this served as her sole source of income. Kathy relates several humorous anecdotes about her grandmother's efforts to evade the police. bootlegging, alcohol, Prohibition Alcohol Trafficking ; Bootlegging ; Contraband Trade ; Police ; Prohibition 17 737 Grandmother's Roma Husband &quot ; She was a widow with three children ; she was tainted goods. The Roma guy was the best she could do.&quot ; Kathy's grandmother hid most of the details of her second marriage from her children and grandchildren and, in this segment, Kathy speculates as to why her grandmother carried so much shame about having married a Roma man. She believes that her grandmother feels she married beneath herself and was ashamed because her husband left her to father additional children elsewhere. Roma, Romani, stereotyping, shame, marriage, abandonment Child Rearing ; Shame ; Widows 17 803 Tracing Friedrich's Path &quot ; In the 1930 census, he's in southwest Oregon and it says in here that his parents are from Germany and that he's naturalized and that he's a miner...&quot ; Kathy describes documents she found using Ancestry.com which trace her Roma grandfather's path after leaving her grandmother until his death. Friedrich Abromeit travels around various areas of the northwest part of the United States including Oregon and Northern California. In each documented stop, the name indicated on his documents shifts slightly (Fred, Ferd, Freidrich, Fred &quot ; Rogue River,&quot ; Frederick). Kathy presumes that these name changes were out of necessity, possibly to run from the law. family history, lineage, genealogy Oregon. State Mining Board ; Tax Evasion ; Taxation -- Evasion 17 995 Romani Stereotyping in Poland &quot ; We have one daughter who studied with Ian in a Gypsy music class, Romani music class, and then our second daughter is a senior here this year at Oberlin and she's an Econ. major, and so she really wanted to study last spring at the Warsaw School of Economics.&quot ; Kathy describes a family trip to Poland that she takes with her husband, John, who is Jewish, and her daughters to look for the history of their families in Europe. John's uncle Albert Sabin invented the polio vaccine and upon their visit, local Bialystok residents asked if they could interview their family due to their famous roots. The interview seems to go well until John mentions his wife's Romani background. The Polish interviewers got silent, not wanting to continue discussing the possible ties to that heritage. Roma, Romani, Judaism, Poland, medicine, polio, vaccine, stigmatism, stereotyping Economic Theory ; Jews -- religion ; Musicians, Romani ; Oberlin College ; Romanies--Hungary--Music 17 1304 Food Traditions in Sandpoint, Idaho &quot ; You mentioned the food that was really similar, can you talk about that a little bit, what kinds of food you…?&quot ; Kathy describes food she remembers her grandmother making as she was growing up including &quot ; ruble soup,&quot ; &quot ; nanny cake,&quot ; and baked goods as well as vegetables in her garden and her skill at distilling and wine making. food, traditions, Russian food, eastern European Cooking, Hungarian ; Family Vegetable Garden Series ; Foods ; Rectification of Spirits 17 1479 Frugality and Religion &quot ; ...she prayed the rosary multiple times a day...&quot ; Kathy describes her grandmother's frugal habits, including smoking her cigarettes down to the very end, freezing and canning food, and cutting coupons. She also discusses her grandmother's view of religion, which included both praying the rosary daily, but also praying for and to her ancestors. religion, Catholicism, ancestors, frugality, religious traditions, saving, poverty Catholic Church--Customs and Practices ; Ethnic identity ; family, religion, and culture ; Identification (Religion) ; Romanies--Social life and customs 17 1619 Migration to the US &quot ; How long had her family been in Idaho, that part of the country?&quot ; The Abromeit family traced their history back to Idaho, where the grandmother moved in 1935 and met a Roma man. Idaho ; Minnesota ; Roma family, religion, and culture ; Genealogy ; migration, internal--United States ; Romanies -- United States -- Social life and customs 17 1752 Kathy Abromeit's Grandmother &quot ; So you said your grandmother was born in 1888 and then Fred or Friedrich or whatever his name was arrived in 1890, right?&quot ; Grandma Abromeit felt shame for marrying a Roma man. This affected her self care, which is documented in family photographs. Relationships ; Roma ; Self-care ; Shame Ethnic groups ; family Origins ; family, religion, and culture ; Romanies -- United States -- Social life and customs 17 1910 Romani Custom and Spirituality &quot ; Do you have any desire to recreate any of that Romani custom in your life or, you know, try to, to get back to that at all? I mean, you say you feel it in your gut, and I want to know how that manifests in your life.&quot ; Kathy states that she sees the Romani custom in her life within her spiritual practices. Customs ; Romani ; Shamanism ; Spirituality Catholic Church--Customs and Practices ; Family, religion, and culture ; Identification (Religion) ; Romanies -- United States -- Social life and customs 17 1994 Genetic Testing and Identity &quot ; That tension between, you know, the possibility of DNA or genetic evidence, um, and one way of kind of thinking about identity as traced back to… through certain genetic lines and to certain parts of the world from which people had moved—so, Roma from northwest India, or what is today northwest India—versus on the other hand, you know, thinking about traveler and this kind of idea about lifestyle, um… I, I feel like in today’s society in America those, those terms are very confusing for a lot of people…&quot ; Kathy discusses the stigma surrounding the words &quot ; Gypsy&quot ; and &quot ; Roma.&quot ; She states that she does not feel that she has enough knowledge to say what the politically correct term is, but does feel offended when some words are used in certain contexts (i.e. &quot ; I've been gypped). Genetic Testing ; Gypsy ; Identity ; Roma Ethnic identity ; Genealogy ; Romanies -- United States -- Social life and customs ; Romanies--History 17 2137 Modern Identities &quot ; I’m, I do, I would like for my kids to have a better sense of this, um…. And I know when I was, my daughter Brooke called me after class today and I told her, “Oh, yeah, you’re not going to believe it, you know, your great-grandfather, Fred Rogue River Abromeit…” and she’s like, “Oh, please save all this,” um…. You know we really need, we need to put it  together.&quot ; Kathy discusses how different generations approach their national identities. She says that her siblings are unwilling to discuss any other possible alternatives while her children are much more open to the idea. Identity ; Roma ; Travel conflict of generations ; Ethnic identity ; Genealogy ; Romanies -- United States -- Social life and customs 17 2300 Genetic Testing and Identity Revisited &quot ; You know, it's funny, as they talk about, like, epigenetics and history, they’re like, “Man, this really suck, you know, a Jewish father and a Roma mom, you know, what—we are destined to have all kinds of issues,” you know, and... Like, well, a Gypsy and a Jew, right? Um… yeah. You know, so they’re, they’re much more willing to look at it.&quot ; Jacquelynn and Kathy discuss how the possibility of not being what you had thought you were your entire life (i.e. German) might discourage people from getting the genetic testing done to determine ancestry. Genetics ; Identity Cultural appropriation ; Ethnic identity ; Genealogy ; Impostors and imposture -- United States ; Romanies -- United States -- Social life and customs 17 2444 Closing Statements &quot ; We really appreciate your sharing with us.&quot ; Jacquelynn, Ian, and Kathy say goodbye and thank each other for their participation. 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kathy Abromeit Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC01 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/1507048647e2a7db415148988cb438a4.JPG 4c72a2eb133b617fb1b0970a4dd25c2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jerry Grcevich performing with Kathy and Angela White Description An account of the resource Photograph of Jerry Grcevich (prim tambura) performing with Kathy White (berda/tambura bass) and Angela White (bugarija tambura) at Oberlin College on the occasion of the opening of the opening of the Oberlin Conservatory exhibition 'Tamburas of Eurasia' (April 13th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian MacMillen and Class Interviewee The person(s) being interviewed Jerry Grcevich OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC02.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Jerry Grcevich Oberlin College IMC02 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Jerry Grcevich Ian MacMillen and Class 0 http://ohla.info/wp-content/uploads/2017/04/Jerry-Grcevich-April-13-2017.mp3 Other audio 0 Recording album with Miro Škoro &quot ; we recorded it in this country and sent it back to Croatia as a newly formed country&quot ; Grcevich was at the right place at the right time to record an album with Miroslav Škoro Croatian Music ; Miro Škoro ; New Album 17 33 Hit song &quot ; Moja Juliška&quot ; &quot ; I don't think that there is any wedding that takes place in Croatia where they don't play that and they dance and sing&quot ; Grcevich introduces and plays the song &quot ; Moja Juliška&quot ; (composed by him and with text by Miroslav Škoro). &quot ; Moja Juliška&quot ; ; Example of Croatian Music ; Introduction 17 110 Jerry Grcevich introduction &quot ; when I go over there everything for me evolves around music and I go places and I do things just because they're there&quot ; Jerry Grcevich introduces himself and the centrality of music to his life and to his visits to Croatia. Croatian Music--Appreciation ; Family of Music (Musical group) ; Music and Travel ; Travel to Croatia 17 160 Importance of music and collaboration with Zvonko Bogdan &quot ; sometimes when I was playing for Zvonko Bogdan on a tour or something and I felt like that the people really they, just they loved it and it was something that was a special moment, or special evening&quot ; Answers question about surrounding himself with music by discussing his collaboration with Zvonko Bogdan. Class re-watches video spot of Zvonko Bogdan and Janika Balaž. Music appreciation ; Musical Importance 17 254 Grcevich's musical background &quot ; my grandfathers played tamburica then, then it, passed on to my uncle and my father or my uncle and I can remember when I was that big or something and take my dad's instrument to the top of the steps when there was no one around and just try to slide it down&quot ; Talks about his grandfathers and grandfather playing and getting his first tambura from his cousin (a luthier). Family influence ; family of musicians ; Musical Background 17 309 Formal and informal music education &quot ; I learned a lot from him and also Tuca Nikolić in Osijek, I learned from him. And, um, I went to college for music.... And, just took advantage of situations where I could learn&quot ; Talks about learning formally at college and informally from Zvonko Bogdan, Janika Balaž, and Antun &quot ; Tuca&quot ; Nikolić. College for Music ; Diverse Learning ; Growing up with Music ; musical teachers 17 389 Traveling constantly from Pittsburgh to Croatia &quot ; I would stay there often, one time I stayed in Croatia nine months. And that was in, in uh 19... in 2000, and then I really felt like, that I, when I stayed there nine months I felt like I was really living there&quot ; Recalls how often he traveled to Croatia and how when he lived there for nine months he started to feel like he was at home there. Feelings of Home ; Home ; Life in Croatia 17 455 Croatian American performance venues and events &quot ; they just played for all kinds of Croatian weddings and other nationalities like Serbian and different nationalities like that and they had a tavern where they would play, and they would play on weekends sometimes, and some of them would play during the week.&quot ; Recalls different nationalities' events, taverns, and radio stations at which his father and uncles performed. Father and Uncles ; Playing Music together ; Venues ; Weddings 17 516 Playing and visiting Yugoslavia in a junior tamburitzan ensemble and learning from Janika Balaž &quot ; when my father started teaching a junior tamburitzan group, uh, and I joined that group and we went to Yugoslavia the first time in 1969. And we toured the whole country and it was, it was such a wonderful experience to meet musicians and people from over a whole sea&quot ; Musical Styles ; Path of Success ; Talks about visiting Yugoslavia with his father's junior tamburitzan ensemble, meeting Janika Balaž, and later learning the latter player's style from him. 17 606 Americanizing tambura music &quot ; they would mix the old music that they learned from my grandfathers with what they were hearing on the radio. So they would kind of play a little different style&quot ; Discusses how his father and uncles adapted the tambura tradition as they incorporated American popular music and jazz. Americanizing their Music ; Mixing Old and New Music ; Musical Success 17 708 Learning Croatian language &quot ; my grandfather would say to me, he would call Jerko because that would be my… Jerry would be Jerko in Croatian and he would, he would say a mixture so I, I would understand it.&quot ; Talks about learning Croatian words and sounds from his grandfather Learning Croatian ; Mixing Language ; Nationalities 17 752 Nationalities of the student interviewers &quot ; Any other Slavic nationalities? Are you Slavic?&quot ; Grcevich asks the students about their backgrounds and plays pieces of music that come from the East European countries that they name. 17 841 Evolution and influence of musical styles &quot ; when I did my instrumental album in the 1990s, early 1990s, the groups over there started doing more instrumentals. Before, they would start with the songs, so I think I contributed.&quot ; Discusses influence of his music on Croatian tambura practice today and the impact of migration on musical traditions. Change in Music ; Migration Affecting Music ; Musical Instrumentals 17 912 Music and migration between Northern Serbia and Eastern Croatia &quot ; I know a lot of people from areas of Subotica, which is a Vojvod… a northern Vojvodina, a city where there were a lot of Croatians at one time. And, it was just, uh, easy to, for them to obtain a Croatian passport, uh, in the, in the 1990s, and a lot of them went, wanted to go to University of Zagreb&quot ; Talks about musicians and other Croats from Vojvodina who moved to or worked or studied in Croatia. Migration ; Popular Tambura ; Serbian and Croatian Music ; Tambura Bands ; Tambura Music ; Times of War ; Weddings 17 1066 Speaking Croatian and traveling in Europe &quot ; I never went to school for Croatian language but I picked it up pretty good and, being that I was there, um, that one year for nine months, that's when I really started to use it more than ever&quot ; Recalls learning Croatian informally and practicing it in Croatia, as well as traveling from there to surrounding countries. Croatian Language ; Language ; Travel 17 1144 Visit to Hungary &quot ; The last time I was there was before Christmas and after Christmas, so I stayed there for New Year's. And I went to a city called Mohacs, which is directly north of Osiak (?). Jerry discusses a visit to the city of Mohacs in Hungary where he met a friend named Josep Kobac who teaches tambura music. He describes a folk music festival that was occurring during the time he was there, and his experience going to the festival with Josep. celebration ; Community ; music ; tradition folk music ; Music festivals ; Romania ; tambura ; travel 17 1261 Divisions of Roma &quot ; I've heard people in Croatia say that the Roma populations from Yugoslavia are kind of divided into two, there are the Hungarian Roma and the Romanian Roma.&quot ; Professor Ian MacMillan asks Jerry whether there are divisions between the Romanian and Hungarian Roma. Jerry discusses the differences between the two in Europe and America, but also references the unity that comes from playing in bands together. cultural unity ; culture ; diaspora ; nation Hungary ; music ; Roma ; Romania ; Yugoslavia 17 1327 Pittsburgh &quot ; What about your part of Pennsylvania, western Pennsylvania...it's been a few years now but we had George Bocci (?) out here who identifies as being part of both the Hungarian and Slovak Roma...&quot ; Professor Macmillan asks about the Roma community in Pittsburgh, where Jerry grew up. Jerry discusses the community that existed there in his childhood, and the roots of his friends and family. He also discusses the differences between the Hungarian and Slovak Roma populations in the area. He states that this community is getting lost. A classmate then asks about the distinction between Hungarian and Slovak Roma, and Jerry discusses the difference in music between the two. assimilation ; culture ; diaspora ; emigration ; generation culture ; diaspora ; Hungary ; language ; linguistics ; Magyar ; musical tradition ; Pittsburgh ; Roma ; Slovakia 17 1493 Gypsy Cafe &quot ; And I always felt like--when I would go to Croatia or Yugoslavia, and I would see a group like Yannick (?) or something playing in the same restaurant every night, I always wanted to do that.&quot ; Jerry discusses how he got a regular gig playing at a restaurant called &quot ; Gypsy Cafe&quot ; with his tambura band. He relates how a song called &quot ; Marianna&quot ; was very popular. He then discusses the importance of specific venues and places for Roma music in Cleveland and in Europe. He discusses how his father and uncle would play in Croatian clubs. assimilation ; culture ; emigration ; performance ; place Cleveland ; clubs ; Croatia ; gigs ; music ; Pittsburgh ; Roma music ; tambura 17 1672 Do any of you play an instrument? &quot ; I have a question for everybody. Do any of you play an instrument?&quot ; Jerry asks the class whether any of them play an instrument, and the class shares their music experience. He then discusses a friend from childhood who played viola, and asks the class about music theory. He also discusses his childhood music teachers. genre ; music ; pedagogy ; performance classical music ; flute ; jazz ; Music ; music teaching ; music theory ; piano ; saxophone ; singing ; viola ; voice 17 1835 Performance at Oberlin &quot ; How many of you do you think will come to the performance that we have?&quot ; The class discusses whether they will be able to come to Jerry's performance later that night at the college, and what will be happening in the performance. exhibition ; performance music ; Oberlin ; performance ; scheduling 17 1864 This Class &quot ; Oh, ask something, ask anything.&quot ; Jerry asks the class how they like the course, and the class answers. Jerry asks whether he can visit the class more often, and the class reacts positively to this possibility. pedagogy academics ; classes ; college 17 1919 Night of Budapest &quot ; So we read a section of a book by Steve Piskor about Night of Budapest, do you remember that at all?&quot ; Jerry discusses Night of Budapest, a major music event for Roma bands across Europe, and the discipline that it takes for a large group of people to play traditional Roma music in a synchronized fashion. celebration ; cultural unity ; discipline ; gathering ; tradition discipline ; Europe ; Hungary ; learning music ; music festivals ; Night of Budapest ; Roma music ; tambura 17 2032 How important have religious institutions been for preserving music? Jerry Grcevich speaks about the relationship between the Catholic Church and playing Tambura music. He talks about the role of the Church as a central institution in folk traditions and as a place to gather and experience music. Catholic ; Church ; Folk Traditions ; Mass ; Midnight Mass ; Music 17 2233 Is the tradition dying out? Grcevich speaks about the other musicians in his family. He mentions his niece and nephew, and other cousins that play Tambura music. He then talks about his hope that the musical traditions will not die out, despite a generational drop in popularity. Family ; Generations ; Musical Heritage ; Musicians 17 2325 Music and Funerals Grcevich speaks some about his experience playing Tambura music at a funeral, and some of the difficulties that come with that. Death ; Funeral ; Music 17 2401 The Role of Music Grcevich talks about the presence of music throughout a lifetime, such as births, weddings, funerals, etc. He speaks about the use of music as a way to socialize and relax for members of his community. Celebrations ; Community ; Music ; Socializing 17 2484 Recorded vs Live Music Grcevich speaks about his thoughts on recorded music, and how he perceives recordings to have a lesser emotional impact than live playing. He then talks about changes in the music itself depending on the performance venue, specifically the electronics in the performance venue. Live Music ; Music ; Performance ; Recording 17 2665 The Tambura Grcevich speaks about the physical specificities of instruments in the Tambura family. He touches on the high tension of the strings, and on their tunings. Instruments ; Music ; Stringed Instruments ; Tuning 17 2808 Musical Example: &quot ; Marianna&quot ; Grcevich plays an example of traditional music on his Tambura. He plays the song &quot ; Marianna.&quot ; Music ; Playing ; Song ; Tambura 17 2905 Farewell 17 No transcript. audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jerry Grcevich Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC02 Format The file format, physical medium, or dimensions of the resource audio Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/43">Gipsy Stringz CD</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/47">"The Lark" cassette by Continental Gypsy Strings</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/8d7fd7c79bba6daabe1b0b0a19005462.jpg 4be02846bcb735701e0812755dbe96bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Linda and James Ziga Creator An entity primarily responsible for making the resource Courtesy of Linda and James Ziga Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian MacMillen and Class Interviewee The person(s) being interviewed James and Linda Ziga OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC03.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 James and Linda Ziga Oberlin College IMC03 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library James and Linda Ziga Ian MacMillen and Class 0 http://ohla.info/wp-content/uploads/2017/04/James-and-Linda-Ziga-April-14-2017-STE-012.mp3 Other audio 0 Introduction 17 814 Linda Ziga Retells her Family History and Childhood Now I have a totally different background as a young child because I was born Irish, Scottish, and Cherokee Indian. Linda explains that she was born Irish, Scottish and Cherokee Indian, in Alabama. Her family owned Indian land in northern Alabama until a treaty took the land away. Members of her family were shipped to Oklahoma on the trail of tears. Her parents left Alabama for Cleveland for job opportunities at the Ford and Chevy plants. She was raised Baptist, and her grandmother was rather strict. heritage ; industrial opportunity Automobile industry and trade--United States 17 933 Love and Romance in the Gypsy Community We met each other, she was was 14. Linda and James met at age 14. James had some early romance problems with gypsy girls wanting to marry him at age 15, but he was not ready for that kind of commitment. James possessed many of the traits that were appealing to gypsy girls, including money, a clean record, and the ability to play music. courtship rituals ; marriage tradition ; romance Romanies--Social life and customs ; Women, Romani 17 1078 Gypsy Girls They are really, very, very, pretty girls. James details the traits that make gypsy girls attractive. These include their physical features but also the way they dress. Family, religion, and culture ; Woman, Romani 17 1122 James and Linda's Education I went to, I went to, school at William Dean Howells Junior High School and West Tech High School and then attended some classes at Tri C. Linda explains that she went to school with some of James's family members. Linda attended William Dean Howells Junior High School and West Tech High School and then attended some classes at Tri C. Jim went to St. Patrick’s School. education Education--Standards--United States--States 17 1181 Religion in the Gypsy community A lot of people to, don’t think that gypsies aren’t that religious, but my people James explains that it is a common misconception that the Roma community is uniformly not religious. His family is extremely Catholic. There is a diverse array of religions practice within the community. Catholicism ; fortune telling ; Religion Family, religion, and culture ; Romanies--Social life and customs 17 1206 The Chicago Community but all of our relatives, which is at that time there was thousands, thousands of them, because there was a lot of them in Chicago, in my time. And they all lived on a street called Burling Street (?) and some of them lived on a couple streets after. The Ziga's had a strong presence in Chicago. Most of them lived within a few streets of each other. There was a lot of drama within the community, especially in the summer when it was hot. Tensions often flared, especially between the women who were protective over their men and children. community ; family ; relationships Family, religion, and culture 17 1313 Differences Between Communities Yeah you can call them gadje, but usually in our generation it was Americans. Wild gypsies and that, we called the ones that were fortune tellers, James and Linda explain the difference between their immediate community other Roma communities. Some differences include the role of religion and the term for non-gypsies. diaspora 17 1353 James and Linda's Wedding when Linda and I got married we had to rent two floors, there were over 500 people there at our wedding James and Linda had a huge, traditional wedding. The entire community came out for the wedding. Additionally, as the wedding was traditional, Linda had to go through several ceremonies to officially convert to Catholicism. baptism ; community ; conversion ; wedding traditions Wedding anniversaries 17 1444 Churches in the Region Did other gypsies from your community attend the same church that you went to? James and Linda discuss other churches in the area as well as religion in the community. Many gypsy people went to the same religious institution due to proximity. religion Community churches 17 1478 Education in the Community A lot of us went to school there. A lot of us did. In my time they didn’t believe in education at the time. James explains that many people in the gypsy community did not believe in education, that's why there was so much emphasis on becoming a musician. A change has gradually occurred where more young people are going to college instead of becoming musicians. This is good for the economic stability of their families, but some traditions are being lost. higher education Family, religion, and culture ; Minorities--Education (Higher)--United States 17 1510 James Ziga's Trip to Chicago How long did I live in Chicago? About 6 months. Because I just couldn’t take it… I couldn’t take it anymore. James Ziga was in Chicago for six months. He was pushed into going because of a romantic scandal. He had been dating a girl and was accused of having sex with her. The girl's reputation had been tarnished and he had to swear on a bible that nothing had actually happened. chicago ; cultural norms ; family Family, religion, and culture ; Women, Romani 17 1656 Music's Role in the Ziga's Lives The girl’s father was a great musician too, he was a violin player. James explains that he was taught to play by the girl's father. There was a great tradition of music in the family throughout all the past generations. However, things have changed. James no longer really plays. Linda is not musically inclined at all, but one of their sons enjoys playing. family ; music ; traditions Family, religion, and culture ; Folk music 17 1723 James Ziga on His Brother James Ziga talks about his brother's musical education and early work as a musician. The brother played with a band called the Dalton boys. Ziga also mentions a girl his brother used to date which leads to a description of a romani woman he later married. New York, Copacabana Family, religion, and culture ; Folk music 17 1829 Too Many Lindas Linda Ziga takes a brief tangent to tell about the quantity of women in their family named Linda. 17 1882 Food and Tradition Linda and James talk about traditional food served every Sunday as well as that served at weddings. They discuss the large community gatherings surrounding weddings, funerals, christenings, and other religious events. Linda brings up a strange baptism tradition. wedding, baptism, romani, gypsy As long as we both shall eat : a history of wedding food and feasts / Claire Stewart. 17 2080 James' Sister Marilyn Linda talks about sharing a home with James' parents and acting as a babysitter for his sister. She and James then mention the death of his sister's son and her present life in Vegas. 17 2132 Shrine in Euclid Ohio Linda talks about the Lady of our Lord shrine in Euclid Ohio. A large number of gypsies would visit the shrine annually for the Feast of the Assumption. Religions of the world [electronic resource] : a comprehensive encyclopedia of beliefs and practices 17 2229 Gathering in Euclid Beach Park Linda adds a story about an event at Euclid Beach put on every year by the Musicians Union. Entire families would attend, picnic, and dance late into the night. They discuss how the event petered out in the 70's after James' father died due to migration of the community. Religions of the world [electronic resource] : a comprehensive encyclopedia of beliefs and practices 17 2355 Roma Women and Music James and Linda talk about women's involvement in romani musical life. They talk about a few women who were accomplished musicians, particularly violinists. However, they explain that women were usually not professional musicians but took part in singing gypsy songs and group music. James adds that music really was employment for the men, and talks little about his father's musical career in Cleveland. Roma Women Association Romania 17 2533 Linda prompts a story about the tradition of Christmas caroling in the Cleveland area for gypsy musicians. Now, what about the tradition. You should tell them a brief story about the Christmas caroling. caroling ; Christmas ; music ; tradition Christmas Story House (Cleveland, Ohio) 17 2698 James and Linda talks about the traditional dress for weddings. J: And at the weddings it was like that, the women were always trying to outdo the other ones and they’d, they’d spend hundreds— L: They still do. dress ; money ; tradition ; wedding Wedding clothing &amp ; dress 17 2902 Linda and James discuss their marriage. &quot ; We’ve been married almost 51 years.&quot ; James and Linda go into the trips taken as a family and the pieces of their marriage that work. Emma asks a question about the scandalous nature of their relationship. They also discuss the involvement of their parents in their relationship. anniversary ; children ; courting ; marriage ; parents ; tradition ; traveling 17 3157 Engagement Handkerchief Tradition &quot ; But there was there was something with a handkerchief and tying a knot over their hands...&quot ; Linda asks about a tradition involving a handkerchief and older members of the community coming together and binding the two members of an impending marriage together. handkerchief ; tradition 17 3201 The Right Gypsy Marriages &quot ; they were taught, they were taught to like the good boy. And getting married with a good girl was always with a good boy&quot ; marriage ; musician ; proper ; support James explains the proper kind of marriages accepted within the gypsy community and the criteria looked for by the parents and families. 17 3299 Their Marriage &quot ; they all got together, my mother and father and your mother and father and they were reasonable, very reasonable about it and they sat down and they said let’s let them get married&quot ; James and Linda talk about how reasonable their parents were considering the fact that Linda was not a gypsy and James was a very good and desirable gypsy boy. concession ; marriage ; parents ; planning ; wedding dress 17 3338 Linda's adoption into the gypsy community. &quot ; I am a perfectly adopted gypsy now, I mean no one has a problem with me being not a gypsy because I’ve been raised with these people and I know the customs and traditions&quot ; Linda talks about her acceptance into the gyp adoption ; community ; involvement ; traditions Ohio. Office of Community Development 17 3395 Chicago's Gypsy Community &quot ; It was a fun place to visit. But I would not live there with the drama that was going on.&quot ; James starts talking about Chicago and the fun and dramatic community of gypsies that existed there. They also mention how they would never want to live there with all of the drama that came with the crazy women there. chicago ; drama ; show ; women Women's Union (University of Chicago) 17 3448 Goodbye and Thanks &quot ; Well thank you so much for sharing, it’s been great.&quot ; Professor Macmillan says goodbye to James and Linda and thanks them for their time. Linda ends with a statement of longing for the old ways and traditions but stating her admiration for the wonderful new technology that comes with the modernity. Goodbye ; new technology ; preservation ; tradition Middletown (Ohio). Historic Preservation Council ; Ohio. Task Group on New Technology Application 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource James and Linda Ziga Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC03 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/43b295126b094170e0e78e267fa27fd1.JPG af6a621011096cc8f784f0bef8312934 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy Rose Description An account of the resource Photograph of Billy Rose (guitar, center) playing with Chris Rose (bass guitar, right) as part of George Batyi's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Emily Peterson, Hannah Halpern, Rae Friedman Interviewee The person(s) being interviewed Billy Rose OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC04.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Billy Rose Oberlin College IMC04 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Billy Rose Emily Peterson, Hannah Halpern, Rae Friedman 0 http://ohla.info/wp-content/uploads/2017/11/Billy-Rose-Oct-30-2017-interview-171030_003.mp3 Other audio 1 Introductions BR: I was born in Braddock, Pennsylvania in 1931. And my birthday is April 21st. And...uh...I lived there until I was about 10 years old, then we moved to Detroit, Detroit Michigan. The interviewers Emily, Rae, and Hannah introduce themselves and where and when the interview is taking place. Billy Rose also introduces himself. He was born in Braddock, PA on April 21, 1931. He moved to Detroit, MI when he was 10 and then moved to Dearborn. Braddock ; Detroit ; Oberlin Family -- Identification ; Genealogy &amp ; local history ; Oberlin College 17 96 Family History HH: So were your parents also from Braddock? BR: Well originally yeah, my father was born in New York but he met my mother in New York and then they moved to Braddock and then they moved to Detroit. Billy Rose had four children, three of whom are still alive. He was married 31 years to his first wife and has been married 34 years to his current wife. His grandparents came to America from Europe and his parents were from New York, which is where they met. Children ; Grandparents ; Marriage ; New York ; Parents family origins ; Hungarian background ; married life 17 214 Marriage to first wife BR: I met her at a birthday party in Cleveland, Ohio and she was 16 years old then. And then her mother was a good friend of my mother's and they used to come to New York for weddings and stuff, big weddings we had. And my mother talked to them I guess and then they got me into a situation when I was 19 and then I went and see her in New York. He met his first wife at a birthday party in Cleveland, OH. He describes his marriage as &quot ; sort of&quot ; an arranged marriage, where the parents were definitely involved in the process and knew each other well, but there were still strong feelings for each other. Cleveland ; Detroit ; First Wife ; Marriage Arranged Marriage ; Hungarian Culture ; Hungarian Musicians 17 287 Were your parents musicians? Were your kids musicians? BR: And he played music too on Friday and Saturdays. He played viola...in Hungarian we call them contra, contrash. That's the guy that plays chords. And they played in nightclubs you know and on weekends mostly. Hungarian nightclubs, strictly Hungarian music. More about family history involving music, moving from Braddock to Detroit. His grandfather played the violin, his father played the viola in Hungarian nightclubs. Rose speaks a Gypsy language that he learned from his grandparents, and doesn't know Hungarian. His kids can understand some of the words in the Gypsy language but can't speak it. Braddock ; Detroit ; Grandparents ; Gypsy language ; Hungarian ; Nightclubs ; Parents ; Viola ; Violin Budapest--Violinist ; Musicians--Detroit ; Musicians--Pennsylvania 17 455 Did you encourage your kids to marry a Hungarian person? RF: How did they keep the culture alive? BR: Through the parties and weddings we went to and stuff like that it was Hungarian. The food was Hungarian like stuffed cabbage and chicken paprikash, you know Hungarian food. And we still cook that way. Rose didn't encourage any of his kids to marry Hungarians, but they all did anyway. His daughter married someone from the neighborhood of Del Ray where they lived, and his son married the sister of the person Rose's daughter married. His other son also married a Hungarian woman. There was a strong Hungarian community, even though no one spoke Hungarian. Culture was kept alive through celebrations and food. Birthday Parties ; Celebrations ; Chicken Paprikash ; Children ; Community ; Culture ; Del Ray ; Hungarian ; Marriage ; Neighborhood ; Stuffed Cabbage ; Weddings Family, religion, and culture ; Gypsy Musicians ; Hungarian Community ; Hungarian Marriage 17 554 Do you feel like the culture is fading? BR: The thing that it died off like that...I think it was the music today. See, it's different. Even playing in a nightclub. We used to play five, six days a week in a night, you know and I used to play three jobs a day, you know, but now no restaurants want to hire cause their just going to that other music. Or they'll hire a piano player, they don't want to pay. Rose says that Hungarian people who live in Europe still have a strong culture, but Hungarian Gypsy music in America is declining because of other types of music. Traditions like weddings are also changing. Rose feels sad about this decline. America ; Culture ; Drinking ; Europe ; Gypsy Music ; Hungarian ; Hungary ; Money ; Nightclubs ; Rock and Roll ; Wedding Dance ; Weddings Fading Gypsy Culture ; Fading Gypsy Music ; Gypsy--Culture ; Hungarian Dance 17 714 Performance spaces BR: I used to have 20 men playing Hungarian music, you know, but that's when they were living and they played that music. But now they're all gone and we're mostly playing American music. Rose prefers to play at a &quot ; classy&quot ; place like a restaurant. Once in a while he would play in an auditorium, but most work came from restaurants and nightclubs. Hungarian music is less in demand, so he plays other genres like country and rock and roll. He used to play the same venue for up to 15 years. He also talks about the money, although it wasn't much it was steady. Concert halls ; Concerts ; Genre ; Hungarian ; Money ; Music ; Restaurants Hungarian Music ; Hungarian Nightclubs ; Hungarian Venues 17 832 Did you say your kids all play instruments? RF: So Was it important for you to encourage them from a young age... BR: Yeah because they wanted to play. I started them off when they were seven, eight years old. Cause I was playing, and they liked to...they were always in it. But they... and they all were music except my daughter, my daughter didn't play, just the three boys. Rose's son Chris still plays music and plays with Billy still. His kids wanted to play because they saw their family doing it. All the kids played music except for Rose's daughter. He says it wasn't necessarily because of her gender, she became a housewife. Women are playing music in Hungary, but there are still more men playing things like cimbalom. Rose also talks about one of his favorite European artists. Neither Rose nor his kids has not traveled to Europe. Children ; Europe ; Family ; Gender ; Hungary ; Music ; Travel Family Musicians ; Gender and Music ; Music--Classical influences 17 981 Are your kids interested in your family's history and their identity? BR: My granddaughter that just got married, Chris' daughter, she goes on YouTube, she got the backgrounds to my grandmother, my great-grandmother, to find out where they lived. And she wanted to find out a lot about our culture and who the family were and all that. Oh yeah, she's a computer wiz. Rose's granddaughter is interested in family history and culture, and finds things on the internet. GPS and the internet are also discussed. Rose has an album that was released 15 years ago. Album ; Culture ; Family History ; Granddaughter ; Internet Background and Culture ; Grandchildren ; Hungarian Identity 17 1071 Do you feel like part of your culture is erased when you sing American music? BR: I like to do all kinds of music. My favorite music is Hungarian, that's my favorite, I love Hungarian music. Cause I grew up in it, that's what I learned first. Rose likes to play all kinds of music, though his favorite music is Hungarian because that's what he grew up with. He started playing American music later partially because he had to because the music was changing. There isn't demand for his kind of music any more at parties and celebrations. In the US, Hungarian music died 20 or 25 years ago. American ; Changes ; Hungarian ; Music Change in Culture an Music ; Diversity in Music ; Music--Hungarian influences 17 1226 Do you ever think a revival of Hungarian music could be possible? &quot ; They'll want us to play an anniversary party to remember the days they got married&quot ; Rose doesn't think so. However, he believes that there will always be places where people will want to hear Hungarian music. He mentions anniversary parties and celebrations where he plays the music. He then explains that it's not just Hungarian music that is losing popularity, but Polish, Italian, Jewish, Romanian, Irish, Arabic- all types of music he has learned over the past 30 years. Polish, Hungarian, Italian, Revival Diverse Music Experiences ; Popular music and art music 17 1284 How did you learn so many different varieties of music? &quot ; I played with people that know that music&quot ; &quot ; My ear got trained to understand what they're playing&quot ; Rose explains that he has played with many people that know cultural music. His ear has been trained from a young age to pick up on different types of sounds, chords and melodies, so that he can easily learn new pieces and play along. He is proud that he still has a great memory for songs and different peoples' tastes/preferences. Music Knowledge, Music education Diverse Musical Talents ; Speech, music, and hearing 17 1371 What are the differences between the many types of ethnic music you play? &quot ; The chords are mostly the same type of chords, but they go in a different formation&quot ; The chords are basically the same, but the patterns and ways they fit together differ depending on the culture the song is coming from. He describes Hungarian music/chord patterns as mostly &quot ; melancholy&quot ; , but when Hungarians dance, they play csárdás. Rose explains the two step dance technique used for this style of Hungarian music. csárdás, chord patterns, ethnic music Chord Formation ; Chord Patterns ; Dance Rythm ; Piano 17 1531 Did your family ever try to hide their gypsy identity for fear of being stereotyped? &quot ; I've never met any people like that&quot ; &quot ; A lot of the gypsies were fortune telling gypsies, our type of gypsies don't do that&quot ; Rose's family never hid there identity. He explains the difference between fortune-telling gypsies that steal and are discriminated against, however his &quot ; type of gypsies&quot ; spend their lives playing music. He says that some become doctors and lawyers, and that his people have always been &quot ; good people.&quot ; stereotyping, fortune-telling, discrimination Gypsy People ; Gypsy Pride ; Music and Business 17 1596 What is the Gypsy community like in Dearborn, where you live now? &quot ; We're all separated now, we're not together&quot ; &quot ; When we were in PA we were in one area, everyone lived right next to each other&quot ; Rose explains that there is no longer a section of the city where all of the Hungarians live, everyone has become scattered, unlike Pennsylvania where everyone lived right next to each other. Rose says it feels much lonelier now, without the physical connection of the close-knit community. The only times he feels like he sees the gypsy community come together is at weddings and funerals. He feels sad about this change. Cultural divide, community Community Separation ; Hungarian Reunions ; Lack of Community Distinction 17 1714 Returning to hometown of Braddock, PA &quot ; When he showed me that I wanted to cry&quot ; &quot ; There was nothing there no more&quot ; A few months ago, Rose returned to his hometown of Braddock, PA visit where he used to live and where his grandparents were buried. He explains that nothing is there anymore, no railroad, no stores, no house, just &quot ; junk&quot ; . This made him very upset, saying it &quot ; tore my heart out&quot ; . His family couldn't believe it. Neighborhood change, historic city Local history ; Neighborhoods--United States ; Shrinking Cities ; Urban Renewal 17 1887 Do you see yourself passing down your cultural musical traditions to younger generations? &quot ; The older people have it (music) in their minds because they knew what it was, but it will never come back. Never&quot ; Rose strongly believes that the popularity of Hungarian music in America has come to an end. He does not have any interest in passing down musical traditions to younger generations because they seem completely uninterested. Musical Legacy family, religion, and culture ; Musicians, Romani ; Romanies -- United States -- Social life and customs ; Romanies--Hungary--Music 17 2126 What role has religion played in your life? &quot ; I still go to church and all that&quot ; Rose grew up catholic and raised his kids catholic. His first wife was catholic and his second wife converted after they married. All of his kids married catholic spouses. He explains that he probably would not have married someone who was not catholic. Catholic Church--Customs and Practices ; Identification (Religion) ; Marriage--Religious aspects--Catholic Church ; Religion, Catholic, Marriage 17 2361 Of all the restaurants/bars/jobs you worked at, what was your favorite and why? &quot ; It was an Italian restaurant and I met a lot of movie stars there&quot ; &quot ; We strolled around the tables and played requests&quot ; In 1946, Rose worked at Giovani's restaurant in Detroit where he met many movie stars. He met and played for Anthony Quinn who was very impressed by his music. He also met Barbara Streisand in the downtown Detroit music scene. Downtown Detroit, Gypsy performers Detroit (Mich.)--History ; gigs (employment) ; musicians (employment) ; Musicians, Romani 17 2545 So besides the cool performers that you met, what else did you like about certain places that you worked at? &quot ; It was a good adventure. I loved music and I loved to play. I played in Vegas, opposite Wayne Newtown when he first started out, in the Freemont Hotel in 1960&quot ; Rose remembers that there were always nice people that worked in all of the restaurants he played for. He particularly remembers an expensive restaurant in downtown Detroit where he played in the 1960s. The name of the restaurant was London Chophouse and he believes it's still around. He recalls again, as previously mentioned, playing with Wayne Newton in Las Vegas in 1960. Nice people, downtown Detroit, adventure, Wayne Newton, 1960, 1974 Detroit (Mich.)--History ; gigs (employment) ; musicians (employment) ; Musicians, Romani 17 2654 When you were playing in Detroit - who were you playing with? Were they relatives or just friends?&quot ; &quot ; They were all just friends of mine. Distant cousins. After awhile my sons started to play with me...&quot ; Rose discusses how he for the most part place more-so than relatives. After awhile, however, his son began to play with him but for the most part he played with his friends. His sons all grew up and moved to other places such as Florida and Las Vegas. family, friends, performing, band Family, religion, and culture ; musicians (employment) ; Musicians, Romani 17 2733 Did you ever use sheet music or was it almost always from memory? &quot ; No I read music too...&quot ; Rose mentions that he had to be able to read music because when he moved to New York with his first wife he joined several klezmer Jewish bands and needed to make sure he could read the notes. read, music, sheet, klezmer, Jewish Genealogy ; musicians (employment) ; Musicians, Romani ; Romanies--Hungary--Music 17 2782 Were you ever interested in learning Classical or can you play Classical guitar at all? &quot ; Oh I can play classical but not the heavy Classical, like the dances and stuff...the Rhapsody and things like that&quot ; He could play whatever the leader, the violinist would play. But he could play some Classical music. His speciality however is Hungarian music and the following the speed of the violin classical, music, Hungarian, speed, violin, leader Music--Classical influences ; Music--Hungarian influences ; Popular music and art music ; Romanies--Hungary--Music 17 2858 Venue for Concert Later Brief interlude on the venue Billy Rose and his band would be playing at later that night. Question about what type of venue and whether or not it's equivalent to an auditorium or not auditorium, venue, Cimbalom ; gigs (employment) ; musicians (employment) ; venue 17 2899 And your cimbalom player is coming from Cleveland right? EP: &quot ; Have you ever played with this person before? BR: No ER: Is that scary or is it regular? Is it normal? BR: No because Georgie we follow him. He's the violin player. So whatever he plays we gotta play with him. See, we don't have anything set Original cimbalom player was from Chicago but he hurt his toe and is unable to participate in the show. At the hospital they told him he had problems with his heart. They found a replacement from Cleveland. He hasn't played with the person before. Again it is mentioned that since Rose follows the violinist, Georgie, he does not have to worry about any other members. Everyone just has to follow Georgie. Cimbalom ; Cimbalom makers ; gigs (employment) ; musicians (employment) 17 2973 So you guys don't necessarily plan what you're going to play? It's more improv? &quot ; You can't just play music and just read it and that's all. There's many people like that. Like symphonies and stuff they can't play without the music...&quot ; Rose acknowledges that since Georgie is the violinist, he decides upon the tempo and songs that are played. Since everyone else just follows, they don't bring any sheet music. They just listen to Georgie's pick and tempo and use improvisation from there. Rose discusses the importance of practicing music. He mentions that his daughter and wife both can't play music without reading the sheet. He believes that if you practice something until you truly know it that you'll be able to play regardless of sheet music. improv, program, Georgie, violinist Music memorizing ; Musicians, Romani ; Sheet music 17 3073 Potential songs for the show later &quot ; He might play a Greek song, called a Coffee song&quot ; Rose gives brief rhythm of song Georgie may lead at the concert. Rose does not know what Georgie was in the mood to play for the concert tonight so he guessed that potentially he may play a Greek song that he likes - not just Hungarian music. Coffee--Songs and music ; musicians (employment) 17 3126 So you know his general repertoire? &quot ; Mostly but he got so many songs that I don't know that I've never played&quot ; Rose noting that even though for the most part he knows many of the same songs that the lead violinist, Georgie, knows - he still is unclear as to what songs they will play that night. music, songs, repertoire musicians (employment) ; Musicians, Romani ; Performing arts--Repertoire 17 3191 Do you have a favorite artist? Musician? &quot ; And then there's the jazz guys, talking about Johnny Smith, George Benson - all great musicians&quot ; Rose discusses some of his favorite guitarists including Andre Segovia. He was a classical guitarists. He used to listen to him as a little boy. He mentions several jazz artists including Johnny Smith and George Benson. He also loves a French Gypsy guitarist Django Reinhardt who passed away. &quot ; He was so great that every jazz guitarist wanted to be like him.&quot ; Rose recalls that three of Django's fingers burned together but he still played so quickly and beautifully regardless because of his technical abilities. Rose saw Django Reinhardt play on tour with Duke Ellington. jazz, Django Reinhardt, Johnny Smith, Andre Segovia, George Benson, favorite, guitarist, Guitar ; Guitar music (Jazz) ; Musicians ; Musicians, Romani 17 3300 Are Hungarian guitars any different? What type of guitar do you play? &quot ; It doesn't matter whether it's a French guitar, or an acoustical guitar, it's a guitar and it got the same notes as any other guitar only some of them sound a little bit different&quot ; Rose says he plays a Jazz guitar but mentions that it doesn't really matter which type of guitar one plays as they all have the same notes. jazz, guitar, notes, sound, French, acoustical, electric, amplifier, different, Guitar ; Musicians, Romani 17 3359 Conclusion Brief summary of what will happen with the interviews and requesting a final signature. signature, interview, thank, you, Interviews 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy Rose Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC04 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/24016bbf8bbeed3e60c4c19b0297a1af.JPG 1f03fcf0c6bd426d40096b63e6b7799e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chris Rose Description An account of the resource Photograph of Chris Rose (bass guitar, center) playing with Billy Rose (guitar, left) as part of George Batyi's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Patrick Monnius Francesca Scola Peri Levin Interviewee The person(s) being interviewed Chris Rose OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC05.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Chris Rose Oberlin College IMC05 Ian MacMillen and class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Chris Rose Patrick Monnius Francesca Scola Peri Levin Audio Recording 0 http://ohla.info/wp-content/uploads/2017/11/Chris-Rose-Oct-30-2017-interview-171031_003.mp3 Other audio English 1 Family background &quot ; My dad was born in Braddock PA, and he like marriedmy mom and my mom is from new york, and me and my brothers and sisters we all grew up in detroit.&quot ; Was your mom part of a gypsy community? &quot ; Yeah, sure, her dad played violin too on that side. Both sides of my family...they both came, like my grandfather actually on my moms side was born in Braddock also... but then they moved to NY after so my mom was born in NY and her sisters and brothers and their family lived over there. It's like a melting pot, I don't know...they didn't work in mills or anything in steel mills in Pittsburg or Braddock. This was like turn of the century, I guess because the culture and music cause Hungarian people are really close and like we eat the same food like stuffed cabbage, chicken paprikash and all that stuff we are from Slovakia.... all the european things are related so close the culture, music, food, weddings. We're all musicians, all the men at least. It's something to see you know now theres not that many left...only my dad, Georgie, and a couple others but it used to be like 20 or 30 people, when someone passes away you know you cry, and they play one of those slow and really soulful, you have to hear it to understand, it goes through you. Chris Rose discusses both his parents growing up in gypsy communities (father in Braddock, PA and mother in NY), history of immigration to the U.S. within his family, and family traditions (including cooking) and the aspects of Romani/ Hungarian life that bonds people of those origins. Braddock ; cooking ; cuisine ; Eastern Europe ; family ; gypsy ; Hungarian ; Hungary ; immigration ; New York ; Pennsylvania ; Roma Cooking,Hungarian ; Music--Romani influences ; Musicians (employment) ; Romanies--Social life and customs 17 151 Interview introduction and metadata First we'll just say that we are at Oberlin College and it is Oct 30. We're interviewing: &quot ; Chris Slepsky, but we use a stage name Rose.&quot ; In this segment we give metadata for the interview including time, place, and names of people involved Gypsy ; Oberlin ; Oberlin College ; Romani Oberlin College ; Oral History 17 195 More about Mom's family and family diaspora My Moms family were also, you know played music, and did the same thing. Her brothers and sisters, she had one brother actually that played the bass...with Carmen Miranda. They were from Chicago, but they were living, my grandmother, they were living in California like in the 40s and my uncle, his name was Max he played the base with Carmen Miranda. He was in a lot of those old movies. My daughter just did this ancestry.com, she tried to put our family trees together and it's so interesting she found out my grandfather on dads side he lived in New York also and my daughter just found out my moms family and dads family lived like a few blocks from each other and they weren't married yet just in New York. And I asked my mom ya know your grandmother was out in California. My mom had an older sister and her husband when he was working as an electrician they were in California. All sides of my family played music. Chris Rose discusses that his mom's family is also of gypsy origin. He discusses his mom's family, the prevalence of music on that side of his family, and where they were located throughout the United States. He talks about the accomplishments of his family members, for example his uncle max who performed base with Carmen Miranda in California. He also talks about the coincidence of his parents at one point living mere blocks from each other in New York. Bass ; Braddock, PA ; California ; Carmen Miranda ; Chicago ; Diaspora, Immigration ; Family ; Family Music ; Gypsy ; Gypsy Music ; Gypsy Tradition ; Hungary ; Migration ; Movies ; Music ; New York ; Roma ; Tradition Double bassists ; Miranda,Carmen,1909-1955 ; Romanies--Music 17 300 Chris' life growing up Could you talk a little bit about your life growing up and how you were as a kid, when you started playing music? Yeah I was a normal kid, playing baseball, doing everything you could think of, I had two brothers. Like I said my dad was constantly playing music, we had all these instruments in the house, and my brother was playing piano at that time and I remember he brought my brother a bass guitar for his birthday- my other brother Anthony. When I was 5 or 6 he brought me home a little drum set, because really that’s my instrument and we would just go down to the basement and practice and then we got older and we started playing you know like Santana and all that Chicago and just had fun and my mom used to be like that’s enough! And flick the light, we drove my mom crazy, like the brady bunch. But we just ya know and I got a little bit older and my dad was like you guys are learning the wrong songs, we need to learn standard music he said, like Sinatra. When we were coming up restaurants had a lot of bands so we had to learn the right music to play and make a living there which we were lucky enough at the time like in the 80s, like late 70s and ya know my dad started showing the songs he could play and it always came in handy throughout all the years learning music...but none of us really played. Chris is asked to discuss his childhood, he gives an overview of a &quot ; normal&quot ; childhood with his siblings and playing baseball etc but then dives into the influence of music in his household from a very young age and his father giving instruments to Chris and his brothers and teaching them what they had to do to be successful in the restaurant music industry. bass ; childhood ; drums ; gypsy child ; Gypsy Home ; gypsy performer ; mentorship ; music ; practice ; restaurant music ; roma household ; roma kids ; santana ; standard music ; teaching Childhood ; Guitar ; Romanies--Music ; Sinatra, Frank, 1915-1998 17 411 Discussion of Cimbalom My older brother did play...and you’re gonna see later at the concert, it’s called a cimbalom, now that’s a history in itself, goes back a hundred years. I don’t know how they made it, how they thought of it, just like amazing, and uh so it’s unbelievable. My brother played it for a while but then he got older and wanted to play guitar, but it’s such a beautiful instrument. I’m excited to just see what it looks like It looks like a square box, but it has piano strings on it and you play it with these little sticks, look like mallets and then theres cotton on the ends, you tie it with string, it’s real melodic. Interlude about a santoor player from Pakistan who Patrick performed with, and comparing the Cimbalom to similar instruments like a dulcimer. In this segment Chris attempts to describe the Cimbalom, a traditional Romani instrument that his brother used to play. He explains that it is a big box with strings which are played with mallets, it is compared to a santoor or dulcimer. The interviewers will see the instrument being played at a concert given on the night of the interview. beautiful ; china ; Cimbalom ; cross-cultural ; dulcimer ; education ; gypsy ; hungarian ; hungarian music ; hungary ; india ; mallets ; music history ; musical experiments ; pakistan ; rare instruments ; romani ; santoor ; traditions Cimbalom ; Folk music--Hungary ; Pakistan ; Romanies-Hungary--Music ; Santur 17 512 Continued discussion of family music tradition and family careers My childhood was normal, I just grew up in a musical family, my dad taught us how to play music me and my brothers, my sister didn’t play. Oh your sister didn’t play, was that because of her gender? Oh no it wasn’t like you can’t play because you’re a girl. My mother was a beautician so she started working in that field, started working for my mom. She was cutting hair, you know when she was younger. My nephew’s a drummer out in Las Vegas he plays in this ? show, he played with Suzanne Summers, plays with a lot of different people. And I taught him when he was a kid! So we just kind of passed it, whoever had the talent had the talent to start with, something. We just grew up in a musical family, and this music [gypsy music], like my dad I just feel sorry that I didn’t learn it sooner, I was playing percussion I was playing drums and I love the music, I would go with him all over. I was a kid and I’d sit in the chair next to him and they’d go to a party or wedding or something and they’d just be playing all this music. So lately I’ve been playing gigs with him, I play bass, I play a little piano, I’ve been playing some jobs with my dad, it’s great to get into it. You know I asked George, I’m like how do you remember all of it? Hundreds of songs... Chris talks more about the role of music in his childhood and in his whole family and community. He discusses the musical careers both of his father and nephew and the way in which music is passed down generationally. He laments that he didn't learn to play gypsy music until later in life. bass ; beautician ; childhood ; dad ; drummer ; drums ; family ; fatherson ; gender ; generational ; gypsy ; hair ; hungary ; las vegas ; lost traditions ; memory ; music ; party ; piano ; roma ; romani ; siblings ; suzanne summers ; tradition ; wedding Drummers ; Musicians ; Musicians, Romani ; Somers,Suzanne,1946- 17 617 Romani community growing up What was the community like- did you guys have a Romani community outside of your immediate family growing up? Oh yeah, we had lots of friends and say there’d be a Romani wedding in say Chicago or Cleveland and people would invite their families and everybody would go and it’d just be a big party it really would. No tents or wagon wheels or anything hahaha Because you were in a romani community did your communities culture was different from others? When you go to school you see the kids I lived in a small town in Detroit. But it was a whole Hungarian community they had bars they had junk stores, they had restaurants. Chris tells us about the Romani community in his life growing up. He explains the prevalence of Hungarian culture in his childhood and neighborhood growing up. This culture extended to weddings and parties, but also just everyday food and activity. chicago ; childhood ; cleveland ; community ; detroit ; gypsy ; party ; romai ; school ; town ; tradition ; wedding Chicago ; Cleveland ; Cooking,Romani ; Detroit ; Hungarians ; Romanies ; Wedding 17 808 Community Pressure, Marriage, Family Growing up was there pressure to stay within your community as far as marriage? No...I married a Romani girl, but I dated a lot of girls, I got divorced a long time ago but I have two kids, I have two granddaughters. But like I lived in Florida, I dated a girl from Brazil. You know it’s not like...maybe years and years and years ago ‘cause I think everybody was closer then, ya know like my dad met my mom at some wedding. It was actually in Cleveland….but no there was no kind of people who would like kill their kids if you don’t marry this guy...if you love somebody yeah, you know my daughter she just got married in July. We ask Chris if there was any pressure from his family or community to maintain Romani traditions through marrying other Romani people. He insists that there was no pressure, and although he married a Romani woman (since divorced) he's dated a wide variety of women of different ethnicities and there has not been any conflict in his experience. community ; divorce ; exclusive ; family ; intimacy ; marriage ; pressure ; purity ; tradition ; wedding Children ; Dating ; Interracial dating ; Marriage ; Romanies -- United States -- Social life and customs ; Romanies--Social life and customs 17 923 Chris' children and their identities Are your children involved in a Romani community or your music scene? Oh yeah- my daughter sings with us on the weekends! She’s been singing since 3 years old, she’s so talented. So she sings with me and my dad we work like a weekend gig, and I’ve been practicing with her since she was a little girl...my son plays guitar but he works a day job...my dad never worked a day job, he’s been performing for all these years. Chris talks about his children and their involvement in the music scene. He discusses how passionate his entire family is about music, and the way it touches him in his soul, he attributes this to being Romani. career ; children ; day job ; family ; father ; finances ; gigs ; gypsy ; love ; music ; passion ; picnic ; romani ; singing ; work Children ; Romanies--Music ; Singing 17 1096 Romani Food! I don’t know if Cleveland might have some good restaurant, but it’s uh excellent, stuffed cabbage they call it, chicken paprikash they call it, it’s chicken like boneless chicken and they cook it in this sauce and they have dumplings, homemade dumplings. Oh my god...it’s very rich though but it’s very good, lot of noodle dishes. We all get very hungry discussing Romani and Hungarian foods that Chris has grown up with and still loves to eat. He mentions and describes chicken paprikash, stuffed cabbage and some other traditional foods that are part of his tradition and identity. cabbage ; chicken paprikash ; delicious ; food ; hungarian ; hungary ; hungry ; noodles ; paprikash ; recipe ; slavic ; stuffed cabbage ; tradition ; yummy Cooking, Hungarian ; Cooking, Romani ; Food ; Romanies--Social life and customs 17 1205 Chris's Daughter's Research &quot ; Do you know what made your daughter want to go on ancestry.com?[...]&quot ; &quot ; [...] She's been interested in this probably about 10 years now we found a lot a lot of stuff, my Grandmother, my mom's Mother, she lived to almost 100, she was 98. And all her family lived in Ohio[...]&quot ; Chis's Daughter became interested in family heritage and was able to trace back family history through Ancestry.com. This has enabled the family to find out more about their heritage and even find family graves and a death certificate of his father's brother who died in childhood. ancestry ; Grandmother ; heritage Ancestry ; Ancestry.com (Firm) ; Genealogy ; Heritage 17 1382 Decline of Romani Music &quot ; The traditional style of music is, you know, in decline. And there are fewer people. What is your perspective on that. Do your children have interest in traditional Romani music?[...}&quot ; The traditional style of music is in decline, what is Chris's perspective on this. His children's interest in traditional music. Hopes that he can learn more from his dad and older musicians. Children ; Traditional music Folk music ; Music--Romani influences ; Romanies--Hungary--Music 17 1572 Daughter's introduction to music Daughter's early introduction to music and musical culture. &quot ; Not a closed in kind of thing [the culture], its very open with a lot of wind blowing through it.&quot ; Daughter has been singing since she was very young. Took his daughter to see her favorite singer, Barbra Streisand, when she was young. Children ; Daughter ; musical introduction Daughters ; Rock concerts ; Streisand, Barbra 17 1618 Wedding music &quot ; They did all the traditional stuff. And then at weddings we have a traditional bridal dance. they call it the bride dance, and they play a specific couple songs and everybody dances with the bride [...]&quot ; Chris talks about Romani wedding music, wedding dances, and the traditional bridal dance. Bridal dance ; dance ; wedding music Marriage service ; Romanies--Music ; Wedding dances ; Wedding family ; Wedding music 17 1689 Grandchildren and music &quot ; Are they old enough to start playing music?&quot ; &quot ; Not yet, my Granddaughter is going to be four, the oldest one.&quot ; ages of Chris's grandchildren and their connection to music. Chris talks about family life through generations and shows pictures of his two granddaughters ; Demi and Mila family ; grandchildren Grandchildren ; Music 17 1765 Living in Detroit &quot ; Where are you based now, where are you living?&quot ; &quot ; In Detroit, I live in Dearborn actually [...]&quot ; Chris currently lives in Dearborn, Michigan. A suburb outside Detroit. His father also is currently living in Dearborn. current home ; Dearborn ; Detroit Dearborn (Mich.) ; home ; michigan 17 1812 Relationship with father &quot ; whats your relationship like with your dad?&quot ; &quot ; Im with my dad more like a beast friend.&quot ; Chris sees his father more like a best friend. Has worked with his father from many years. Although he moved away from his father/ home for 6-7 years he moved back and sees his father as one of his closest friends. They currently work together and see each other almost everyday. Takes care of his dad since his sisters and brothers have moved west. family relationship. ; Father best friend ; father ; work 17 1897 Music with is brothers &quot ; Our first gig was like a Sunday gig. In this place my dad used to work at [...]&quot ; Chris talks about his first gig playing music with his brothers at around 10 years old. In the 80's and 90's. Never wanted to be stars just enjoyed playing with his family. Brothers ; first gig ; Music band ; brothers ; dad's work ; first gig ; music 17 2036 Family in Detroit &quot ; Nothing really crazy. And even back then, everyone lived close together.&quot ; Chris's daughter and her family live in Dearborn as well as his son and father. Family all goes to church together and live nearby. Also talks about the support he gets from your family. church ; daughter ; Dearborn ; family ; son church ; daughter ; dearborn ; family ; michigan ; nearby ; son 17 2123 Traveling to Brazil &quot ; Ive been to Brazil and South America. Because I way playing, I was living in Florida for a while, like in 2000[...] And we did this, like a Brazilian CD [...].&quot ; Chris talks about traveling to Brazil to play/ record music while living in Florida in the 2000's. Brazil ; travel brazil ; CD ; florida ; music ; record ; travel 17 2182 Hungary ; Slovakia: Son's Wife &quot ; My sons's wife, she came here when she was 10.&quot ; &quot ; So she speaks fluent Slovak and Romani.&quot ; Chris talks about wanting to travel to Europe. His son's wife immigrated to America as a child and speaks fluent Slovak and Romani. Europe ; family connections ; Hungary ; Wife europe ; family ; hungary ; language ; romani ; slovak ; son's wife 17 2271 Losing the Language &quot ; Its hard too, you know, you lose the language. My grandmother would talk Gypsy and Hungarian all day [...]&quot ; Chris talks about losing the Romani language. His grandmother often spoke Romani but the language died in his family during his parents generation. Today he knows only a few Romani words. Today his daughter in law still speaks the language and hopes his grandchildren will also learn. Language ; loss of language ; Romani grandmother ; gypsie ; hungarian ; language ; roman 17 2337 Daughter in Law &quot ; She's the perfect daughter in law [...]&quot ; Chris talks about his son's wife Rinkia and her (Rinkia's) extended family. Daughter in law ; Extended family daughter in law ; family ; perfect 17 2420 Romani music culture in Europe &quot ; The culture there, they teach kids from young [...] Little kids playing, and they've got so much talent [...]&quot ; Chris talks about Romani music culture in Europe as being more alive and vibrant. He hopes that the traditions he grew up with will also continue in America's Romani communities. American Romani culture ; culture ; Music in Europe american romani culture ; europe ; music in europe ; tradition 17 2473 Change in frequency of concerts &quot ; Things change, there wasn't really a call for it. They used to do concerts every year or twice a year. They knew a lot of different people that loved the music. There was a big base of people in Detroit, Cleveland, and Chicago.&quot ; Chris talks briefly about how the culture of playing concerts in the major cities has changed over the years. Roma musicians used to have many more opportunities to play concerts in the past, with the frequency of these concerts declining in recent years. Chicago ; Cleveland ; Concerts ; Detroit ; Hungarian ; Jewish chicago ; cleveland ; concerts ; detroit ; hungarian ; jewish ; less oppurtunity ; roma music 17 2514 Younger Generation &quot ; If a lot of the younger people would start learning the music...&quot ; Chris mentions that if the tradition of Romani music is to survive, it is going to be up to the younger generations to pick it up and learn it from the few remaining players before it is too late. Generations ; music ; teaching ; tradition ; Younger learn ; music ; romani music ; tradition ; younger generations 17 2536 How did you meet George? &quot ; He's from Homestead and he started coming to Detroit because his uncle lived in Detroit that played viola. He was like 14 years old when he came and they would all play music together...&quot ; Chris talks about how him and his father met George. They originally met in Detroit when George was 14 and there visiting an uncle that played Viola. Detroit ; Homestead ; Michigan ; Musicians ; Pennsylvania ; Viola ; Violin detroit ; homestead, pennsylvania ; music ; musician ; viola 17 2635 Outsiders collecting music &quot ; How do you feel about the fact that people outside of your ethnic community want to collect these histories?&quot ; Peri asks how Chris feels about there being an outside push to collect Romani music traditions. Chris's response is that it is wonderful and he talks about some of the other things happening with research and the Romani community. Collecting ; Community ; Ethnic ; Interest ; Michigan State ; Outside ; Preservation ; Research ; Romani 17 2687 Negative stereotypes &quot ; I never even heard that stuff until I was older. We weren't like 'you gotta stay with your people and stay at home and associate with those people.' We were outside playing baseball everyday and going to school like everyone.&quot ; Chris mentions that he was not aware of any negative stereotypes related to the Gypsy communities when he was growing up. In his eyes, they were just like everyone else that they grew up with. Gypsy ; negative ; stereotypes community ; gypsy ; negative ; stereotypes 17 2723 Family tradition variants &quot ; Did your mom or your dad's families have any different traditions?&quot ; &quot ; They came from the same country. My dad's father came form Czechoslovakia. My mother's father came from Austria Hungary area.&quot ; Austria ; Czechoslovakia ; Europe ; Gypsy ; Hungary ; Immigration ; Roma ; Romani ; Traditions austria ; czechslovakia ; europe ; family ; gypsy ; hungary ; traditions 17 2832 Daughters findings &quot ; My daughter found out that my dad's mother had a perfume store in New York! She found an add. My daughter's like Sherlock Holmes.&quot ; Chris talks about some of the findings that his daughter made when she was trying to research the family history. Business ; Daughter ; Family ; History ; New York ; Owner ; Perfume ; Research ; Store Retail Trade ; Retail Trade -- New York (State) -- History -- 20th Century 17 2868 Pittsburgh findings &quot ; I found a lot about Pittsburgh too about Kennywood Park. They did this big hungarian Gypsy festivals from way back in the 20s.&quot ; Kennywood park used to be one of the important places they used to go to play shows in the Pittsburgh area. Concerts ; Gypsy ; Kennywood ; Musicians ; Park ; Pittsburgh ; Roma ; Romani ; Shows Amusement Parks ; Romanies -- United States 17 2910 Other occupations &quot ; Some of them had businesses. One friend had a candy store. Theres another cousin of mine now, he's an eye doctor in Las Vegas. But he used to play bass too so that music thing is always there. If the music thing didn't work out then...&quot ; Chris talks about other jobs that some of the people in his community have. Not everyone is a musician anymore and he mentioned things as varied as owning a candy store to being an optometrist. He also refutes the negative stereotype that Gypsy people are lazy and against doing work. Both him and his father also ran hot dog carts at one point. Gypsy ; Hot Dog Cart ; Jobs ; Las Vegas ; Occupation ; Optometrist ; Owner ; Roma ; Romani ; Small Business romanies -- music ; romanies -- social life and customs ; romanies -- united states 17 2972 Other music styles &quot ; What's your favorite type of music to play other than...&quot ; &quot ; I like Jazz, I like Brazilian music, I like R&amp ; B music too, all kinds. Everything's fun to play!&quot ; Chris briefly mentions some of the other styles of music that he enjoys playing, outside of Gypsy music. Brazilian ; Genres ; Gypsy ; Jazz ; Music ; Rhythm and Blues ; Styles Jazz -- United States ; Romanies -- music 17 3005 Learning music &quot ; When you were learning music was it like a structured learning or did you just kinda like...&quot ; &quot ; I picked it up, but I went for lessons. My dad used to teach guitar years ago at this music store in downtown Detroit called.... I was five or six years old and my dad goes 'I'm taking you for lessons'. He bought me my little set for my birthday or whatever...&quot ; Chris talks about how he began learning music as a young kid around the age of 5. His dad taught guitar at a music school and took him there for drum lessons. He also mentions that a lot of the learning that he did was by ear from listening to recordings. He learned primarily by listening. Bass ; Detroit ; Drums ; Guitar ; Learning ; Learning from ear ; Music ; Piano ; Private lessons 20th century music ; Musicians -- Education 17 3164 Differences between Roma people &quot ; It's nothing I'm ashamed of because it's all about music and life.&quot ; &quot ; What about some of the more negative stereotypes of Romani people or like stuff that's been in the media?&quot ; Again Chris talks about how he doesn't agree with the negative stereotypes of the Gypsy people. He mentions that there are people that fit these stereotypes however and that his culture generally tends to try and distance themselves from these people because they do not view them as real Romani. Culture ; Dialect ; Europe ; Gypsy ; Language ; Roma ; Romani ; Stereotypes ; Travelers Ethnic identity ; Romanies -- united states -- family, religion, and culture ; Romanies--Social life and customs 17 3484 Concluding thoughts &quot ; You guys are performing at the Cat tonight?&quot ; We talk briefly about what our majors. Patrick mentions that he is in the conservatory and we tell Chris that the conservatory and the jazz department are very good. Chris then gives Patrick some suggestions of some Gypsy jazz musicians to check out. Conservatory ; Gypsy ; Jazz ; Music Oberlin College ; Oberlin Conservatory 17 Interview taking place at Oberlin College with Chris Rose. audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chris Rose Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC05 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/8fff8c0ca1a6e3e8197ccd7c81d9bdc7.JPG 7ea6b4f11b939bc6168654322d561c0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Batyi Description An account of the resource Photograph of George Batyi (violin, center) playing with Alexander Fedoriouk (cimbalom, right) as part of the former's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Molly Thayer, Elia Tzoukermann, Alex Chuang OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC06.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 George Batyi Oberlin College IMC06 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Molly Thayer, Elia Tzoukermann, Alex Chuang George Batyi Interview 10/30/17 Oberlin 0 http://ohla.info/wp-content/uploads/2017/11/George-Batyi-30-Oct-2017-Interview.mp3 Other audio 0 Introduction: general overview of professional life as a musician &quot ; I play with several different bands, but I have my own band called &quot ; Gypsy Strings&quot ; . One is with these guys and we do traditional Hungarian music and then I have one back in Pittsburgh where we do Hungarian, but we do Romanian, Slovak, Croatian and those guys are university graduate musicians, except for me I went to another school...&quot ; George was born in Homestead, Pennsylvania and has been playing the violin for about 48 years. He primarily plays in Pittsburgh, but has traveled around the States to Cleveland, Chicago, New York, Missouri and Kansas. In 1991, George went to Slovakia and toured there for 10 days with 5 musicians and 12 dancers. George has his own band called &quot ; Gypsy Strings&quot ; , but also plays in other bands as well. At the age of 10, George went to Chatham school of music for two years of formal training where he learned how to read and write music, but his teacher quickly noticed how advanced George was and after a year and a half/two years he told George that he didn't have anything else to teach him. He then started playing with other people in Pittsburgh, expanding his talent through other instruments such as the drums, bass and guitar. Chattam school of music ; George Batyi ; Gypsy Strings ; Pittsburgh ; violinist musicians, Romani ; musicians--interviews ; Romanies--Hungary--Music ; Romanies--Music 17 201 Personal Life &quot ; When I was a little kid, I use to watch them all, because they got together all the time and they played and practiced, and I used to watch them play so like I said when I was young my grandmother told my father, she didn't speak any English, she spoke Slovak, Hungarian and Romani, so she told him &quot ; you better get him a violin to play&quot ; so my father got me a little plastic violin. I got pictures of it and I'm like 'oh god' and I'm posing like this with the violin and everything. I even posted a picture of me on Facebook and people commented saying 'how old were you?' and I was like '5 years old', they says 'you look like you already know how to play'&quot ; . His whole family payed music ; his father played the Clarinet, his grandfather on his father's side played was a violinist from Slovakia and his grandfather on his mother's side was a violinist from the Hungarian part of Slovakia. He has two brothers that played music as well, although they don't play professionally, only for enjoyment purposes. As a little kid, he used to watch them all play and then at the age of 5 George was given his first violin made out of plastic. When he was 10 years old, he went to the Chattam school of music and his teacher was with the Pittsburgh symphony and he took George to his professor and then he started studying with him. He has also played other genres such as Salsa, country and R&amp ; B music with other bands in the past. His favorite style of music to play is Hungarian Gypsy because of the feeling and because it is connected to his heritage. George has always worked a full time job while being a professional musician. People would come to the restaurant and ask George if he could teach them how to play the Hungarian style of music, but he didn't have an interest in teaching others. Family ; Hungarian ; Hungarian Gypsy ; musicians ; Slovak music--performance--united states ; romanies--music ; salsa (music) ; youth, Romani 17 487 Hungarian/Romani heritage and traditions &quot ; For weddings, they play at the house of the bride and march her out to the church and then play at the church and then during the reception too and we have traditions at funerals when the Gypsy dies. We go play at the funeral home, we even have a certain song that we play when people march with the casket.&quot ; George's grandparents came over from Slovakia and Hungary and spoke Romani and Slovak. Both his grandmothers spoke no English so he would listen to them and answer back in English because he could only understand. George explained how there are all kinds of gypsies. There are the musicians (who George is) and the travelers. Both are very different in terms of how they speak. George talked about how the Gypsy travelers are weird and do weird rituals. Traditions: Weddings - play at the house of the bride and march her out to the church and then play at the church and then during the reception. Funerals - traditions at funerals, they play at the funeral home, certain song that they play when people march with the casket. George recorded this song so people would know what this song was and what it means, it's on one of the cds he did. funerals ; Gypsy musicians ; Gypsy travelers ; Romani ; Slovak ; traditions ; weddings immigration ; Romani Language ; Slovak language ; weddings--songs and music 17 722 Women and Gypsy Music &quot ; No, they just never did. I don’t know why... There’s not too many women that get into it. I mean within our Gypsy community, we have singers, really good singers.&quot ; George explained how women never played Gypsy music. There was one band in the 30s and they were all women (they played violin, bass, symbol) but there hasn’t been any women musicians since then. However, they are women that sing Gypsy music currently. George also introduced a boy from his Gypsy community named Justin Shandor that is an Elvis impersonator in Las Vegas. Elvis impersonator ; Gypsy music ; Justin Shandor ; singers ; Women Elvis Presley impersonators ; women musicians ; women singers ; women, Romani, in music 17 801 Future of Hungarian Gypsy music &quot ; They’re playing the modern music of R&amp ; B and Jazz and stuff like that. They just never learned to play the Hungarian Gypsy style music. I mean there’s a few young guys that play the violin and are learning, but they need someone to teach them the right way. If they just play by themselves then forget about it. But I don’t know how long it’s going to last because it’s slowly fading away, ya know. We’re just trying to keep it alive and see, ya know, what happens.&quot ; George explains that there are not that many musicians left and the younger generations are playing more modern music and less of the traditional Hungarian Gypsy music. Even in Europe, Gypsy music is fading away and musicians leave Hungary to perform in Germany, Japan or the Netherlands. George seemed saddened that the younger generation doesn't have the interest to learn this genre of music, but he also mentioned how he doesn't have the patience to teach. People asked him if he could teach and he thought about it, but declined. However, George taught his two nephews how to play the bass and the drums. Gypsy music ; Hungarian Gypsy style ; loss of style ; modern music ; Younger generations conflit of generations ; intergenerational relations ; music--instruction and study ; Romanies--music ; youth, Romani 17 962 Personal meaning behind Gypsy music &quot ; I get enjoyment from it because I’ve been playing it all my life. And the other people, I think it’s just the exotic songs and stuff that they hear and it’s just the way you play.&quot ; George spoke about his personal enjoyment of Gypsy music. In contrast, he emphasized the lack of interest that the younger generation has for the traditional Gypsy music even though their grandfather and great-grandfather's played this kind of music. George also talked about how most musicians that play this genre of music are dispersed around the states and therefore it's hard for them to come together and play often. However, George, --- and ---- try to play together 5-6 times a year even though they live in separate cities. distance ; exotic songs ; meaning ; personal enjoyment ; playing intergenerational relations ; jazz ; music and intergenerational commmunication 17 1116 Current professional life &quot ; We like to stroll around the tables and play for the guests. In some places you can’t do that because the owner won’t allow it.&quot ; George played in Gypsy Cafe for 7 years. Now he plays Thursday nights at a Hungarian place on the north side of Pittsburgh called Usars??. After George started playing there, other restaurants started asking his group to play at their restaurants. The restaurant called Mezza in Pittsburgh wants them to play again after they played there a month ago. However, George explained how playing in restaurants is challenging at times due to restaurant owners that don't like when the musicians stroll around the tables and play close to audience members. George articulated how strolling around tables while people eat is part of the Gypsy music culture. But they do manage to play at restaurants that allow them to stroll and interact with the customers. Gypsy Cafe ; Gypsy music ; Hungarian food ; Hungarian restaurants ; playing ; restaurants ; strolling ethnic restaurants ; gigs (employment) ; musicians--Pennsylvania ; musicians--Romani 17 1223 About the Bands “My uncle tells these guys, ‘well you gotta hear my nephew play, you gotta hear my nephew’, so they says ‘well how old is he’, he says ‘I don’t know he’s like twelve or thirteen’, they’re like, ‘What!?’, he says ‘you gotta hear him play, he’s really good’. So I went there one time and they were rehearsing for a concert, there was like fifteen guys. So I’m sitting there listening to them or whatever. So the bass player says to the guys, ‘do you wanna hear him play’, they says ‘who’? ‘Him’, me, they says. So I got up and started playin’ and ever since then we’ve been friends”.... “They know the stuff”. George tells us both of his bands are called “Gypsy Strings”, and that he posts about his band on Facebook and on their website. He also explains about how the two bands are different. He plays faster, more technical stuff with his band in Pittsburgh. He says they don’t play “the real gypsy way” like his other band does. He discusses how he and the band members met, explaining family connections in Detroit, playing for the guys when he was only 12, landing him professional connections, and then performing with them in his late teens and beyond. band ; childhood ; community ; family ; history ; moving bands (music)--United States ; friendship ; gigs (employment) ; musicians (employment) ; social media 17 1562 Romani Community and Music “...In the two cities… everybody knew who they were. Because like when they would have a funeral they would march… and you’d have maybe like a hundred musicians marching in the street behind the hearse, playing…” George elaborates on the gypsy presence in his childhood ; Braddock Pennsylvania was home to many many Gypsy families, and he says “it was a big community”, however they have all left by now. Many moved to other cities like Chicago or Detroit. He then talks about the traditional, older style of musicians in Braddock, and their frequent performances in the area. He says the community isn't big any more, as many in Michigan have moved across the country to California or Florida. But they still gather for weddings, he says, though they don't play traditional gypsy music as much as R&amp ; B and other more modern styles. Braddock ; community ; Detroit ; family ; funeral ; musicians ; PA funeral music ; migration, internal--United States ; Romanies--music 17 1781 Discrimination Against Gypsies &quot ; ...we're playing at the restaurant and people come and say 'oh yeah we got the Gypsies playing it's so great you guys are great' and all this, so they really appreciate it which is good for us, you know. You are what you are.&quot ; George explains the varying ideas of Hungarians/Gypsies he's encountered. Some people, he says, are very curious about his heritage and he is hesitant to tell them about his family's origins since he has always lived in the U.S. Others assume because he's Hungarian he travels around in covered wagons, which he asserts is not the kind of Gypsy he is. George goes on to say that though discrimination exists, it is less prevalent now, as shown by people in restaurants being enthusiastic about their Gypsy style of music. covered wagons ; discrimination ; Gypsies ; homeland ; Hungary ; origin ; travelers discrimination ; Romanies--Hungary ; stereotypes (social psychology)--United States 17 1903 Performing Abroad &quot ; These guys have been all over too. Billy is 86. He get's around like he's 50! Unbelievable, Unbelievable&quot ; . George played in Canada for 9 months and played in Slovakia as well, and he plans to go to Hungary next year. He talks about the &quot ; Hundred Piece Gypsy Orchestra&quot ; in Hungary which travels all over the world. He hasn't been anywhere else but says he would like to. George has performed with his bands all over the United States, though. Canada ; Hungary ; orchestra ; perform ; Slovakia ; travel concert tours ; musicians--travel ; orchestra 17 2027 The Gypsy Style &quot ; There's a certain style, the way you play... your interpretation.. it's hard to explain, I'll have to show you... It's just like the feeling of the way you play it. You'll hear this singer sing it, and then you'll hear this singer sing it. And it's completely different!... The rhythm, the feeling of the song&quot ; . When asked what he means by &quot ; the Gypsy way&quot ; , George does not give a clear answer, but explains it has to do with the emotion of the song, and the impact on the listener. He talks about a bassist who said George was the best teacher because he did it in a way that taught the students without explicitly teaching them. George says that bassist and his band play really well but it's just a different style than authentic Gypsy music. emotion ; feeling ; Gypsy ; student ; style ; teaching Romanies--Music ; Romanies--social life and customs ; Romanies--United States 17 2146 Exoticisation of Gypsy Music? &quot ; [pushing back against stereotypes] doesn't work... you try but sometime's you just gotta go with the flow&quot ; . George says he's not sure, but he mentions people not considering his band the real thing, since they are not from the U.S., not Hungary. He says this is a form of stereotyping. He also talks about a European Gypsy band who he speaks in Hungarian and English with, and they assume he is a European Gypsy because of how he plays. He, too, considers European Gypsies &quot ; the original&quot ; , but says in America there's no one to teach you, and he had to listen to recordings to learn. He then says he doesn't really try to push back against stereotyping because it doesn't work. discrimination ; English ; European Gypsies ; Hungarian ; stereotype ; the real thing Hungarian language ; Music audiences ; Romanies--Europe--History ; Romanies--music ; Romanies--social life and customs 17 2328 Importance of Music, Young Musicians &quot ; I've been [playing music] for so long it's just natural&quot ; . George is thankful for having music because he never got into other things like drugs, and says music is a big part of his life. He talks about the few younger guys who are interested in learning Gypsy music and how he invites them to come watch. He says no one plays violin anymore, and that it's the hardest instrument to play. Getting the younger generation to play Gypsy music is tough, he says. Gypsy music ; music ; violin ; young musicians Music and youth ; Musicians, Romani ; Romanies--music 17 2478 Favorite Moments of Performance &quot ; We got the standing ovation, you know, and the people says &quot ; that was the best part of the opera, you guys were!&quot ; George recalls his favorite moments performing. He recounts a trip to a European music festival and starts playing with other musicians spontaneously. After playing for a moment, a huge crowd gathered around them. He also played in Canada, as well as Pittsburgh in a Gypsy Cafe. Many different types of musicians watched them, such as opera and symphony musicians. At one point, an opera director offers George's band a gig in an opera. The band gets a standing ovation and the audience members say that they were the best part of the opera. George's band also is hired at the Pittsburgh Symphony to play during intermissions or for receptions. George also recalls playing for the Pittsburgh Dance Ensemble. He thinks it was a weird modern dance performance, but says it was okay. Gypsy Cafe ; Hungarian Dance ; Pittsburgh Dance Ensemble ; Pittsburgh Symphony ; Street Performance Music audiences ; Romanies--music 17 2664 Dream of Touring &quot ; I'd like to put a group together that is willing to do tours, like to travel, maybe a three months tour, and then do another three months tour somewhere. It's hard for guys to do that&quot ; George talks about a desire to go on tour with an ensemble. Because many musicians have gotten married and now have kids, its hard for this to happen. He says he's talked about going on a 5 city tour with his band in Pittsburgh for about a month and a half. Right now, they're working on a making a CDR, so after that project is completed, the ensemble might to on tour. Gypsy ensemble ; Gypsy ensemble tour ; Gypsy music in Pittsburgh Romanies--music ; Sound recording industry 17 2752 Catholic Cemetery Job George has been working for a Catholic Cemetery for 18 years. Most of the people in his life growing up were catholics and all went to church. He discusses how Catholic cemeteries are supposed to be religified but they're not. Catholic Cemetery ; Catholicism ; romani religion Catholicism ; Christian cemeteries ; Religion ; Romanies--social life and customs 17 2830 Hungarian Dancers, Richie Balazs &quot ; They're all {??] university graduates, but uh you see them a dancer and they look professional, really professional. And they uh have instructors from Hungary come over and they taught them dances.&quot ; George discusses the Hungarian dancers who traveled with him. The dancers were all professional, having graduated university, and also had teachers that came to the US from Hungary to teach them. George specifically mentions Richie Balazs, a Roma dance instructor from Hungary. Balazs is in a dance group called Folk Factory, which performs dances form regions of Hungary. George recalls how Balazs approached him and suggested they play music together after hearing George's band from Pittsburgh play. folk factory ; gypsy music ; hungarian dance ; hungarian gypsy dance ; hungary ; romania ; romanian gypsy Folk dancing--Hungary ; Folk music--Hungary ; Romanies--social life and customs 17 2857 Younger Generation Plays Less Gypsy Music &quot ; Theres not--nobody else, they all play piano or the drums or guitar or bass, so, but really there's not too many violin players. They say it's the hardest instrument to play though. But uh, yeah it's tough&quot ; George admits that it's tough to keep music going in the younger Roma generation. Although George and his friends have talked to youth about 18 or 19 years old, because people live so far away, it's hard to learn. He recalls an interaction he has when he recently played in a Gypsy Jazz festival in Chicago at the Green Mill. There, he saw a young person learning violin, and told him to come watch George and his friends play violin to learn the right way of playing. The youth came and watched George's ensemble play, and George told the boy he would give him some books. George says that most young people these days play piano, drums, guitar, or bass, but there aren't many violin players. Youth say it's the hardest instrument to play. acculturation ; assimilation ; chicago ; green mill ; gypsy jazz ; gypsy music festival ; gypsy violin ; roma violin ; violin ; young gypsy ; young roma Acculturation ; Music and youth ; Musicians, Romani ; Romanies--music 17 2908 Music, Food, Culture, Enjoyment &quot ; But you gotta have good food, drinks too, you know, it goes with music, you know, hahahaha, but yeah that's my enjoyment [??] music drinks food&quot ; George recounts a time he almost quit playing music about eight years ago. He was working Monday to Friday and playing in a salsa club on Thursdays from 9-1. He would get home at 3am and get up at six to go to the cemetery. Because he was so tired, he almost quit ; however, people at a Gypsy cafe asked him to start playing regularly with them. He was originally resistant, but tried it, and began playing with them regularly. George says his brother doesn't understand how he (George) can travel and play all the time. George asserts that he will play until he dies. George's siblings still take part in Romani culture, such as participating in various holidays, funerals, and weddings. They live fairly close to each other but don't see each other often due to busy schedules. However, George fondly speaks about his nephew, who frequently texts to check up on George. His nephew, who works at Penn State, just visited George at one of his shows. George talks about the importance of food in his life, another way of staying in touch with Romani traditions. He says he is critical of outside restaurants that serve Hungarian food like Paprikash and stuffed cabbage. He recalls a night he was playing at a place called 8th wonder. The owner made traditional paprikash and asked him to try it. He also discusses a Hungarian restuarant in Michigan called The Rhapsody. George has played about four or five times there. He recounts an experience in which a old Hungarian women offered him pastries at one of his shows. He says its the best thing he's ever tasted. George asserts that good food, drinks, and music are his enjoyment. krémes Employment ; Musicians, Romani ; Practicing (Music) ; Romanies--music ; Romanies--social life and customs ; Violin 17 3302 Audience Interaction, Playing with Non-Gypsies &quot ; We have other people besides Romani musicians come and sing with us. Which is good. They says 'do you know this?' ''oh yeah we know how to play that stuff, don't worry about it'&quot ; George discusses the importance of audience reaction and interaction, saying that if the audience is having a good time, so are the musicians. He references a gig he played on Friday, in which the audience was singing along. He persuaded his friend, an opera singer who sings Italian and Irish music, to sing with his band. The singer blew the house away. Thus, George's gypsy ensemble also plays with non-Romani musicians. They are able to do this because they all have experience playing diverse styles of music. Fidler on the Roof ; Gypsy ensemble ; Romani ensemble Friendship ; Music audiences ; Music--Performance ; Musicians, Romani ; Romanies--music 17 3371 Teaching Violin to Non Roma or Kids &quot ; It's just like the style, it would be like the style for playing that kind of music. {??] you know, it can be taught, its gonna take a while, you know for somebody that don't know, but it can be taught. I don't want to teach the little kids HOW to play violin--its like the style&quot ; George says that Gypsy styles of playing could probably be taught to non-gypsies, although it would take a long time for someone who isn't familiar with the culture. He reveals his desire to teach Gypsy violin style, but not necessarily the basics of violin. George references experiences he has with one of the musicians he is performing with the night of the interview. The musician's son and daughter both are learning classical music. While the son is good, the daughter is great. George has told the father that he will teach them Gypsy music later down the line, after they learn the basics. George recalls a moment when the girl gives him a violin to see if he can play. She is amazed. They both compliment each other. Gypsy violin ; Music teaching ; Roma music teachers Music in education ; Music--Instruction and study ; Musical ability ; Musicians, Romani ; Romanies--music 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Batyi Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC06 Format The file format, physical medium, or dimensions of the resource audio Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/43">Gipsy Stringz CD</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/47">"The Lark" cassette by Continental Gypsy Strings</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/79">Basav Roma Lavuta (Play Gypsy Violin)</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/41">Oct. 30th 2017 Gypsy Strings concert (second half)</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/ecd74b70cae2cbdfd1d1edc2533fb6db.jpg 87de22317cf25f8370902df5d0454a73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jacquelynn Gaines Description An account of the resource Photograph of Jacquelynn Gaines, CIT Communications Manager at Oberlin College Creator An entity primarily responsible for making the resource Photograph courtesy of Jacquelynn Gaines https://astoriedpeople.oberlincollegelibrary.org/files/original/d7e3a515679c15f2b9a41f12c6f07437.jpeg 6ff1703aa45b83b1e2dfcaf19b7ca39e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edward Hongosh, Sr. Description An account of the resource Photograph of Edward Hongosh, Sr., grandfather of Jacquelynn Gaines Creator An entity primarily responsible for making the resource Photograph courtesy of Jacquelynn Gaines https://astoriedpeople.oberlincollegelibrary.org/files/original/bc63654d6035bde8d6bd67d608e9baad.jpeg 871ea1ab6457d58ffc6d551c7de62486 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edward Hongosh, Sr. and Viola Hongosh Description An account of the resource Photograph of Edward Hongosh, Sr. and Viola Hongosh, grandparents of Jacquelynn Gaines Creator An entity primarily responsible for making the resource Photograph courtesy of Jacquelynn Gaines https://astoriedpeople.oberlincollegelibrary.org/files/original/555781c21ef3408584ca88976dd8b06b.jpg 4b13079c18d33033a20ecca4dacb1d4d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ronald Hongosh Description An account of the resource Photograph of Ronald Hongosh, father of Jacquelynn Gaines Creator An entity primarily responsible for making the resource Photograph courtesy of Jacquelynn Gaines Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian MacMillen and Class Interviewee The person(s) being interviewed Jacquelynn Gaines OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC07.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Jacquelynn Gaines Oberlin College IMC07 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Jacquelynn Gaines Ian MacMillen and Class 0 http://ohla.info/wp-content/uploads/2017/11/Jacquelynn-Gaines-Oct-27th-2017-interview.mp3 Other audio 0 Introduction &quot ; REES 261, Roma, &quot ; Gypsies,&quot ; Travelers, we're here doing an interview today, here at Oberlin College, in the StudiOC space, it is October 27th at 1:30pm&quot ; &quot ; My name is Jacquelynn Gaines, my maiden name is Hangash, I have Romani ancestry on my father's side. I am a CIT Communications Manager at Oberlin College, and I was born and raised in Cleveland&quot ; Basic introduction by Jacquelynn Gaines, and description of where and when this interview is taking place. &quot ; Gypsies&quot ; ; Cleveland ; Northeast Ohio ; Oberlin College ; Roma ; Roma community ; Romani Romani ; women, Romani 17 49 Family History and Immigration Experience in Cleveland &quot ; My family immigrated from Hungary to Kelleys Island, and they actually spent a number of years on the island, before moving to Cleveland proper.&quot ; &quot ; My dad was born and raised in downtown Cleveland and then he sort of moved out to the west side, his brother did the same thing.&quot ; &quot ; His brother grew up in a gypsy household, would have spoken the language at home, would have eaten the food at home, would have done all of those cultural practices at home, and then his father passed away. so that sort of fell off after that point. his older brother was really really interested in Americanizing himself.&quot ; Jacquelynn Gaines gives a basic overview of her family's migration history from Hungary to Kelleys Island to Cleveland, and then the suburbs later on. She speaks about her father and uncle's experiences growing up in a Romani household and how things changed when their father passed away. Americanization ; Americanizing ; Bay Village ; Berea ; Cleveland ; Eberhard Manufacturing ; family tree ; Gypsy ; household ; Hungarian ; Hungary ; Kelleys Island ; Northeast Ohio ; Roma community Romanies -- History ; Romanies -- Language ; Romanies -- United States -- Social life and customs ; Romanies -- Women ; Romanies -- Youth 17 359 Questions of Claiming Romani Identity &quot ; I wrestle a lot with questions of identity, and whether I have...um...can claim that ancestry, because i didn't grow up in that environment, i didn't cook the food, i didn't really speak the language, i didn't learn the songs, do all this kind of thing, so I wonder sometimes whether that's legitimate enough&quot ; Gaines talks about her internal conflicts over identity, and the question of whether she can &quot ; claim&quot ; her Romani ancestry since she did not grow up with the cultural traditions. claiming ancestry ; daily life ; identity ; legitimacy Family, religion, and culture ; Romanies -- United States -- Social life and customs ; Romanies--History 17 417 Parents' Relationship and Issues Between (Roma and Non-Romani) Families &quot ; If there was any animosity between the two families, it was primarily over religion.&quot ; &quot ; There was a lot of animosity here. She would have told you that she was Bohemian, and she was very aggressively not Hungary, not a Hunky, she probably would have said, or not a Gypsy. So she was really adamant that that was not her identity at all in order to divorce herself from that sort of whatever reputation or stereotype she thought my grandfather and his family would have had.&quot ; Gaines discusses how her parents met and the conflict that the families had over religion. She also discusses the animosity between her grandparents and her grandmother distancing herself from the Romani and Hungarian identity. &quot ; Bohemian&quot ; ; &quot ; Gypsy&quot ; ; &quot ; Hungarian&quot ; ; &quot ; Hunky&quot ; ; animosity ; identity ; marriage ; religion ; wedding Family, religion, and culture ; Identification (Religion) 17 541 &quot ; Hunky&quot ; &quot ; What does that term, &quot ; hunky,&quot ; mean to you?&quot ; &quot ; It's a slur word for Hungarian, I don't like to repeat it.&quot ; Gaines explains the term &quot ; Hunky,&quot ; a slur word for &quot ; Hungarian&quot ; that her grandmother often used. &quot ; Hunky&quot ; ; Hungarian ; slur Romanies--History ; Slang ; slurs (insults) 17 567 Intergenerational Differences Towards Romani Identity &quot ; I don't know that there was any, um, anyone was opposed to me doing it, I think it was more surprise, like why would you care about that or want to go back to that. i feel resentful sometimes, that they didn't hang onto all of those traditions.&quot ; &quot ; Was there any time in your father's later life when he, like, tried to dig more into it, after he separated more from his brother and being young, that he tried to reconnect at all?&quot ; &quot ; It's funny that you should say that, because it's just starting to happen now. He's been sending me flight information for deals to Budapest, so I think he does have a little bit of that desire, even if he doesn't have all this scholarly type interest.&quot ; Discussion of her father and uncle's reactions to her genealogy research and interest in Roma ancestry. Gaines also talks about her father's recent interest in reconnecting with his background. Americanize ; Budapest ; embrace ; genealogy ; reconnect ; reconstruction ; resentment ; Roma culture ; traditions Genealogy ; Genealogy &amp ; local history ; Romanies--History ; Romanies--Hungary--Social conditions 17 667 Household and Situation Growing Up &quot ; I have two sisters, I'm the oldest of those three daughters. i grew up in Olmstead Falls, which is a southern suburb of Cleveland. I don't really know that my childhood is terribly remarkable.&quot ; &quot ; Neither my dad nor my mom really had a whole lot of cultural tradition, around holidays or weddings or that kind of thing.&quot ; Gaines describes her household (including her siblings and where she grew up) and her family's lack of cultural traditions. childhood ; Christmas ; Cleveland ; cultural tradition ; holidays ; household ; Olmstead Falls ; resentment ; sisters ; weddings Romanies--Social life and customs ; Women, Romani ; Youth, Romani 17 739 Curiosity Toward Romani Background &quot ; Did you have any sort of curiosity about your background growing up or did it sort of arise later, what was that process of your curiosity coming?&quot ; &quot ; My dad just talked about it like it was normal. Honestly, I don't think I even knew until I got my progressive education when I came to work at Oberlin.&quot ; Gaines talks about when and how she started thinking about her Roma ancestry in her later years. Also that she only recognized that being Romani was seen as a &quot ; bad&quot ; thing when she was much older since her father talked about it normally. background ; conservative ; curiosity ; Gypsy ; progressive education ; Romani Ethnic groups ; Ethnic identity ; Oberlin College ; Romanies--History 17 786 Religion in Household &quot ; Did religion play a certain amount of role in your life, was there tradition connected with that in your family?&quot ; &quot ; I grew up in a super evangelical, mega-church type situation.&quot ; &quot ; My dad grew up in the Catholic Church, went to Catholic churches in Cleveland, he went to Benedictine High School, and I think that was a big part of his upbringing, that clashed with my mom when they got together because he had these more traditional views.&quot ; Religion was a big part of her household ; her father was very religious while her mother was not, which led to some clashes. Catholic church ; evangelical ; family ; religion ; tradition ; upbringing Family, religion, and culture ; Identification (Religion) ; Romanies--Social life and customs 17 828 Her Engagement and Curiosity with Romani Background &quot ; I'm interested in this pattern of engagement that happens generation to generation in your family, be it the origin point of coming from Hungary to being somewhat more connected to tradition, losing it, as you marry out of the culture, and then coming to your position. And I'm curious, do you think that coming to OB or being in this institution, or just a general atmosphere of the times has created this impetus for you to look deeper into your culture, or to find what differentiates you as a person here?&quot ; &quot ; I think that Oberlin had a little bit to do with that, at least with the gypsy-ness specifically, but the resurgence and the desire to do some genealogy type research actually happened when i met my now-wife.&quot ; &quot ; My sisters did not have quite the progressive education that I ended up getting when I came here and are fairly religious and fairly conservative ,and they didn't come to want to do that genealogy research on their own.&quot ; Gaines talks about the different influences that she had in terms of finding out more about her background. She also discusses her sisters' disinterest in their Romani heritage. &quot ; Southern&quot ; ; background ; conservative ; culture ; engagement ; genealogy ; generation ; Hungary ; impetus ; Oberlin ; religious ; sisters ; tradition Ethnic identity ; Family, religion, and culture ; Genealogy ; Genealogy &amp ; local history ; Oberlin College ; Romanies -- United States -- Social life and customs 17 978 Genealogy Research Process and Cousin Norbert &quot ; I've done a lot of the paper trail work, so I've gone to Kelleys Island and gotten genealogy records and tried to reconstruct the tree a little bit, and collected documents from some of my family members.&quot ; &quot ; My dad's second cousin, Norbert, still has all of the language, and some of the songs and that kind of thing, so we've been meeting fairly regularly to try to collect some of that because he's a lot older now.&quot ; Gaines talks about her research process and an older relative, Norbert, who has retained a lot of the tradition, and whom Gaines works with to carry out her research. family background ; genealogy ; Kelleys Island ; Norbert ; paper trail ; research Genealogy ; Genealogy &amp ; local history ; Music--Romani influences ; Romanies--History 17 1082 Core Hungarian Neighborhood &quot ; Why Kelleys Island?&quot ; &quot ; The neighborhood that they moved to, they lived on Mount Auburn, which is just south of Buckeye Road, so that was the really big core Hungarian neighborhood in Cleveland in the 1920's, it was something like 18 or 20 percent of the population was Hungarian at the time.&quot ; Gaines describes and shows photos of the core Hungarian neighborhood in Cleveland, in which her family lived. 1920's ; Buckeye Road ; Cleveland ; community ; Hungarian neighborhood ; Kelleys Island Ethnic groups ; Ethnic identity ; Romanies--History ; Romanies--Social life and customs 17 1128 Grandfather's Occupation in Cleveland &quot ; Do you have any ideas to what they did in Cleveland...for a career?&quot ; &quot ; I think my grandfather worked in a bar there, and ended up going into a partnership with a tavern that he owned in Cleveland when they moved.&quot ; A description of her grandfather's occupation in Cleveland: he worked in a bar in Cleveland, and then went into a partnership with a tavern. bar ; career ; Cleveland ; grandfather ; tavern Family, religion, and culture ; Romanies -- United States -- Social life and customs ; Romanies--History 17 1148 Realizing Marginalization of &quot ; Gypsy&quot ; Culture &quot ; You mentioned not really knowing that gypsies were &quot ; bad,&quot ; until you came to this kind of progressive area, and so I was just wondering what people were telling you or what sources you were coming upon that gave you that realization or new perspective...?&quot ; &quot ; I think maybe what I came to is sort of folks around me going 'Oh, that's a culture, not a costume' ad campaign, and I went 'Oh, that's a slur, people use this in a bad way.'&quot ; Gaines discusses how she came to realize that being &quot ; Gypsy&quot ; was seen as a bad thing by some when she came to Oberlin, when it had been normal to her growing up. culture ; gypsy ; normal ; progressive ; slur Cultural appropriation ; Gypsy ; Oberlin College ; Romanies--Social life and customs ; slurs (insults) 17 1203 Connecting with Roma Community in Cleveland and Conflict in Identity &quot ; Have you made any attempts in Cleveland to connect with the gypsy culture there?&quot ; &quot ; I really struggle a lot with that, back to that identity question, whether I have the &quot ; right&quot ; to do that or would be welcomed in those communities because I wasn't raised that way and really don't have a lot of that background. I don't know if I would or wouldn't at some point, but right now, I feel sort of uncomfortable about taking that step.&quot ; Gaines talks about her discomfort with reaching out or attempting to be part of the Roma community in Cleveland because she doesn't know how the community will receive her, which goes back to her own internal conflict about identity. &quot ; right&quot ; ; background ; Cleveland ; communities ; gypsy ; identity Ethnic identity ; Romanies -- United States -- Social life and customs ; Romanies--Social life and customs ; Women, Romani 17 1244 Bohemian and Scottish Sides of Family Background &quot ; Are there other sides of your family background that you're looking into, like the Bohemian side, or your mother's ancestry?&quot ; &quot ; Yeah, I've done a lot of ancestry work on my mother's side. I'm Scottish all the way back on that side, and have traveled to the town in Scotland where they're from.&quot ; &quot ; They're records are a lot better, they're just a lot cleaner. And so doing the records work on the Hungarian side is a lot tougher.&quot ; Gaines discusses doing genealogy work on her mother's side, compares Hungarian and Scottish records, and talks about the research she has done on her Scottish side. ancestry ; Bohemian ; family background ; Hungarian ; records ; Scotland ; Scottish Genealogy ; Genealogy &amp ; local history ; Gypsy ; Romanies--History ; Scottish religious cultures 17 1278 Difficulty of Finding Locations in Hungary &quot ; Were you able to search or find anything in Budapest or Hungary?&quot ; &quot ; Yeah, I do have some town names and that kinda thing, but it's real fuzzy. And a lot of it too, the borders have shifted a lot too, which makes it a little tricky. Some of the counties are in what is now Romania that I have written down and so I don't know if those are legitimate or not.&quot ; Gaines talks about the difficulty of locating counties and towns in Hungary especially because of the shifts in borders that have occurred over time. borders ; Budapest ; Hungary ; Romania Romanies--History ; Romanies--Hungary--Social conditions ; Romanies--Social life and customs 17 1306 Connecting with Roma Community in Cleveland and Conflict in Identity (Revisited) &quot ; Have you come up with any names that come from this island that you can contact...what kind of approach would you take...&quot ; &quot ; ...I'm just not even sure what form that would take. I was looking through my grandmother's stack of photographs to bring the one's for you guys today and...she meticulously wrote folks names around the photographs...I wouldn't know how to go about contacting them at this point, especially if, people who aren't family.&quot ; The interview goes back to the topic of Gaines connecting with the Cleveland Romani community. Although she does have some names from her Grandmother's belongings, she has an internal debate as to whether she can rightfully &quot ; claim&quot ; her Romani ancestry because of how removed she has been from the cultural traditions. Archiving ; Archiving heritage ; Cleveland ; Family ; Gypsy ; Heritage ; Hungary ; Inter-generation ; Ohio ; photographic heritage ; Roma Ethnic groups ; Genealogy &amp ; local history ; Romanies -- United States -- Social life and customs 17 1356 Using this Information Moving Forward (Food Waste, Cooking) &quot ; What's next for you with this information? Is this, like, a personal project or are you trying to do other things with it?&quot ; &quot ; Yeah so I have a lot of interest in food waste. My primary hobby is cooking and I am really interested in trying to collect and reconstruct some of the recipes and cooking practices, and so that's like the focus of my 'research' if you should call it that.&quot ; &quot ; What interests you about that?&quot ; &quot ; I think just because that was my primary hobby. I love food and cooking...&quot ; Gaines discusses her interest in food (and food waste) and how that ties in with the research she is doing on her own Romani background. She hopes to collect and reconstruct some of the traditional recipes from her grandmother. Cooking ; culinary research ; cultural food ; food ; food research ; Food waste ; Hungarian cooking ; Hungarian food ; recipes ; Tradition Cooking, Hungarian ; Food waste -- Baltic States ; Romanies--Social life and customs 17 1430 Passing Down Reconstructed Histories to the Next Generation &quot ; If you do (have children) is that (Roma culture) part of what you'd like to give to...&quot ; &quot ; I haven't decided whether I'm going to have kids or not but my sisters are pretty solidly set on it so if we can pass it along to them then we're good...but, um...sharing it with my family is something that is important to me, I think i sort of wonder whether I could win my sisters over a little bit more if, oh, we're sitting down over this dish that I've made, like can we have a little conversation that's a little bit less, um...tense I guess through that medium of food.&quot ; She talks about passing down Romani traditions through the medium of food to the next generation (possibly her own kids someday, but for now, her nephews and nieces). She also discusses using food to talk about Romani ancestry with her sisters. children ; cultural heritage ; food ; generation ; hungarian ; roma ; traditions conflict of generations ; Cooking, Hungarian ; Romanies--Social life and customs 17 1479 Womanhood, Feminism and Queerness In Roma Culture &quot ; In this class we've been reading a lot of literature about being a woman in a lot of gypsy's cultures and a lot of, um, there's been a lot of, sort of word about, um, you know that you can't be gypsy and have that cultural identity and be a feminist and I'm wondering, with that said, what the role of being a woman in your family has been...&quot ; &quot ; I can't really speak to it from that gypsy perspective very much and my grandmother lived outside of that because she embraced this sort of 'bohemianness' so she lived outside of those contraints...one of the things that is harder for me to reconcile, rather than just being a woman and bringing your feminism to it is my queerness...&quot ; In response to a question about the conflicts between feminism and Romani identity, Gaines discusses her own views on the matter: more than her feminism, her queerness is something that is harder to reconcile with her Romani identity. cleveland ; Feminism ; Gypsy ; homosexuality ; hungarian queerness ; Queerness ; Roma ; womanhood Feminism ; Romanies -- United States -- Social life and customs ; Sexual minorities -- Civil rights -- Ohio -- Cleveland ; Women, Romani -- Social conditions 17 1595 The Motivation Behind The Work (Self-Discovery) &quot ; What is it that motivates you to do this work and have you, throughout this journey of research, have you discovered anything about yourself, just as a person. What has that been like&quot ; &quot ; I don't know that I, I'm just so uncomfortable with the idea of embracing this identity so I think I have a detached, kind of, view of the research I'm doing. It feels sort of scholarly and analytical to me, even though it's my family...&quot ; Gaines discusses her detached, scholarly perspective and approach toward her family history research despite the fact that it is personal information, because of her discomfort with claiming Romani identity. American Identity ; Becoming ; Becoming Roma ; Contemporary Race Issues In America ; Cultural Welcomeness ; detachment ; Gypsy Identity ; identity ; Identity Formation ; Imposter Syndrome ; motivation ; research ; Roma Identity ; scholarly ; traditional identity Cultural appropriation ; Ethnic identity ; Impostors and imposture -- United States ; Romanies -- United States -- Social life and customs 17 1697 When Roma Was First Heard &quot ; When did you first hear the word 'Roma,' was this a term that your father never used in relation to Gypsy or Hungarian?&quot ; &quot ; Oh no I don't think he would even know it to hear it now really, or Identify that way. But he would identify as gypsy.&quot ; Roma was not heard much in her household growing up, but came later when her work began in Oberlin. Gypsy was commonly used. Gypsy ; Gypsy Identity ; identity ; language ; Racial Language ; racism ; Racist Language ; Roma ; slurs ; Terminology Ethnic identity ; Romani language ; Romanies--Hungary--Social conditions ; Romanies--Social life and customs 17 1722 Music In Roma Culture &quot ; I feel like another one of the things that we've been running into a lot in this class, um, besides, like, woman's roles is music. Like we have George Batyi coming and we've done lots with it, and you mentioned that Norbert, I believe it was, was in a polka band...&quot ; &quot ; Yeah they definitely weren't performers as a profession but we absolutely have a lot of music in our background, most of my family is sort of musical or plays instruments&quot ; Gaines discusses music within the context of her Romani family. She mentions that although her Romani relatives were not professional performers, music was definitely a big part of their lives and many of her family members are musical. european folk music ; folk music ; hungarian folk music ; music ; musical tradition ; polka ; roma music Music--Romani influences ; musicians (employment) ; Romanies--Music ; Romanies--Social life and customs 17 1868 Other Family and Their Relationship To Their History &quot ; Are any of your cousins also interested in the Romani background?&quot ; &quot ; Yeah I have one cousin who is my first cousin and he's very interested. And the interesting thing about Chris is that he's gay also, so that complicates factors as well...reconnecting with communities is tricky.&quot ; In this segment, Gaines discusses other family members in her generation in terms of their interest in the family history. In particular, she talks about her cousin Chris, who, like her, is interested in learning more about their Romani heritage and is also gay. familial research ; family tree ; Family trees ; heritage ; hungarian family history ; hungarian history ; lineage ; Research Genealogy ; Genealogy &amp ; local history ; Romanies--History ; Romanies--Social life and customs 17 1914 Career Pressure From Family &quot ; At any point while you were deciding what you wanted to do with your lively hood or career, um, if there was outside pressure telling you to follow a certain path.&quot ; &quot ; Yeah, um, I think there definitely was. I mean I've had an interest in an arts type background but definitely felt pressure to get a more stable job, you know? Because my dad did, he went and got out of the manufacturing and took a step up and got a white-collar banking job and I think he expected his children to do the same.&quot ; There was not much support for an arts background and rather an expectation of a more stable job. Her father had gotten a white-collar banking job and expected his children (Jacquelynn and her sisters) to do the same. arts education ; baby boomers ; career expectations ; generation x ; generation y ; millennials ; roma conflict of generations ; Family, religion, and culture ; Romanies -- United States -- Social life and customs 17 1962 Describing Current Career &quot ; Can you describe what your career is now?&quot ; &quot ; Yeah, I am the CIT communications manager, that was my first job out of college, ten years ago now. And, um, I do all of the website and graphic design stuff that comes out of the graphic design department. I worked for a theater for about ten years before that...&quot ; Gaines discusses her current job, as the CIT Communications Manager at Oberlin College, and gives us a little bit of background about what she had done before getting her current job at Oberlin ten years ago. Cleveland ; Cleveland Careers ; Contemporary Careers ; Graphic Design ; Hungarian Immigrants ; Hungarian Immigration ; Oberlin ; Ohio ; Ohio economy ; Ohio Labor ; Roma ; Roma in Cleveland ; Rust Belt Oberlin College ; Romanies -- United States -- Social life and customs 17 1997 Becoming/Performing Identity &quot ; Do you find that, (coughs) when you're interacting with either family members that you have that are more closely connected to their Roma heritage or any, like, Roma in Cleveland that you've interacted with, that your affect changes at all or your way of speaking...do just, do you find yourself kind of like, trying to, I don't know, adapt more to what your conception of what would be a more relatable person?&quot ; &quot ; Absolutely. One of the most difficult things about going to talk to Norbert is that the class is a lot different. My grandparents grew up in fairly, what you would call poverty, they didn't have a whole lot of extra money and a lot of the folks on that side ended up sort of in the trades, um, Norbert did some construction work, his sons all did construction work, so definitely the ways I dress and speak and that sort of thing have that consciousness in them.&quot ; Gaines talks about class disparity between her and her Romani relatives, which shapes the way that she interacts with them. In particular, she raises the example of her uncle Norbert, who was in construction work ; when she interacts with him and his family, she is conscious about how she dresses and speaks. Becoming ; cleveland ; gypsy identity ; identity ; low income ; lower class ; performing class ; performing identity ; poverty ; roma ; roma identity class identity ; lower class ; Race identity ; Romanies -- United States -- Social life and customs 17 2067 The Roma vs Gypsy Question &quot ; I am, um, I'm wondering about your thoughts, so you said that you, going back to the Roma Gypsy sort of question, so you heard gypsy all growing up but only recently, semi-recently heard Roma, so what is your relationship to those words and how do you use them when you use them.&quot ; &quot ; I almost always choose Romani when I'm speaking to anyone who is outside my family because I don't want to encourage them to use the word gypsy, lest they aren't aware of the potential for that to be a slur&quot ; Gaines discusses how she differentiates between using &quot ; Gypsy&quot ; and &quot ; Romani.&quot ; While her father always casually used the term &quot ; Gypsy&quot ; in the household, she is careful to only use the term &quot ; Romani&quot ; when speaking to anyone outside of her family in order to discourage the usage of &quot ; Gypsy&quot ; among non-Romani people. Gypsy ; Hungarian Gypsy ; Hungarian Roma ; identity politics ; Racial slurs ; Roma ; Romani ; Slurs ; Terminology Hungarian Immigration ; Identity Politics ; Racial Slurs ; Reclaiming Slurs ; Terminology 17 2115 Music In Comparison To Cooking Traditions &quot ; Could you ever see piano being something akin to cooking, if cooking is one way of maybe applying traditions or is it different...&quot ; &quot ; Yeah maybe I should get Norbert to teach me some stuff..(laughs) yeah I think that that definitely could be a cultural component to the research. I just have such an interest in cooking...&quot ; Gaines discusses her love of cooking and how that has been part of her learning and identity-searching process. She compares cooking with piano as a way of applying Romani traditions to her daily life, and jokes that maybe she will have Norbert teach her some music traditions. cleveland gypsy ; cleveland roma ; Cooking ; Cultural Traditions ; Hungarian Cooking ; Hungarian Folk Music ; Music ; Roma traditions Family, religion, and culture ; Hungarian Background ; Musicians, Romani ; Romanies -- United States -- Social life and customs 17 2198 Class Differences Effecting Community Interactions &quot ; You mentioned kind of like class being, not a difference but barrier, but do you see that in the way that your dad interacts with his relatives?&quot ; &quot ; Yeah my dad can switch back and forth a lot easier because he grew up in a blue collar environment so he's a lot more comfortable in that environment.&quot ; She discusses her father's ability to switch between the white collar and blue collar family environments in the context of class acting as a barrier. baby boomers ; Class ; cleveland ; gypsy ; hungarian ; hungarian immigration ; Imposter Syndrome ; ohio ; roma ; white collar Class ; Class Performance ; Hungarian Immigration ; Imposter Syndrome ; Roma Class ; White Collar 17 2229 Shifts In Upbringing Generation to Generation &quot ; What do you think shifted in the generations, like with your dad's upbringing versus yours...&quot ; &quot ; Hmmm I don't know, I'd like to ask him that question, why he's only sort of coming to that now, um, you had mentioned that you thought maybe there was a cultural push towards, maybe, this, recently, so maybe it's that or maybe it's the ancestry.com commercials, I really don't know.&quot ; Gaines talks about generational differences specifically in terms of interest in Romani heritage between her and her father's generation. She mentions being curious about her father's recent curiosity towards his Romani heritage. cleveland ; generations ; gypsy ; hungarian ; roma ; upbringing Family, religion, and culture ; Genealogy ; Romanies -- United States -- Social life and customs 17 2278 Generational Disinterest in Roma Culture &quot ; We talked recently with another...forgot his name, the first person that we interviewed...&quot ; &quot ; Steve Biskor&quot ; &quot ; Piskor... and he expressed a lot of concern of a generation that had lost interest in his culture...I'm wondering if you feel any, like, responsibility to rekindle that, to put at ease people like Piskor who just yearn for this generation that he feels is lost.&quot ; &quot ; Absolutely, I wish that my extended cousins outside of Chris and my sisters would be more interested, I wish there were more young people interested...But does someone like Steve Biskor really want someone like me?&quot ; Gaines discusses general disinterest in Romani ancestry within her family. She talks about how she wishes that relatives in her generation cared more about the heritage but at the same time, voices concern about whether leaders in the Romani community like Steve Piskor would want someone distant from traditions to be part of the Romani community. Cultural Access ; Cultural responsibility ; Cultural Tradition ; Generation Disinterest ; Identity ; Roma ; Romani Culture Cultural Access ; Cultural responsibility ; Cultural Tradition ; Generation Disinterest ; Identity ; Roma ; Romani Culture 17 2348 Final Remarks (Sharing Recipes) &quot ; We have a couple of minutes left, is there anything else that you wanted to know or wanted to share...&quot ; &quot ; I did bring some recipes with me (class joyous), because I'm really interested in this idea of authenticity in food....&quot ; Gaines ends her remarks for the interview by sharing some of her recipes with the class. Authenticity ; chicken paprikash ; cuisine ; eastern europe ; eastern european cuisine ; food authenticity ; Gypsy cuisine ; gypsy food ; Hungarian Food ; Recipes ; Roma Food Authenticity ; Authenticity in food ; Eastern European Cuisine ; Food Waste ; Hungarian Food 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jacquelynn Gaines Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC07 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/4d33e517cfddf8187f19f8b16b44770a.JPG 4218a307962805d53109095e43f4c069 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steve Piskor Description An account of the resource Photograph of Steve Piskor, author of 'Gypsy Violins' Creator An entity primarily responsible for making the resource Photography by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Gabrielle Ment, Helen Stern, and 'Roma, "Gypsies," Travelers' class Interviewee The person(s) being interviewed Steve Piskor OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC08.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Steve Piskor 1st interview Oberlin College IMC08 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Steve Piskor Gabrielle Ment, Helen Stern, and 'Roma, "Gypsies," Travelers' class 0 http://ohla.info/wp-content/uploads/2017/11/Steve-Piskor-Oct.-13-2017-interview.mp3 Other audio 46 Introduction My name is Steve Piskor and I am the author Gypsy Violins Hungarian-Slovak Gypsies in America. author ; gypsy ; gypsy violin ; hungarian ; introduction ; steve piskor ; violin Piskor, Steve ; Violin 17 72 childhood and background transcript Elia: My name is Elia Tzoukermann and I would love to know what kind of role music played in your childhood. Steve: In my house we had music playing just about everyday and so my father was a musician and everybody in my family was a musician. My brother was a musician. So I was constantly practicing and playing, listening to music. A sunday was like a day for, it was the same day for every gypsy that was from Cleveland or from Chicago or Detroit. Sunday mornings, you would get up in the morning, your mother would be cooking stuffed cabbage and chicken and potato salad and chicken soup and your father would be the hungarian waiter and he would be listening to the hungarian gypsy music and then start practicing and then at some point in the morning they'd go to church. Not everybody was (pause), not everyone went to church. and that was basically the sunday for everybody that was in this book and everybody did the same thing. That goes back for i don't know how long. [00:02:56] Peri: Hi I'm Peri Levin, I was wondering, could you talk a little bit about your parents and their experiences growing up and how that may have informed your childhood. Like were they always in the midwest? Like where your parents are from and that kind of thing. [00:03:16] Piskor: My mother was born in Cleveland Ohio and her mother was born in Cleveland Ohio too. My father was born in Pittsburgh, but his mother was actually born in Cleveland. But my father and mother met in a small town outside of Pittsburgh, if you know where Kennywood park is out in Pittsburgh, it's right across the road from Kennywood park, it's called a small town called Braddock Pennsylvania. And at that time, Braddock Pennsylvania had the largest settlement of hungarian-slovak gypsies in the country, in the United States. History books reflect that too. What they did, was in the early days they actually bought all the houses and it was sorta forming a square which they referred to at the yard because in the middle was a big yard for all the kids to play in. But I mean they met there and eventually my mother didn't like staying in Pittsburgh while all of her family was in Cleveland and she didn't like my father working in the steel mills so they moved back to Cleveland and he started playing music with one of my mother's relatives. But they weren't playing gypsy, music they were playing latin music. So he played Latin music for about 30 years with the slam band. They became a really famous band in Cleveland. After that, he came back to playing gypsy music and starting playing with the Hungarian band here in Cleveland. He passed away in 1986. My mother and father they weren't anything different or out of the ordinary. My father was strict. You know, you had to go to school. He was also strict about being a musician. He pushed us to be musicians. I went for lessons and playing in town when I was only about 10 years old. That usually about how old they start them. My brother was starting earlier than that. He actually had a band here in the Cleveland area, in this area too. And they played for a good 30 years. They would get selected to play at the Holiday Inn. It was a big circle. And they would tour and travel around to all the big derbies. For them at that time it was really good and because they were getting good money compared to just playing in a local bar. I mean they were playing in one of biggest places that was out at that time for people to go to. Yeah my mother and father were nothing different. My mother and father, they had a relationship that was kind of strange. My mother would go to work in the morning around 6 o'clock in the morning and she worked in a hospital and she would get back at home before we got out of school. So by about 2 o'clock she was done working and she was home. Now my father went to play at about 6o'clock in the evening and he played until 2 o'clock in the morning. She he would get us up for school at and that’s probably why he pushed us to go to school because he didn't want us home. He says he sent us to school and it kind of worked out that way and he worked good for them. I mean, I don't know anything different. I mean I grew up in a projects, on west 25th street and at that time when I grew up it was really mixed. I mean it wasn't just, I mean eventually it became all black but it was just all black when it just opened up, it was really mixed. It was every race was in it. It was a big project. There was a hundred of us kids playing in this big open field and it was all the way from bridge avenue and the way to frankland avenue. So we got to know a lot, all the people there. I mean we grew up with them, went to school with them. And like they I said, there weren’t much different from us either. [00:08:00] affordable housing ; affordable housing projects ; childhood ; cleveland gypsies ; culture ; family ; father ; gypsy ; mother ; muisc ; parents ; projects ; religion ; school ; tradition ; upbringing International Folk Music Council. Romanian National Committee ; Romanies--Music 17 77 Early Childhood That was basically the Sunday for everybody that was in this book and everybody did the same thing. That goes back for I don’t know how long. It's an old tradition. Piskor talks about his childhood and the strong Hungarian gypsies traditions that he grew up living. Piskor has an undertone of nostalgia as he talks about his traditions and how his culture. It is very apparent how important gypsy music is to him. Growing up in the projects in Cleveland he describes the change that took place from a more diverse group of people to majority African American people living in his neighborhood. childhood ; expressive culture ; gypsy ; muscians ; sunday traditions ; traditions Childhood ; Culture 17 298 His Parents My mother and father they weren't anything different or out of the ordinary. My father was strict. You know, you had to go to school. He was also strict about being a musician. He pushed us to be musicians. I went for lessons and playing in town when I was only about 10 years old. That usually about how old they start them. My brother was starting earlier than that Piskor describes how ordinary his parents are for him. Piskor describes how hard his parent’s works. His mom would worked long nursing shifts and dad working two jobs. He also expresses how dedicated his father is to music and how his father pushed him and his siblings to start music young. He also talks about always being interested in his ancestry ; in large part because of how important his culture is to him that he feels is being lost in the younger generation especially in the United States. assimilation ; culture ; family pressures ; home life ; ordinary ; parent sacrifices ; parents ; school ; siblings ; work Culture ; Project &quot ; The Assimilation of New Media in the Instructional Program of a Rural School&quot ; 17 669 Genealogical Research for his Family and Culture When I did research I did it on everybody, not just my family.... going further back into Europe it gets more complicated but you have more grandparents. He talks about how everyone is related each other nice you get deep enough into ancestry and geological research Talking about arranged &quot ; back then, they married strictly into each other. Back in the olden days, there were put together marriages. But that didn't work my generation and before me, they were like 10 years older and that didn't work for them growing up because they didn't stand for that, wanted who they picked out and wouldn't let anyone pick.... my grandparents...had fixed, put together marriages and a lot of them were related somehow.... you can't keep intermarriage going without somehow being related to each other.&quot ; Piskor talks about marriage as one of the reasons he feels his culture is being lost. All marriages used to be within the culture but since arranged marriages have become outdated in the United States, many people in his culture marry outsiders who then dilutes the culture and traditions are lost. Piskor has a nostalgic tone to how he talks about the olden days when his culture was more celebrated and more closely bound. The saddest part for Piskor seems to be the loss of traditional gypsy musicians. ancestry ; culture ; europe ; family ; family lineage ; family relations ; genealogical reserach ; genealogy ; lineage ; relatives ; research Culture ; Genealogy 17 948 Culture Being lost with Younger Generation Today it's different, the young kids they don't even want it, they don't even want to keep the language, they don't want nothing to do with it. And right now it’s totally lost... The band that is coming (to Oberlin)...are the last 4 musicians. Piskor explains how the younger generation has been &quot ; Americanized&quot ; and thus want nothing to do with they gypsy roots. As results, the traditional gypsy music, language and culture is being lost. The kids still are very talented musicians because that is in their blood but they are more likely to play jazz or other music that is not Hungarian gypsy. Piskor expresses how George Batyi's band is the last traditional band that. He says that they are getting old and have no one to pass it down to, thus a big part of his culture is going to be completely lost. Piskor has a sad and cynical perspective of the projection of his culture. He talks about how this is a global issue with the younger generation. In Hungary and other countries with Gypsies, they are experiencing the same issues as in the US. His concluding note on this section is that everything is always changing for better or worse and sometimes parts are lost along the way. Budapest ; cultural assimilation ; cultural lost ; generational changes ; inner marriage ; language ; loss of tradition ; marriage ; resistance to change ; white washing ; younger generation Romanies ; Romanies -- United States -- Social Life and Customs 17 1357 Balancing Music Playing with Having a Job I was determined to graduate high school at least graduate high school. and I did and I coulda went to college I even refused a scholarship because when I finished high school I said Im done with school I didn't want to go back to school no more you know so I actually as soon as I got out of school I went to work and I was still fooling with music playing... people that were my age playing music... I was making more than they were making ... I couldn't balance that out in my head. Piskor goes into more detail about his own life choices and why he made them. He explains that having a career in in his youth made more sense than dedicating his life to music since his job would give him benefits, more money, and a more stable existence. He mentions that his father balanced working by day and playing by night. He would get six hours of sleep every night. His mother was a stay at home mother when the kids were young and then went back to work once school started. So Piskor’s family worked hard to keep music in their lives but it was not achievable to have that be sole source of income in the house. He says there was no pressure from anyone to follow a certain path in his life. As opposed to “back in the days” when one was expected to play hungarian music full time. An example of this that he brought up was the band, Gypsy Strings, coming to play that week. To Piskor, these men are the last who can properly play authentic hungarian folk music. art ; career ; cultural pressure ; full time musicians ; job sacrifices ; men in music ; music ; musicians ; outside pressure ; side jobs ; work Career advantage. Section 2, Career and educational exploration ; Musicians 17 1572 Difference between his and his siblings’ perspective My brothers and sister tell that you know that I’m too stuck into this... and I have been that way all my life. I was only... 15 16 yrs old and going into bars to listen to them play. Now they wouldn't let me drink at a bar they wouldn’t even usually let me in. But when my uncle or somebody was playing in a band they told me no no no, no worries it’s okay just let him sit over here. And I’d go sit next them by the stage, you know, and order a pop or something… I sit there for a couple hours… up until today I still do it. Piskor explains where his love of music stems from and how in love with traditional bands he was, even as a child. He contrasts this with his brother “the musical brother”. He comments on how he never plays gypsy music. Its all modern and americanized now. Even his father played non-traditional music. But when he came home he listened to hungarian folk music. Piskor’s two other brothers chose to get non-musical jobs. One brother has one year till retirement. The other was an electrician. brothers ; change ; culturing mixing ; family ; gypsy music ; modern era ; popular music ; purist ; siblings ; traditionalist Culture ; Family Roots (Family History Society of Eastbourne and District) 17 1769 Specific reasons for why the new generation is losing their heritage Today the young kids don’t know anything about their heritage their culture. They don't know the language. If I speak to them them in gypsy they have no clue what I’m saying. If I ask them, you know, I ll ask them, you know, where did your grandfather come from and they say Chicago or something like that. And I'll say no he didn't come from Chicago he came from Slovakia. And they just don't care is their feeling on it. Piskor explains the lack of interest that the new generation of Gypsies in the area have for their culture. He says there is more interest shown by the younger generation in hip hop and rock. A certain example brought up was the Elvis impersonator who gained some fame for his seamless imitation of the famous rock and roll star. The children of the next generation will say that they are half. For instance, Piskor grew up in a mixed neighborhood with mostly Gypsy and Puerto Rican residents. He says that inter marriages often resulted in families that followed more non-gypsy traditions and tended to take after the other parent. He does not know why this was the case but he did observe this in his community. Piskor does say that the talent will never go away and that there still is a strong element of musical ability in the new generation. But the traditional ways of performance and musical tradition is dying out. cultural knowledge ; Elvis Presley ; funerals ; generational differences ; heritage ; jazz music ; loss of culture ; loss of gypsy music ; loss of knowledge ; music ; symbolism ; talent Music-- ; Presley, Elvis, 1935-1977. Elvis Presley collection 17 2329 Gypsy Violins I never expected this book to go anywhere Piskor talks about why he wrote his book “ Gypsy Strings”. He says it was mostly for his family and was quite surprised to find so many people interested in his story. Even the process of writing the book was quite informal as would be expected for a first book. academic validation ; authur ; book ; gypsy violins ; publication ; unexpected success ; writing process Book ; Violin 17 2579 Traditional Music Roots My great grandfather was talking about his grandfather being a musician back in Europe. I mean so you’re talking about 6 generations I mean that could easily go back to the 1500s... so we know we it goes back several hundred years of musicians Piskor briefly talks about how far back the musical lineage of the Gypsies go and just how influential their music was. He recounts that the great austrian composer Mozart took inspiration from gypsy music and the composers’ names that he worked with are still recognizable to this day by Gypsies in the community. This history does not make him more hopeful about the present day situation with the newest generation of children. ancestry ; cultural roots ; family ; lineage ; roots ; tradition Culture ; Tradition 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steve Piskor 1st interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC08 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/8052c5e483ec31e3260686b835e1a364.JPG 4218a307962805d53109095e43f4c069 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steve Piskor Description An account of the resource Photograph of Steve Piskor, author of 'Gypsy Violins' Creator An entity primarily responsible for making the resource Photography by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian MacMillen and class Interviewee The person(s) being interviewed Steve Piskor OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC09.xml Interview Keyword The fields adds keywords to the Omeka Oral History Item Type. Steve Piskor, Roma, Gypsy, Oberlin, Cleveland OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Steve Piskor 2nd interview Oberlin College IMC09 43:07 Ian MacMillen and class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Romanies -- United States Steve Piskor, Roma, Gypsy, Oberlin, Cleveland Steve Piskor Ian MacMillen and class Audio 0 SoundCloud audio &lt ; iframe width=&quot ; 100%&quot ; height=&quot ; 300&quot ; scrolling=&quot ; no&quot ; frameborder=&quot ; no&quot ; allow=&quot ; autoplay&quot ; src=&quot ; https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/593061576&amp ; color=%23ff5500&amp ; auto_play=true&amp ; hide_related=false&amp ; show_comments=true&amp ; show_user=true&amp ; show_reposts=false&amp ; show_teaser=true&amp ; visual=true&quot ; &gt ; &lt ; /iframe&gt ; English audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steve Piskor 2nd interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC09 Subject The topic of the resource Romanies -- United States Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/9b6f67639615891e9a3ffed4f574c8b0.JPG bf65c35af0a4b3424b0911a2bdd7c001 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gypsy Strings Description An account of the resource Photograph of Gypsy Strings at their performance at Oberlin's Cat in the Cream (October 30th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ian Macmillen Interviewee The person(s) being interviewed Romani-American violinist George Batyi and band (Billy Rose, guitar; Chris Rose, bass guitar; Alexander Fedoriouk, cimbalom) OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC10.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Oct. 30th 2017 Gypsy Strings concert (second half) Oberlin College IMC10 Ian Macmillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Romani-American violinist George Batyi Ian Macmillen 0 SoundCloud audio &lt ; iframe width=&quot ; 100%&quot ; height=&quot ; 300&quot ; scrolling=&quot ; no&quot ; frameborder=&quot ; no&quot ; allow=&quot ; autoplay&quot ; src=&quot ; https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/592089027&amp ; color=%23ff5500&amp ; auto_play=false&amp ; hide_related=false&amp ; show_comments=true&amp ; show_user=true&amp ; show_reposts=false&amp ; show_teaser=true&amp ; visual=true&quot ; &gt ; &lt ; /iframe&gt ; 0 Beginning of the second half of the concert: Russian Romance &quot ; Ochi Chernye&quot ; (Black Eyes) medley 17 401 Second instrumental medley: Czardas 17 864 Third segment: &quot ; Autumn Leaves&quot ; (sung by Billy Rose) autumn leaves ; Billy Rose ; Jacques Prevert ; jazz ; Joseph Kosma ; song 17 1071 Fourth number: &quot ; A Day in the Life of a Fool&quot ; (known as &quot ; Manhã de Carnaval&quot ; or &quot ; Carnival Morning&quot ; from 'Black Orpheus,' sung by Billy Rose) Antonio Maria ; Black Orpheus ; Luiz Bonfa 17 1451 Fifth segment: Czardas (instrumental) 17 1696 Sixth number: Cimbalom solo 17 1775 Seventh piece: Romance and Czardas instrumental medley 17 2024 Eighth number: Instrumental (Russian?) 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oct. 30th 2017 Gypsy Strings concert (second half) Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC10 Format The file format, physical medium, or dimensions of the resource audio Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37">George Batyi Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/35">Billy Rose Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/36">Chris Rose Interview</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/f3652053ff00f962dd60bc5e9ed41afa.jpg c47b6099b471519f78e1ca113af30ddb https://astoriedpeople.oberlincollegelibrary.org/files/original/510045351f33dbadb39f47c6933439e1.jpg c9f4bbd30db069a9ef77bdd0f3980e5e https://astoriedpeople.oberlincollegelibrary.org/files/original/6d876badd3e90fe2debcc8e9cbaddfcb.jpg 7885bce7ac0ad5a6a69d5b686f42899a https://astoriedpeople.oberlincollegelibrary.org/files/original/be67d2ac9a780c3de4a8ed2cf8f2177b.jpg c47b6099b471519f78e1ca113af30ddb https://astoriedpeople.oberlincollegelibrary.org/files/original/b674ef841e7d921fe8e35f51b8ef906e.jpg c9f4bbd30db069a9ef77bdd0f3980e5e https://astoriedpeople.oberlincollegelibrary.org/files/original/3abed85f06525d08636e4feed7770c45.jpg 7885bce7ac0ad5a6a69d5b686f42899a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Alex Freundlich Creator An entity primarily responsible for making the resource Dóczy, József (Composer); Imre, Palló (Vocalist); István, Csongor (Vocalist); Sári, Vörös; Lászlo, Szalai (Vocalist); Károly, Solti (Vocalits); Toki Horváth, Gyula (Band leader); Bura, Sándor (Band leader); Lakatos, Sándor (Band leader); Oláh, Kálmán (Band leader); Koczé, Gyula (Band leader) Date A point or period of time associated with an event in the lifecycle of the resource 1977 Description An account of the resource A 1977 LP of various Hungarian Folk compositions by József Dóczy interpreted by several musicians and vocalists. As Benjamin Rajeczky writes in his 1960 article Old and New Singing Styles in Hungarian Folk Song from the Journal of the International Folk Music Council Vol. 12, due to “the difference between the old and new styles of his native folk song, the Hungarian folklorist... is confronted with the problem of changes in the manner of performance.” One should extend this problem to non-Hungarian folklorists and ethnomusicologists if they are to truly understand the nuances of Hungarian Folk. Rajeczky uses the composer Kodály as a guide to one summation of the changes that occur when examining old Hungarian folk musicas contrasted with new. It should be kept in mind that exceptions always arise. Rajeczky declares the Kodály conclusion as follows: “The old manner... is richly ornamented and has several registers; the new is simpler, but with one register.” This particular example of collected performances interpreting compositions by József Dóczy, who lived from 1863 to 1913, confronts us with the issue of old versus new. The songs as they exist on record are from 1970. They were, however, originally composed before 1913. Can one use this record to analyze the shift from old to new in Hungarian folk? Does it further complicate these distinctions? This record serves as a reference point with which to tackle such questions. Rajeczky, Benjamin. Journal of the International Folk Music Council Vol. 12 (1960), pp. 56-61 Format The file format, physical medium, or dimensions of the resource Vinyl record 12'' with original sleeve and label Identifier An unambiguous reference to the resource within a given context CSC_GBA_20 SLPX10088 https://storiedpeople.oberlincollegelibrary.org/items/show/2 https://storiedpeople.oberlincollegelibrary.org/files/original/176bbe425004341f7d2978428208fac0.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/47f0ea84bc01e91fea315abcb99ef7d2.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/9105e8f955d73b8ce768fe82103a1434.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available Qualiton, SLPX ID088 Rights Information about rights held in and over the resource Qualiton Source A related resource from which the described resource is derived Hungary Subject The topic of the resource Hungarian Folk Music Title A name given to the resource Szépen Szól A Nóta [Hungarian Folk Songs] LP Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/8602b5b7a1682d5cb43120ce748bdb3e.png eed5eec1ab9e380e8253a9f5d82afb68 https://astoriedpeople.oberlincollegelibrary.org/files/original/2575f5ab0ce8a21b327fa01e7e5ea057.jpg 13e42a59956b1a258cde067ab2c8de2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Batyi, George (Production, Arranger, Violin, Back-up Vocals); Sestili, Bob (Production, Tambura Bass, Back-up Vocals); Grcevich, Jerry (Arranger); Kosovec, Peter (Brac, Lead Vocal); Kosovec, David (Cello, Lead Vocal); Recorded by Imagine Audio and Media Date A point or period of time associated with an event in the lifecycle of the resource 21st-century Description An account of the resource Live performance by Gipsy Stringz at the Gypsy Cafe. Contemporary Roma Folk, Roma Quartet, self-described "Gypsy" Music Format The file format, physical medium, or dimensions of the resource CD disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_21 https://storiedpeople.oberlincollegelibrary.org/items/show/5 https://storiedpeople.oberlincollegelibrary.org/files/original/8df98642d3e4d54d49bccf0b2d1eb4cb.png https://storiedpeople.oberlincollegelibrary.org/files/original/eb5026be3a8d11461cd2f8e31a4fd8f3.jpg Language A language of the resource English Publisher An entity responsible for making the resource available Self-published by George Batyi Rights Information about rights held in and over the resource George Batyi Subject The topic of the resource Folk songs Hungary Title A name given to the resource Gipsy Stringz "Live" at the Gypsy Cafe Type The nature or genre of the resource CD Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/33">Jerry Grcevich Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37">George Batyi Interview</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/cd821380096351b7189a5ac519e451a6.jpg 21d4a49fb11a58dbf92b393e9376a006 https://astoriedpeople.oberlincollegelibrary.org/files/original/6934b9073ddb338aa545574d52d40a83.jpg 81aff0e5c330c2682eadcba27669d25d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Alex Chuang Creator An entity primarily responsible for making the resource Kisz Központi Müvészegyüttes Raykó Zenekara, The Rayko Orchestra Singer: Urbán, Katalin Leader: Lendvai Csósci, József Musical Manager: Serédi, Istvaán Technical manager: Radányi, Endre Date A point or period of time associated with an event in the lifecycle of the resource 1964 Description An account of the resource A vinyl recording of the Rayko Orchestra performing various popular songs, sung by Katalin Urbán and directed by József Lendvai-Csósci. The Rayko, or Rajko, Orchestra, was founded in 1952 by Ivo Csampai and was directed by Pal Szigeti from 1950 to 1981 (“Az”). True to its name, “Rajko,”--meaning gypsy child--the state sponsored orchestra was made up of young, gifted Romani musicians who were frequently accompanied by a dance band (Horowitz). The orchestra is still active today and has performed internationally (“Az”). The band’s origins lie in the post-WWII state led movement to train young students in skilled labor, which also stressed cultural and sports groups (“Az”). Within a broader national and regional scope, this period marked a pattern of state-implemented assimilationist policies for Romani people in Eastern European communist regimes, as Roma were viewed as deviant and obstacles to a unified socialist state (Barany 114). While Hungary denied Romani people status as a national minority in 1950, the policies following this were less coercive than other nations. In 1958, the Hungarian Socialist Workers Party endorsed support for Roma culture, education, and Roma-led organizations (Barany 121). Despite a resolution in 1961 establishing a program of forceful assimilation, future actions nevertheless supported Romani sociocultural groups and greater Roma autonomy (Barany 121). Tracklist: A Side 27'00" 1. Hullámzó Balaton Tetején (Hubay K) (On The Waves of The Balaton) 2. Tavasi szél -- Tarka-barka rokolyának-- Én Ezutaán két szeretõt tartok (Farkas Gy. feld.) (Popular Songs) 3. Muzikálö havasok (Farkas Gy.) (Mountains Music) 4. Meg kell a buzának érni -- Erre gyere rózsám -- Sej. haj, haj -- Egy szem búza (Farkas Gy. feld.) (Popular Songs) 5. Czinka Panna (Farkas Gy.) B Side 26"00' 1. Csárdás rapszódia (Farkas Gyula) 2. Saátrunk elõtt -- Tinna nenene -- Adott vajda szekeret Nem szeretem én az ürgét (Popular Songs) 3. Kesergõ, palotás és friss (Csermák A.--Farkas Gy.) (Dances) 4. Álom, álom -- Tarka szoknya -- Járd a táncodat Sűrűn szakad (Farkas Gy. feld) (Popular Songs) Works Cited: “Az Együttes Története.” Translated by Google Translate, KISZ Központi Művészegyüttes, KISZ Központi Művészegyüttes, kkme.hu/az-egyuttesrol/tortenet/ Barany, Zoltan D. The East European Gypsies: Regime Change, Marginality, and Ethnopolitics. Cambridge University Press, 2002. Horowitz, Joseph. “Rajko Orchestra and Dancers.” The New York Times, The New York Times, 28 Jan. 1979, www.nytimes.com/1979/01/28/archives/rajko-orchestra-and-dancers.html?mcubz=1. Format The file format, physical medium, or dimensions of the resource Vinyl Record with album cover. A side: 5 tracks, 27'00"; B side: 4 tracks, 26'00" Identifier An unambiguous reference to the resource within a given context CSC_GBA_07 LPX10073 https://storiedpeople.oberlincollegelibrary.org/items/show/7 https://storiedpeople.oberlincollegelibrary.org/files/original/751bf098329ac896efecf06f0e3acaf1.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/73411ee06b00e0aee497f1facd00c240.jpg Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Qualiton Records Rights Information about rights held in and over the resource Unauthorized public performance broadcasting, copying is prohibited. Subject The topic of the resource Hungarian Roma Music Title A name given to the resource Rajkòk Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/da120dfdca52ab7d12c329d51dfc1cea.jpg 2ce14cf5eb3c9f835567a6454d5067f5 https://astoriedpeople.oberlincollegelibrary.org/files/original/f9e093671ddb40dadc81dce968a52cbb.jpg 150d4e2d66cbe4bbe87b0768dbe7f3f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Hannah Halpern Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian folk music Creator An entity primarily responsible for making the resource Sándor and His Gypsy Orchestra Description An account of the resource Three records included in the vinyl, two of which are identical, by Sándor and His Gypsy Orchestra. Sándor Lakatos (1924-1994) was the violinist and leader of the orchestra. They began by primarily playing in Budapest restaurants, performing at a slower tempo for audiences as they ate (Malvinni, 2004). This is how most Gypsy musicians made their way. Gypsy nòta performers do not participate in mainstream media but rather gain regional fame through the avenue of restaurants (Lang, 1997). Many Hungarians disliked general "tourist" music that Sándor and his orchestra could be classified as because of the slower tempo and diluted vibrato. Much of Gypsy nóta has evolved in a way that flees from other Rom music norms into often being classified in general Hungarian music (Lang, 1997). While there was originally some resistance against the ways in which Sándor and his orchestra "conformed" musically, the technicality of the musicians allowed for both a domestic and international interest and adoration for them (Malvinni, 2004). Sándor is specifically known for his bowing, using a style often referred to as the "magic" of Gypsy bowing that's not formally present in Classical schools of bowing (Malvinni, 2004). It is typical in Gypsy nóta for there to be tempo irregularities and a variation of rhythm (Lang, 1997) as Sándor demonstrates in his bowing of the violin. On the two identical copies there are three songs on either side. On S701 side: Jaj De Szépen Víragzig (Blooming Beautifully) Szomsźed Asszony (My She Neighbor) Perdül A Kis Lány (Dancing Girl) On S702 side: Az Ejjel Kimulation Magamat (Let's Make Merry) Mit Mond Az En Rozsam (What's Her Answer) Adj Egy Csokot (Throw Me a Kiss) On the third record there are three songs on either side. On S705 side: - Nem Járok ęń Többet a Babåmhoz (I Give Up) -Sáros út (Muddy Girl) -At Ugrom (Jumping) On S706 Side: -Kis Lány, Nagy Lány (Little Girl, Big Girl) -Lovam (My Horse) -Bórral (Drinking) Format The file format, physical medium, or dimensions of the resource Three records (double sided) with multiple tracks on either side. Identifier An unambiguous reference to the resource within a given context CSC_GBA_27 S701-702, 705-706 https://storiedpeople.oberlincollegelibrary.org/items/show/8 https://storiedpeople.oberlincollegelibrary.org/files/original/493434cb001de434b1a32078a99204fc.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/f9d9db39aaac63e3afd15d695f577c4f.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available International Record Company Relation A related resource Malvinni, David. The Gypsy Caravan: From Real Roma to Imaginary Gypsies in Western Music. Routledge, 2004. Lange, Barbara Rose. "What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nóta. Ethnomusicology, Vol. 41, No. 3 (1997), pp. 517-537. http://www.jstor.org/stable/852762 . Rights Information about rights held in and over the resource Copyright in 1946 Subject The topic of the resource Vinyl record of music played by Sándor and His Gypsy Orchestra. Title A name given to the resource Csárdás Type The nature or genre of the resource 78 https://astoriedpeople.oberlincollegelibrary.org/files/original/28488df572843b640390e751cc69f13d.png 55c075eca95ca308d5de41858a924cd3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Elia Tzoukermann Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1923-1972 Creator An entity primarily responsible for making the resource Various artists Date A point or period of time associated with an event in the lifecycle of the resource 2013 Description An account of the resource Gypsy violin music by American Hungarian-Slovak Gypsies Format The file format, physical medium, or dimensions of the resource CD Identifier An unambiguous reference to the resource within a given context CSC_GBA_23 https://storiedpeople.oberlincollegelibrary.org/items/show/10 https://storiedpeople.oberlincollegelibrary.org/files/original/5ba17f14457b0d600c4629afeb1b5516.png Language A language of the resource English Text on CD Publisher An entity responsible for making the resource available Self-published Rights Information about rights held in and over the resource Copyright 2013 Source A related resource from which the described resource is derived Book: Gypsy Violins by Steve Piskor Subject The topic of the resource Romanies Music Title A name given to the resource Gypsy Violins: Hungarian-Slovak Gypsies In America (CD) Type The nature or genre of the resource CD https://astoriedpeople.oberlincollegelibrary.org/files/original/1a0af63f0491d9ada06136aa9e05920b.JPG 02576499e05fb2433d64bbaacfafab94 https://astoriedpeople.oberlincollegelibrary.org/files/original/c48b331798e2b7a2cbfe3faa78a29238.JPG acab4f395d96859d0d478b187c73f3a5 https://astoriedpeople.oberlincollegelibrary.org/files/original/99b2b5c6b1eaa742a7faa6309cb36d8c.jpg 64aa1513ff813ce4b1d0764e49e74cbf https://astoriedpeople.oberlincollegelibrary.org/files/original/a5cee2577d0f9ec791888044e799f9c5.JPG 39a4c601f94e454e9ec795f479958bc6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Francesca Scola Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Weddings, celebrations Creator An entity primarily responsible for making the resource Continental Gypsy Strings Date A point or period of time associated with an event in the lifecycle of the resource ℗1994 Recorded June 8, 1993 in Glenshaw, Pa. and Sept. 28, 1993 in Homestead, Pa. Description An account of the resource Side 1: medleys and dance tunes from Eastern European weddings and celebrations Side 2: Traditional Hungarian melodies, founded in Hungarian-American community. Format The file format, physical medium, or dimensions of the resource Cassette tape, 2 sided Identifier An unambiguous reference to the resource within a given context CSC_GBA_24 OTP-943 https://storiedpeople.oberlincollegelibrary.org/items/show/12 https://storiedpeople.oberlincollegelibrary.org/files/original/e0e058f77c908bbdfb426d42fb120bfd.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/a1367c58ba2c4215b84ec47dfd44db6b.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/3cd3fa69b20480071f1dbc88f4cf08b3.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/7a44b22719f7824c9c18f0d37478b9aa.JPG Language A language of the resource Hungarian Other Eastern European languages Publisher An entity responsible for making the resource available On Tour Productions Rights Information about rights held in and over the resource 1994 On Tour Productions, unauthorized broadcasting or distribution prohibited. "This recording was produced as part of On Tour Productions, a series of cassette tapes featuring traditional and ethnic performing groups in Pennsylvania." Subject The topic of the resource Romanies Pennsylvania Music Title A name given to the resource The Lark Type The nature or genre of the resource Cassette Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/33">Jerry Grcevich Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37">George Batyi Interview</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/637af74d2e5695bf099c09103c32c61b.jpg 2615b63bd0b1bf9441f096bd46293b07 https://astoriedpeople.oberlincollegelibrary.org/files/original/f5440fc984704de7867a7e8708e4f15f.jpg 7d4390ba9855d8d0feef87b242ac6445 https://astoriedpeople.oberlincollegelibrary.org/files/original/5109be1481cba4758b634889dff8defb.jpg fe68311aa0973a51b7cfad52e6ae4f68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Molly Thayer Creator An entity primarily responsible for making the resource Grabócz, Miklós (arranger) Kovåcs, Apollonia (singer) Madarasz, Katalin (singer) Gal, Gabriella (singer) Lakatos, Sándor and his Gypsy Orchestra (performers) Járóka, Sándor and his Gypsy Orchestra (performers) Description An account of the resource Black record with a yellow center label noting the songs on each side and the musicians who performed them. The LP is in a paper and plastic casing, and its outer sleeve which is shiny and colorful depicts a warm and happy scene of mostly women in dresses dancing in a barn in a circular fashion. There are 11 songs on side A and 10 songs on side B. Format The file format, physical medium, or dimensions of the resource 12'' vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_04 SLPX 10103 https://storiedpeople.oberlincollegelibrary.org/items/show/13 https://storiedpeople.oberlincollegelibrary.org/files/original/282d42777253ec53492bd312da9ba165.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/ce88c4660380618ca3c6995bf95e6313.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e9398c03d165fbbc206380239961ed18.jpg Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Qualiton Records Subject The topic of the resource Romanies Music Folk music Hungary Folk songs, Hungarian Folk dance music Hungary Title A name given to the resource Ciganydalok Gipsy songs Gypsy songs Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/be51bb380e29f079cf25953e3dc0630a.jpg a9b97fe95ab41a904b36195bee493e73 https://astoriedpeople.oberlincollegelibrary.org/files/original/209d5262a2a3214fb6f1c4d856bf7d11.jpg 19f94734eb7c114eb4c0ba6dcfa83e1d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Hannah Halpern Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian folk music Creator An entity primarily responsible for making the resource Joszy and His Orchestra Date A point or period of time associated with an event in the lifecycle of the resource ©1956 Description An account of the resource Vinyl record of music by Joszy and His Orchestra. There are 15 songs total. Seven songs on Side A and eight songs on Side B. Side A: Rare Grows The Wheat A Maiden Cries At Ake Balaton You Are My Man Ballad Little Picket Fence Long Ago Take Wing Side B: My Sweetheart Will Never Be Mine Sad Song Outlaw's Song Gleaming Stars Berry Chant Secret Love Starlight Night Farewell Mother Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_03 WP 6016 https://storiedpeople.oberlincollegelibrary.org/items/show/14 https://storiedpeople.oberlincollegelibrary.org/files/original/0546641410efd805356b632c099f3c2a.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/cb6910f7e3c4163f2cd424b2d2998e8f.jpg Language A language of the resource English Publisher An entity responsible for making the resource available Westminister Records (WP 6016) Rights Information about rights held in and over the resource Vinyl released in 1956 Subject The topic of the resource Romanies Music Folk music Hungary Title A name given to the resource A Gypsy Night Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/0963413b96b94b2bb66e95b991b55097.jpg 4b3c17bc8baf2869ed30842909dc8159 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Rae Friedman Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gypsy music performed by professional gypsy music performer, Lendvay Kalman Creator An entity primarily responsible for making the resource Lendvay Kalman, violin, and his Gypsy Band ; with Georg Littasy, vocals Date A point or period of time associated with an event in the lifecycle of the resource 1958 Format The file format, physical medium, or dimensions of the resource Double-Sided LP (12 inch square cover), 7 songs on each side, recorded in monophonic sound 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_10 WP 6075 https://storiedpeople.oberlincollegelibrary.org/items/show/15 https://storiedpeople.oberlincollegelibrary.org/files/original/d25d18b05ee60f85e5db893610bf3fc2.jpg Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Westminister Recording Sales Corporation, NY Rights Information about rights held in and over the resource Unauthorized public performance, Broadcasting and copying prohibited Source A related resource from which the described resource is derived Westminister Recording Company Subject The topic of the resource Romanies Music Folk music Hungary Folk songs, Hungarian Title A name given to the resource Tears of a gypsy Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/463095300da6241999893827a607bdb4.png fe8126414e1472df3d464a0b8df17526 https://astoriedpeople.oberlincollegelibrary.org/files/original/f4d7b18dd587316af334a3db533b4680.JPG 301bb0201cda4a5dd7703d9429646529 https://astoriedpeople.oberlincollegelibrary.org/files/original/e856c63cad26d270eda587c88d5678d4.JPG 7d006588885096d1db5b1bc5a11c15b3 https://astoriedpeople.oberlincollegelibrary.org/files/original/cf50cdc2a59ff458e879cb985e33e23c.JPG 012fcd6b6d473609e48b0ae2f713b5bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Elia Tzoukermann Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian Folk Music Creator An entity primarily responsible for making the resource Magyar Állami Népi Együttes Description An account of the resource The Hungarian State Folk Ensemble was formed in 1951 by Gypsy players from various cafes and restaurants around the county, primarily from Budapest (Hooker). On this record composers such as Liszt and Brahms are found along with traditional tunes. Liszt, who composed the "Hungarian Rhapsody" piece found in this record, was a Hungarian composer who is known for his musical “Hungarian-Gypsy style” (Hooker). Liszt was known for his “bold harmonic turns” and “the innumerable modulatory digressions (Hooker, 254).” One can find Liszt’s “Hungarian-Gypsy style” in both his violin concertos and Contrasts written in 1938 (Hooker). Gypsy nota is the popular music of Hungarian Gypsies, which is similar to other European music in terms of its four-line strophic structure and common compilation of voice, guitar, synthesizer and drum (Lange). Its unique style is “characterized by vagueness and irregularity in its access to experiences of a non-dominant character (Lange, 517).” The irregularity communicates the character of Rom music by expressing “that is it a form of play (Lange, 532).” Gypsy nota performers and listeners are mainly constituted of Roma people and therefore Gypsy nota music is not created for outsiders (Lange). Although Gypsies were discriminated and disliked as a peoplehood, many outsiders enjoyed their music. Format The file format, physical medium, or dimensions of the resource Two records with multiple tracks Vinyl, 12", LP, Reissue, Stereo Identifier An unambiguous reference to the resource within a given context CSC_GBA_08 VX26190 https://storiedpeople.oberlincollegelibrary.org/items/show/17 https://storiedpeople.oberlincollegelibrary.org/files/original/ac824bfdcdc37f6b64cdbe2dabae323b.png https://storiedpeople.oberlincollegelibrary.org/files/original/a6536b1872dab6b4706b0c1f8b7c95d6.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/065b20cd39e4ab1f9f26b271e7126d1a.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/2e4374d2d3a0d22d8ea88fd528e9e876.JPG Language A language of the resource English French Publisher An entity responsible for making the resource available Vox Relation A related resource Works Cited: Hooker, Lynn M. Redefining Hungarian Music from Liszt to BartoÌk. Oxford University Press, 2014. Lange, Barbara Rose. “‘What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota.” Ethnomusicology, vol. 41, no. 3, 1997, p. 517., doi:10.2307/852762. Subject The topic of the resource Romanies Music Title A name given to the resource Gipsy Magic Magie Tzigane Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/cd54ab50cd5a9c29c9b2472465b5887e.jpg 8ed2f537a1e4458aface2122711a15b0 https://astoriedpeople.oberlincollegelibrary.org/files/original/cf4721a5f3c578e96a75ba740bbbccee.jpg 60512efa832ff9c1ada1ddaf548f968c https://astoriedpeople.oberlincollegelibrary.org/files/original/3cc9e70f3f5ca53fe5dee292d4923dac.jpg f18709fb3faaf39c66f88607a682acb9 https://astoriedpeople.oberlincollegelibrary.org/files/original/6d96a3a6724394f02a2e394b0bc06d93.jpg a63058dcd9fcc4ff1e75b2fc0ce41280 https://astoriedpeople.oberlincollegelibrary.org/files/original/56be6cceed7076189ceb3daaea2e51b9.JPG 8c93743ea3a4c435d2cbfbbba1d94f71 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Peri Levin Creator An entity primarily responsible for making the resource D. Szutesányi Gypsy Band Date A point or period of time associated with an event in the lifecycle of the resource 1975 Description An account of the resource An eight track record with music from a specific gypsy band. Described as "moody...sentimental, mournful, passionate..." When "A Vén Cigany" Hungarian Gypsy Melodies came out in 1975, it was in the midst of a time of change within and around the Hungarian gypsy community. In the 1960s and 70s radios and televisions began appearing in gypsy settlements throughout Hungary (p 45.) The easier accessibility to mainstream popular culture posed a potential conflict to the ever traditional communities. Romani nomadism was already in decline during the interwar period, and by the 1970s, gypsies were obtaining regular employment more and more regularly (p 45.) Since the beginning of the 1960s the guitar gained popularity steadily overall with Hungarian youth and community, but also in Romani settings. However, while the guitar symbolized more opportunities and expanding music to become more modern to the general public, to the Hungarian gypsy community, abandoning the traditional music style would have meant abandoning inherited communal traditions that had been around for centuries (p 47.) This commitment to traditional music, is echoed in Carol Silverman’s discussion of banning Romani wedding music and other traditions in Bulgaria resulting the continuation of traditions even under threat. This album represents a taste of the ever important traditional music for a gypsy audience, using more traditional instruments including violins and cellos. This more traditional music in the contemporary medium of an LP represents gypsy music staying true, while still evolving with the time. Works Cited: Kovalcsik, Katalin. "Popular Dance Music Elements in the Folk Music of Gypsies in Hungary." Popular Music 6, no. 1 (1987): 45-65. http://www.jstor.org/stable/853165. Silverman, Carol. "Chapter 7." In Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press, 2011. Format The file format, physical medium, or dimensions of the resource LP record in a paper covering case. Approximately 12"x12" Identifier An unambiguous reference to the resource within a given context CSC_GBA_15 PLD2028 https://storiedpeople.oberlincollegelibrary.org/items/show/18 https://storiedpeople.oberlincollegelibrary.org/files/original/51325ee4847f47d4f40bf20d06286e8e.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/111b5facc4d7f9f83a17658c005ec6a0.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e0070182ce4ab3a036add79db7ff2ff4.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/3146b5b86bca09017cf9380409fa4298.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/cdb884359408b3c91fb793e10c06c793.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available Peters International Inc. Rights Information about rights held in and over the resource Rights of the recording company and of the owner of the recorded work are reserved- no unauthorized reproduction prohibited Subject The topic of the resource Romanies Music Title A name given to the resource A Vén Cigany: Hungarian Gypsy Melodies "An Old Gypsy" A Vén Cygany: Hungarian Gypsy Melodies Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/68272017a78eba7f9490ba6066010900.JPG cb4c2b2df047884ef3c884c462c57e2e https://astoriedpeople.oberlincollegelibrary.org/files/original/0e4b0476c2ba61d3440b532db966e1f1.JPG 2f3fb586196a47156a7eef34d515b459 https://astoriedpeople.oberlincollegelibrary.org/files/original/a9d137cb1be7379cb44874d5b7432c2e.JPG 090ed0c713f58e0e8d50048b42180ed6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Emily Peterson Creator An entity primarily responsible for making the resource István Balogh és Cigányzenekara (Gypsy Orchestra) Date A point or period of time associated with an event in the lifecycle of the resource 198_? Description An account of the resource This LP was published by the American record label Fiesta Record Company, located in New York City, and the music itself was recorded in Europe. Fiesta was started in 1952 by José Morand, a Latin American band leader. While Fiesta started by only publishing Latin music, it eventually branched out into a wide variety of "ethnic" music. The artists Fiesta presented were usually unknown in America, but would sometimes be famous in their home countries (Schreiber 76). "Hungarian Folk songs and Csàrdàses" is a part of the William G. Lockwood Romani Music Collection at the Michigan State University Library. The collection contains a wide variety of music, ranging from albums by Romani artists to song titles that contain the word “gypsy”. Spanish, Greek, Romanian, Russian, and (as with this LP) Hungarian Romani artists are all represented as well as artists from other countries (MSULibraries). The collection is a good example of the cross-national groupings that happen within the Roma community. “The importance of music as a measure and medium of displacement…increasingly occupies a place in musicological and ethnomusicological approaches to migration in postcolonial Europe. Displacement allows individuals and communities to express their connection to a particular place even when they are not residents of the places from which they draw their identity” (Bohlman 159). The Lockwood Collection brings together disparate musical artists who may see no connection to each other otherwise. Some Romani artists may even be offended to be included in a collection with “gypsy” music. But there is still power in the representation of this kind of music, no matter how loosely it is grouped together. Bibliography: Bohlman, Philip Vilas. The Music of European Nationalism: Cultural Identity and Modern History. ABC- CLIO, 2004. Schreiber, Norman. The Ultimate Guide to Independent Record Labels and Artists: an A-to-Z Source of Great Music. Pharos Books, 1992. MSU Libraries: William G. Lockwood Romani Music Collection. Discogs.com, MSULibraries, 2016 p. 1, www.discogs.com/lists/MSU-Libraries-William-G-Lockwood-Romani-Music Collection/281361?page=1, Accessed 4 Oct 2017. Format The file format, physical medium, or dimensions of the resource Physical record (12" vinyl disc) Identifier An unambiguous reference to the resource within a given context CSC_GBA_16 FLPS1397 https://storiedpeople.oberlincollegelibrary.org/items/show/19 https://storiedpeople.oberlincollegelibrary.org/files/original/2b45fab0da10cab8f5b0df52c7b29e88.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/a6c6163fb7875132d765ee5a8ba29479.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/9cc87c46eab899d62a5fbf7e67069b7d.JPG Language A language of the resource English Hungarian Publisher An entity responsible for making the resource available Fiesta Record Company, Inc. Subject The topic of the resource Folk songs, Hungarian Czardas Folk dance music Hungary Title A name given to the resource Hungarian Folk Songs and Csàrdàses Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/d1347f865515e31f497870789a63feda.jpg 18d3191e7f87c705b81a344f9d172ee9 https://astoriedpeople.oberlincollegelibrary.org/files/original/0fde4827596f6d32de040f4852bfd85d.jpg d66f7fcda6680dad72bf54061f65ab6b https://astoriedpeople.oberlincollegelibrary.org/files/original/c6d01a7cb96fb099cc4621f8a1cbea72.jpg 88c0f1dbb7cdc26666fae9ec9f4b935c https://astoriedpeople.oberlincollegelibrary.org/files/original/44837c518b57f16d98652d67ab25b877.jpg d2209b7c71a65fa991caccbcc52ee465 https://astoriedpeople.oberlincollegelibrary.org/files/original/ab67291407d2451284a1b17057880fa7.jpg a6deb6831a1df6dfcc3ddfb10f0b00f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Alex Chuang Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant International Series / Hungarian Creator An entity primarily responsible for making the resource Horváth, Elemér és Cigaányzenekara (Gypsy Orchestra) Date A point or period of time associated with an event in the lifecycle of the resource 195_? Description An account of the resource A vinyl record of Hungarian Folk Songs &amp; Csárdáses performed by Elemér Horváth and Gypsy Orchestra. Album cover is included. Tracklist Side A: ABLAKOMON BESUTÖTT AZ ESTI FÉNY (Moonlight on my window) AKÁR MERRE HAJTOM FEJEM (Anywhere I turn my head...) MANDULAFA, MANFULAFA (Almond tree, almond tree) ÉDESANYÁM LAÁNYA VAGYOK (I am my mother's daughter) KÉRGES A TENYEREM, A TENYEREM (My hands are rough) FA LESZEK, HA FÁNAK VAGY VÍRÁGA (I'll be a tree, if you are a flower) BICIKLI CSÁRDAS (Bicycle csardas) REPŰLJI FECSKÉM (Fly, my swallow) RÉGI DAL (The old song) MIÉRT IS JÕTTÉL ŰVEGES HINTÓBA? (Why did you come in a glass coach? HULLÁMMZÓ BALATON TETEJÉN... (On the waves of Lake Balaton) FRISS (Fast csardas) Side B: BIHARI KESERGÕ (Bihari lament) KORCSMÁROSNÉ MÉG EGY ICÉT (Barmaid, another drink! SZERETNEM HA JÕNNÉL KÉK KARTON RUHÁBA (Come to me in your blue cotton dress) JUHÁSZ KUTYÁK UGATNAK (The sheep dogs are barking) SOMBAT ESTE KIMENTEM A SZÕLLÕBE (Saturday night at the wineyard) A FALUBA NINCS TÕBB KISLANY CSAK KETTÕ (There are but two girls in the village) UGY NÉZ FEL A BUNÕS EMBER (He has a guilty look) PIROS CSAÁKOT KAPTAM (I have a red shako) FEKETE ÉJSZAKA BORULJ A VILÁGRA (Cover the world, dark night) ELMENT A LIDI NEÉNI (Aunt Lidi went away) HEJ DALÁRÉ, DALÁRÉ (Hey Delare, Delare) SZÁRAZ BABOT (I am cooking only dry bean for him) Format The file format, physical medium, or dimensions of the resource Vinyl record, Long Playing 33 1/3 RPM Identifier An unambiguous reference to the resource within a given context CSC_GBA_17 FLPS1469 https://storiedpeople.oberlincollegelibrary.org/items/show/21 https://storiedpeople.oberlincollegelibrary.org/files/original/d89ddcdc6b2e00f6dbcac26ee2b15b0c.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/1597d645f8fef9caaecbcdd567b9e1df.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/0f0be908d4b9ef1638e118c0f3c58e9b.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/f08143e6aaaa662808725dc615bf87ab.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/c29e22c2a890e68d664ccf4445c1949c.jpg Language A language of the resource Hungarian; Song titles provided in Hungarian and English Publisher An entity responsible for making the resource available Fiesta Record Company, Inc., 1619 Broadway, New York City, NY Subject The topic of the resource Romanies Music Folk songs, Hungarian Czardas Title A name given to the resource Hungarian Folk Songs & Csárdáses Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/62c1a95c193d937f28328ca596927f2d.jpg 2392875d47e8967e923fcd8bf9dc56b3 https://astoriedpeople.oberlincollegelibrary.org/files/original/9be29231450b2a82d59b37e253988029.JPG ec2129ae4444f7852a2b931c9ccac82b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Molly Thayer Creator An entity primarily responsible for making the resource Sándor Lákatos and his Gypsy Band Date A point or period of time associated with an event in the lifecycle of the resource 1965 Description An account of the resource This is a vinyl record of songs performed by Sándor Lakatos and his Gypsy Band, an instrumental group from 1960s Hungary. The album is from 1965 and in English is titled Budapest at Night. Lakatos was a violin player who's family had a long history of playing Hungarian folk music, specifically violin. Lakatos was also "... a descendant of the legendary Gypsy primas Janos Bihari" and was himself a very well renowned prima (the orchestra's soloist and leader).(Piskor, 94) He and his band made traditional Gypsy music while also incorporating innovation, and performed all over the world. Lakatos was Romani, a word describing a population that has existed in Hungary for centuries, and are often referred to as gypsies. (Junghaus, 3:17) They are a nomadic people who emigrated from India about 1500 years ago, and now mostly live throughout eastern Europe. Romani are all very different, living in small communities each with their own characteristics specific to their evolution and host country. But two defining characteristics that most Romani people have in common are the fact that they are highly discriminated against both socially and politically, and that they have an extremely strong cultural foundation in music. "It is very hard to live from a love of music. So hard that many of us went over into other [classical] styles..." describes Istvan Farkas, a Hungarian Romani violinist who started making violins to support himself. As shown, music is an integral, unavoidable aspect of Roma culture. (Junhaus, 1:40) Farkás, István, performer. Redefining Roma Culture. Produced by Open Society Foundaitons and Tímea Junhaus, 2017. Open Society Foundations, www.opensocietyfoundations.org/voices/ it-s-time-roma-people-speak-themselves?utm_source=news&utm_medium=email&utm_campaign=news_060317&utm_content=Mm4zvs8dtPNtGg49yW4nEgO3gWN7H6N90wLxl_sZJw. Gypsy Violins Hungarian-Slovak Gypsies in America. E-book, Cleveland, OH, Saroma. King of Gypsy Fiddlers. Orchestrated by Sandor Lakatos. last.fm, CBS Format The file format, physical medium, or dimensions of the resource 12'' Vinyl Record Identifier An unambiguous reference to the resource within a given context CSC_GBA_14 Qualiton SLPX 10071 Qualiton LPX 10071 https://storiedpeople.oberlincollegelibrary.org/items/show/22 https://storiedpeople.oberlincollegelibrary.org/files/original/f6c694de70934c8c0a0224c75581b207.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/6729a06f86b87ea2b3e9bdd4b6eee112.JPG Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available Qualiton Records Subject The topic of the resource Romanies Hungary Music Folk music Hungary Title A name given to the resource Budapest éjjel Budapest at Night Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/a53d3c5b4970dc2310b5ee6da6b268be.png c025b19200916b11dca7b6c5bc7eaf9b https://astoriedpeople.oberlincollegelibrary.org/files/original/73b058a7c563d9bb08c38b9408ebc545.png 3df0074dca31a48bc75a952d83e92ffb https://astoriedpeople.oberlincollegelibrary.org/files/original/d839888056fe9778cd8807a71f80ec04.png db0fa189bd2a17c6e7d7a4cbfc15ba7b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Patrick S Monnius Creator An entity primarily responsible for making the resource Ilona -1st Violin John Sivak - 2nd Violin John Wenniger - Piano Steve Turoczi - Accordion Louis Szigeti - Bass Frank Mikisits - Vocals Date A point or period of time associated with an event in the lifecycle of the resource N/A Description An account of the resource LP Record of Hungarian vocal music with a backing "orchestra" and vocals by Frank Mikisits. Taken from the backside of the cover "the ensemble on this recording are Americans who through inheritance and study recreate the happiness, sorrow, and gypsy magic of Hungarian music." Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_18 TM505 https://storiedpeople.oberlincollegelibrary.org/items/show/23 https://storiedpeople.oberlincollegelibrary.org/files/original/81158aad8268887b8e051ac2765ecf4f.png https://storiedpeople.oberlincollegelibrary.org/files/original/8637f55341766d65b244597c84f929e0.png https://storiedpeople.oberlincollegelibrary.org/files/original/82d6cd9638dd603006249d8f2b9c6199.png Language A language of the resource English Hungarian Publisher An entity responsible for making the resource available TÁTRA Records Rights Information about rights held in and over the resource TÁTRA Records Subject The topic of the resource Music Hungary Romanies Music Title A name given to the resource Vidám Esték Gay Evenings Type The nature or genre of the resource LP