28 10 1775 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource <p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p> <p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p> Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (116 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 116 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 8/2/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244066">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244066</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Doug Paugh and Jim Laviska with "Open Mike" at the Amsterdam, April 12, 1994 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Doug Paugh and Jim Laviska at the Amsterdam in Johnson City, N.Y. Several local poets read their works during open mike sessions after the featured poets. The event was held on April 12, 1994 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Paugh, Doug Laviska, Jim Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1994/04/12 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1994 4-12 Format The file format, physical medium, or dimensions of the resource video/mp4 https://omeka.binghamton.edu/omeka/files/original/bb54b1d4ace06d7f4432ffce6d5fc07c.jpeg de3e3236e2a0a1455ec83217c3f77d0b https://omeka.binghamton.edu/omeka/files/original/3033b341f86dac17d01b2dc260e7931d.mp3 b03afdd0b634be0c1f5ae078310990f7 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br /> <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 2022-01-27 Interviewer The person(s) performing the interview Stephen McKiernan Interviewee The person(s) being interviewed Dr. Jeanne Marie "Sam" Bokina Christie Biographical Text <span>Dr. Jeanne Marie "Sam" Bokina Christie, a native of Madison, Wisconsin, </span><span>joined the American Red Cross after graduating from college and served as part of the Supplemental&nbsp;</span><span>Recreational Activity Overseas Program (SRAO) in Vietnam, circa 1967-70. She served in Nha Trang, Da Nang, and Phan Rang.&nbsp;</span><span>&nbsp;After Vietnam, Christie attended graduate school and received a Ph.D. from Walden University, and became a college professor at several schools including teaching Communication at Western Connecticut State University and Manhattanville College.&nbsp; She recently wrote her first book, Women of City Point: 1864-1865.&nbsp;<br /><br /></span> Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:23:21 Language English Digital Publisher Binghamton University Libraries Digital Format audio/mp4 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital file Material Type Sound Interview Format Video or Audio Audio Keywords Military women; Vietnam War; Red Cross; Volunteering; Donut Dollies; Nineteen sixties; Baby boom generation; Vietnam; Graduate school; College education. Transcription Any written text transcribed from a sound, or alternative text from a visual medium McKiernan Interviews Interview with: Jeanne Sam Bokina Christie Interviewed by: Stephen McKiernan Transcriber: Eden Lowinger Date of interview: 27 January 2022 -------------------------------------------------------------------------------------------------------------------- (Start of Interview) SM: 00:00 You kidding, Philadelphia's cold but not this cold [laughs]. JSBC: 00:03 And we are expecting two feet of snow on Saturday. SM: 00:06 Oh, wow. Well that is Wisconsin, anyway. But just when you went to Vietnam. Okay, first off, the one question I want to ask, which I have been asking everyone is in at any time with your family, did you have any kind of a generation gap on these issues? You had, obviously, you had the support of your parents to go to Vietnam. But was there any gap at all on discussions of for or against the war? JSBC: 00:32 Not really. I have two brothers and an older sister, my older sister was, you know, engaged and getting married and doing the woman things at that point, the two boys were still coming up through high school, they were 10 years and 12 years younger than I was. So, you know, it is like, that is my older sister type stuff. No, there was no real discussion that I remember. There may have been some conversation and, but nothing that stands out in my mind. You know, they pretty much, mom and dad said you can go, go type thing. And that cut the feeling they had. The boys were always curious. I did send home, my, you know, like poncho liners and my uniforms and things like that to them. And they played with them. So they were a lot younger at that point. And, you know. SM: 01:31 When you entered the Red Cross, what was, was there a training period that you had to go through? JSBC: 01:37 There was a training period, we had to report to Washington for two weeks. And we had to have our uniforms, we had to have our navy blue raincoats, we had to have our black handbags, we had to have our black loafers. We had, you know, a list of things that we had to have, and our foot lockers. And I had talked to a gal in Milwaukee who had come back from Vietnam. And she was telling me all sorts of stories. And it was just like, "I really want to do this, I really want to go." So, we had a list of things that we had to have before we went to Washington, when we got to Washington, we were put up in a hotel, I do not remember the name of the hotel at this point. And the very first day I got there, I was wearing my little navy blue suit with my red and white polka dot blouse with a tie [inaudible] on it. And took the elevator upstairs, and there was this woman on the elevator and we are chatting. And I said, "Well, I am going for the training for the Red Cross to go to Vietnam." Turned out to be the director [laughter]. SM: 02:43 Perfect timing. JSBC: 02:44 Perfect timing, I will never forget that and you know, she just kind of rolled her eyes and laughed. So that was my introduction to the Red Cross, it was a lot about and I did not know this at the time, about rank, organization in the military, things you can do, things you cannot do, things you should do, things you should not do. But a lot of the girls came, and we were all girls at that point still. A lot of them came from military backgrounds. I came from the quasi you know, Fire Department background. So there, there was some structure there, but I did not know the ranks and they did not know the you know, the different services and things like that where others people did. So they went through all that and they taught us you know, "This is, how many stripes? What does that mean? What organization? Is that army? Is that navy? How did you, do you drink? When do you drink? Do you? Are you in uniform? Do you drink? If so how much do you drink?" You know, things like that, that we needed to know when we hit the ground running. It was not a lot about the world at that point. It was about our jobs at that point. So again, there was no emphasis on what was going on in the world right now. It was there was a war you were going to go and this is how you are going to you know get through it. Basically they showed us how to do programs. As an art teacher I you know I could paint anything I draw pictures I can do that. So. SM: 04:24 They were actually taking, each of these individuals were taking your skills and how they were going to apply to this job. [crosstalk] Excellent. JSBC: 04:29 They were taking skills. Yep, as well as your willingness to go they would take your skills. I was, you know, everybody loved having an art major come because that made making signs and posters really easy. Yeah, it was it was a lot of that stuff. We got into mischief. We had fun we would go out at night as a group and if we would run into some soldiers of course we would start talking and you know, have a drink with them and whatever. But we-we ran as a pack and nobody got into trouble. So, there were a couple girls that really were questioning whether they want to go after the at the end of the two weeks. And you had the option, you could, you know, you could walk away. But most of us went, and then we had to get our shots at the very end, we had to had a whole list of shots we had to have before we got there. And then they finally gave you the GG shot. And we swore that doctor was just a, you know. But we, you know, they virtually shoot you in the butt and then they say, "See you later," and they put you on an airplane for how many hours and it is like, ohhhhh. SM: 04:40 Yeah. My gosh. JSBC: 05:46 But we all survived. And then we flew from there. And we went to the airport, and we flew out to California to Travis Air Force Base. And there were about 13 of us that went to Vietnam on the flight that I was on, all in our little blue uniforms and chitter-chattering away with all these guys that are, you know, giving the 20,000 mile stares because they were returning to Vietnam. And they were you know, "You guys have no idea what you are going to get into," that thing. But we were fine. You know, we were fine. And when we got close to Vietnam, they turned out all the lights, it was dark. And we all kind of looked at each other like "Oh my gosh," flew in in the dark. And when he opened the door, it was just this blast of tropical heat coming in. SM: 06:40 Yep-yep. JSBC: 06:41 And everybody started, the Marines or the military started yelling at all the recruits and the guys on board the plane and we kind of looked at each other and said, "What have we gotten into?" They took us off, isolated us, and took us to BOQ where we spent the night. Next morning, we got up and I saw the guards sitting in front with guns. It is like, "Holy moly." SM: 07:07 A lot different than being home. JSBC: 07:10 Yeah, a lot different than Wisconsin. So that that was kind of the rude awakening into to Vietnam, and we had to go get uniforms and they were, we were issued boots. You know, pants, shirts, caps, which promptly we put on took a picture, and then pretty much got rid of the gear because we could wear our blue uniforms. And we just had a lot of logistical things that we had to do. Then we have training sessions at the Red Cross headquarters there on how to do a program. I had a friend from Wescott, a friend I did not- I would not know his name at this point. A gentleman from the Red Cross from Wisconsin was there. And the phone rang and they said, “Jeanne, that is for you.” I was still Jeannie. And you know, I am in Vietnam, what the hell is calling me? Happened to be this guy from the Red Cross in Wisconsin, in Madison. He said, "I have a motor scooter, let us go, I will show you around the city." So I got permission. And we went out and drove all over Saigon at that point. I remember going to the zoo, I remember driving in traffic. And here I am on the back of a scooter. And just having a wonderful time. [laughs] SM: 08:31 My gosh. JSBC: 08:33 Totally different, you know, the training sessions were supposed to be at. And it was, you know, it was easy. They kind of assessed the group and decided who would go to which unit at that point. And after a couple days, they said "You are going here you are going there. The flight is leaving at, you know, in 20 minutes from the airport, you better get over there." There was no great farewell, a farewell ceremony. And I was sent to NhaTrang for my first duty station. SM: 09:08 Now did you go, when they broke the 13 up, how many kind of stayed together? Were there four of you, or two of you? Or how many? JSBC: 09:15 No, we all kind of went different places. I do not remember who went where. I know I was the only one going to NhaTrang. And it just depended on how many, you know, slots were open. And- SM: 09:30 Oh, okay. JSBC: 09:32 -where they were, you know, who was rotating out is what mattered. So they had to fill those slots. And I was the only one that went to NhaTrang. SM: 09:40 Now how long were you there? JSBC: 09:43 Oof, I am going to say about six months. SM: 09:48 So, half the time you were in Vietnam, you were there. JSBC: 09:51 Well, I was 13 months in Vietnam. So. I was there, I came in the end of January. [counting] February March, April, May June. Yeah, about six months, about July, and had a great time, learned a lot. We learned from each other at that point. You know, we were paired up with another girl who had been there obviously a long time or much longer than we had at that point. And, you know, we were shown the ropes. "This is who we, who you need to see, this is who you need to go to, this is where you have to go. This is oh, this unit over here, that is over there. Come on, we can go on to this group over here." So it was, it was a learning experience the whole time. They did, of course, do a little harassment. I had to pull guard duty the very first night. They made me sit on the front steps and our hooch was shared with the nurses, it was on the hospital compound. The separating factor was a roll of barbed wire. And the village homes right on the other side of the barbed wire, and there were kids playing over there. SM: 09:53 Okay. Wow. JSBC: 11:02 And the girl said, "Well, you have to do guard duty that night. So, we are going to give you a whistle. And we are going to give you a helmet, and we are going to give you a flashlight, and if you see anything, you have to blow your whistle." They had a horrendous time laughing that night. I was scared to death. [laughter] Somebody comes down the road, what am I do now, type thing. Well, it was, you know, just pure harassment. And it is funny now, but you know, it is, that is how you start. You pay your dues. And I had some really great roommates and I had some really good people to work with. Kathy Wickstrom, who has passed away now, was my roommate for many, many months. She was from Illinois. And oh, gosh, she was just great to me, I mean, she could charm the pants off a snake, you know, she could, she knew how to do it all. And she always wore her hair up on a, in a bun up top. And one of the funnier stories about Kathy is, of course, we are out programming and she walks underneath a branch and it catches on her hair. And she used to stuff it with nylon stockings, to keep it fluffy. And as she is walking away, the stocking is coming out of the back of her hair. [laughter] And the guys are in hysterics laughing and I was laughing and Kathy was like, "What is going on?" But she you know, she was just cool. And she knew the weapons, she knew how to get the guys to talk about the weapons. "Tell me about your, what is this rifle over here? Well, why is it different from that rifle?" She knew the banter that would go with it. So she was a great teacher. And we had a lot of fun on different things. And-and, you know, I cannot say, I am sorry she is gone. But she-she really taught me a lot about how to deal with everything. SM: 12:58 Now did you, but when you would go out to be with these, the troops, did we did, were you taken in a helicopter or a truck or both? Depending on where you were? JSBC: 13:10 Yeah, sometimes we would go out in a jeep. Sometimes if it was, you know, close by on the base, we would go out on the Jeep. A lot of times, we had a quarter ton truck and we had two drivers, Richie and gosh, can think the other guy's name right now. And then a lot of times we would fly, we would go by chopper, we would go by the, special forces used to take us out in a different plane. Cannot-cannot even think of the name of the plane now. But it was not unusual to you know, show up at the Special Forces location and they would say, "Okay, today we are going to do here, we are going to go there and, you know, get in that aircraft." So it just depended on-on where we were going. Sometimes we rode the duck, we went to [inaudible] Island, and they had this water duck, you know, ride the duck type thing. And we went out to the islands on the duck and did our programs and then got on the duck and came back. So it would vary from what they had available as to where you had to go in Nha Trang. SM: 14:20 Were the numbers of soldiers that were there, dd you, were they waiting for you? Or do they just, you were there doing things and they just kind of walked up? Or how did that work? JSBC: 14:29 A little of each. Sometimes they knew we were coming, sometimes if we were flying in, you would drop out of the sky and it is like, "Oh my God, they are girls." You know, and it was like wildfire. "The girls, the girls came on my helicopter." So it varied. There were occasions when we had a regular stop that they knew we were coming on Monday at, you know, 11 o'clock or whatever it is. So they would have a group kind of gathered around and, you know, nobody was required to stay there. They could walk off if they did not like what you are doing. A lot of guys just would stand in the background and watch. So it, it varied. It varied. You had to roll with the punches at that point. SM: 15:16 Did you, now were you were only there one day? Or did you sometimes be there two days? JSBC: 15:20 No, we would be there an hour. SM: 15:22 Oh, an hour? JSBC: 15:23 An hour usually. Yeah, you would do six or seven stops during the course of a day. SM: 15:29 Wow. That is a lot of stops. JSBC: 15:31 It is a lot of stops. And so we would go from one to the other. And again, it depended on how, your, what your transportation was. And then, you know, how long does it fly- Does it take to fly such and such a place? How long does it take to you know, get the truck to, when-when we left town in the truck, we had to stop at the White Mice Station? And they had to pay the-the Vietnamese guards off for safe passage. So that was that was kind of interesting. I was like, "Richie, what are you doing?" He said, "We are paying the guards off." So, you know, the White Mice knew that we were in the area, and they would, it is okay, the girls are coming out and blah, blah, blah, blah, type thing. So that was after staying in [inaudible]. So you know, it varied, it varied. SM: 16:23 In a typical week, would you be doing this seven day a week or five days a week? JSBC: 16:30 Maybe six days a week. SM: 16:31 Okay. JSBC: 16:31 You might have a day off, but let me clue you. If you are in a combat zone, as a woman, there is no time off. [laughter] Because anyplace you go, you know, you are drawing attention and the crowd is coming. But we technically had one day off. And I know, because I became very good friends with [inaudible] and she would take me shopping. And we would go into town, we would go shopping. So I know I had time off to do that. And we cook different food together. I went to her-her house at one point and met her children it was, I was very honored actually to be able to do that. And then her husband wanted to give me a ride home. And I weighed more than he did on the motor scooter. So [laughter] he was a little, a little embarrassed that he could not give me a ride home. They had to find a vehicle for me to ride in. SM: 17:31 Right. JSBC: 17:31 But, you know, it is- we genuinely had one day off. SM: 17:36 In those, and you did this for a year now, six months or a little over six months at this location, and then other locations. Were there some men or some of the troops that stood out, like in other words, that you are doing your programs, but they might want to, you know, I have not been able to talk to my mom or dad. I you know, did they ever kind of open up at all? JSBC: 18:04 Oh, yeah. Yeah. Sometimes you would go in there you do you learn to do, we learned very quickly to read nonverbally, what the case was going to be. Sometimes you would show up and they had just lost somebody. You knew that you, kind of forget the program, there was going to be no-no giggles and laughs this time. We also learned to sit next to them instead of in front of them. We very quickly learned that so that they could talk to you without being threatened. And sometimes all we felt like were-were great big ears, because we listened to them. And that was one of the things we learned to do a lot of from the older gals. Just listen to them. Let them do the talking. And if they will not talk, again, get them to talk about their weapon. They will always tell you about, you could wake them up in the middle of the night. "Tell me about your guns." And you know, they'll rattle it off. So just to get them speaking was sometimes a major accomplishment. Sometimes we heard sentences that all started with f. And we knew the meaning of every one of them. We did not pass judgment, we just listened. SM: 18:56 Right. Were you, also were these protected areas where you were, in other words you were when you were when the troops, there was a group farther away that was protecting the area where you were. I say this because you know your very first experience on arrival in Vietnam was to have the lights turned off on the plane. Obviously you knew then that it was a different lifestyle there. You know your work, dd you ever feel worrying about, you might yourself be killed? JSBC: 19:53 You know, that was one of the things that we laugh about and we reflect back on the younger generation now. Then we, we were 21 years old, we were like the kids now, invincible. Nothing would ever get us. We knew there was danger, we knew there was a war zone going on. We know people are getting killed and dying. But it was not first thought on our mind. We could not go to work if we, you know, we worried about that. So it was it was a danger. It was situational. There were times that things did happen. There were times that, you know, several women did get killed while we were there. But it was, you know, it was not at the top of your list in your mind. You cannot do your job if, if you were worried about that. So we just did the best we could. We, our driver had a gun. So you know, we had an armed guard technically. You know, the men were very protective of us. If anything came up, we were the first ones they would grab and, you know, get out of the way. So, it was not anything we worried about at that point in our life. Now it is a whole different thing. I would worry about it. But back then, no, being 21. And, and you know, the world is your oyster type thing. We did not think about it. SM: 21:34 Do you know how many in, once the war was over how many in the Red Cross had died? JSBC: 21:40 Oh, gosh, I know, there were at least five. There were three in our program that died. And I just found out the other day that there was another woman whose husband was there. She was working for another organization. And she was killed during Tet. SM: 21:58 Wow. JSBC: 21:59 Yeah. SM: 22:00 You know, I reflect upon the-the wall in Washington DC, of course, the women's memorial in (19)93 that was opened, but I reflect upon the wall because I think there is only 12 names on the wall of women. JSBC: 22:12 Right-right. SM: 22:13 And are there any of them Red Cross? JSBC: 22:16 Red Cross has a plaque that has their names on them. But because we were not technically military- SM: 22:24 Right. JSBC: 22:24 -we could not be put on the wall. And that still to this day is one of those bugaboos. You know, I live in a community that has a veteran’s group, but I am not a veteran. SM: 22:38 Yeah. JSBC: 22:38 I am a veteran of Vietnam. SM: 22:40 Right. JSBC: 22:40 But not a Vietnam veteran. SM: 22:41 Right. JSBC: 22:42 And that, you know, that is a very fine line of distinction. And there is resentment when you get into a group and you are not a DD 214 veteran. SM: 22:53 Right. I understand that. I know there is, when the wall was built, all these restrictions about what other things that can be placed near the wall. Of course, the three man statue, that got through because of some power [inaudible] Vietnam vets. But, of course, the women's memorial was way overdue, way overdue. And thanks to Diane and all she did in her group. But, you know, there, I have gotten to the wall now, on Memorial Day, Veterans Day, except the last two years because of COVID every year since Lewis Puller died, because I got to know, I know, I got to know Lewis and I really felt I had to be there every year from that point forward. And-and it is interesting, because I know there has been men who had dogs that they love, there needs to be recognition for the dogs. And of course, they, no way are they going to be recognized at the wall and certain-. But people like you and who went over and we were with the, maybe there was a discussion down the road that that will change. JSBC: 24:01 I doubt it very truthfully. I really, I cannot see, they, if they did that there are so many things they would have to do. If we all die out, then somebody might recognize it. But then they would not have to give us medical coverage or, you know, Agent Orange coverage or anything else. PTSD. We all were exposed to the whole stuff. But because we are with a private organization, we are not covered under that. And if they recognized us, then they would have to do that. So once we all die off, it'll probably happen, but not until then. SM: 24:38 I think. Yeah, the things that were happening in America. During that time that you were there. Were you cognizant of what was going on in America itself? JSBC: 24:48 No. SM: 24:48 Because of the tremendous protests and divisions and everything else. The race issue racial issues, drugs, everything. JSBC: 24:56 No, I was not well, the drugs and the race issue were after I came home. And they were not that prevalent when I was there. Because I was there early. I was there (19)67. SM: 25:12 Right. JSBC: 25:13 So, you know, that that starts in afterwards and becomes a problem in the (19)70s. So I was not aware of that. I, we knew there were drugs. And if you wanted them, you could get them. But it, it was not a problem for us then. If that makes sense. I mean, it sounds crazy. SM: 25:38 And they always, they always say that the real heyday or the, when the real deaths were happening in large numbers was from (19)67 to (19)71 were the real crisis years. And I know Phil Caputo who wrote the book "A Rumor of War," he wrote the book because "Hey, wait a minute, I was there in (19)65 and (19)66. And there is a lot going on there too the-the Ia Drang Valley was very early." JSBC: 26:04 Yeah. SM: 26:05 So you know, I bring these things up. Because you see, so many books have been written and you know, the war was a long one and there was different periods of ups and downs, and, and certainly drugs. You know, what was happening in America was somewhat prevalent, what was happening in Vietnam as well in the early (19)70s. What, what did you do when you were after six months, where did you go after that? JSBC: 26:30 After NhaTrang, I went to Da Nang with the First Marine Division. And we were, we had quarters in a house that we lived in and in Da Nang proper. We had a driver who had a red and white Volkswagen bus [laughs] to take us back and forth. We had a center up on freedom hill, and we had a center on the flight line for the Marine Corps, which was blown up shortly after I got there. So you know, it was a very different. I had been with the army, and I had been with the Navy in NhaTrang, basically, in special forces. Now all sudden, I am with the Marine Corps. And that was an adjustment. That was an adjustment. Not a bad one. And you know, but it was a different way of looking at military service and your obligation and things. SM: 27:29 Yeah. JSBC: 27:30 Yeah. SM: 27:30 I can understand, I know a lot of Marines and- JSBC: 27:33 Yep. SM: 27:34 -to get to be a Marine is very difficult. JSBC: 27:36 Yeah. SM: 27:36 And you know, you can go through training and you do not cut it and then go into the army and but you are not a Marine. JSBC: 27:42 Yeah. SM: 27:42 And so, there is a pride and there is a call and I can see it the Vietnam Memorial every year, the pride is really there in being a Marine, and it goes from generation to generation too. JSBC: 27:51 It does, and you know, great guys. A lot of I mean, I knew some of the dirty things that were going on when I was in NhaTrang. For example, I am going to backtrack a second, I had two friends who were with Air America. And they used to come by the house, the house that had the barbed wire on the outside, and we would sit and chat and talk and everything else. And one of the guys was dating a nurse in town, not a gov- not a military nurse, but a civilian nurse. And, gosh he was good looking guy, good looking guy. And anyway, one day, the other friend came by and he said, "I want to tell you that so and so is no longer here." And I said, "what happened?" He said, "He killed himself." And I said, "Oh, why?" "Well, he shot the nurse. He killed the nurse. And then he turned the gun on himself." So we knew things like that were going on. But, you know, it was a much grander scale when we got to the Marine Corps. And they had a lot of dirty stuff. I mean, you know, I, the standing joke about the "Oh apricots for me." They showed me a string of-of ear. SM: 29:05 Wow. JSBC: 29:06 When I was out in the field one day, and I really thought they were apricots. I really did. And today I look at apricots and I see, you know, the same thing [laughs]. And I was like, "Hmm." And then seeing shrunken heads and different things like that, and some of the beatings and some of the other problems that went into it, that I did not see in NhaTrang a lot. I was more exposed to it when I was with the Marine Corps. They were tough. There was, there was no you know, leeway. You were, you either did it or you did not do it type thing. And great guys. I love my Marines, absolutely adore them. But their duty was very different from that of the Army or the Navy. And you know if anything happens, if I ever need protection, I am going to get myself a couple of good Marines. SM: 30:03 Yeah, I think I can remember when we had Jan Scruggs and Country Joe McDonald, they came to West Chester University back in, I think (19)99, we, we did the traveling Vietnam memorial at the university and, and-and they were speaking and Jan helped us get Country Joe. I remember we were at dinner one night and country Joe was just talking with Jan, Jan was talking to the students and-and then country Joe, just out of the clear blue says, "Well, you know why there were not any hostages, why there were not any hostage- North Vietnamese or Vietcong hostages, do not you?" And, "Because they were all killed." And I did not, I did not quite understand this, I thought there were hostages. And because what happened is a lot of the guys gave them, they gave them off to the South Vietnamese Army, and they did whatever they wanted to do to him or something. JSBC: 31:02 Yeah-yeah. SM: 31:03 So that and I, and Jan did not even say anything, this is all Country Joe saying it. Any he kind of, you know. So and it came up due to a question from a student. I wanted to ask you, since you were with, around these guys, you know, for an entire year and you know how America treated them upon the return home, this has really upset me for a long time, is how Vietnam veterans are treated upon their return to America. I have locals’ stories of veterans coming home and not even allowed into a Viet Veterans of Foreign Wars office. And because a lot of it has to do with My Lai and this perception that they are all crazed, and they are all bad. And that affected the women too. JSBC: 31:46 Sure. SM: 31:47 Did you notice when you were with the, for that year, the mental health issues that were facing a lot of the young men and women who were serving in Vietnam, and we all know now cause of post-traumatic stress disorder. And-and you said the one gentleman killed himself and then his girlfriend or whatever, just-just the overall mental health of, you know, the Agent Orange and all the things they were going through? JSBC: 32:19 I am going to say no. As a general term, Agent Orange, we did not know about we did not understand it at that point. The mental health issues. Yeah, there were a lot of issues. And there were a lot of guys who were stressed out. But again, our job was to listen to them, and not debate the issues. And if they had a paragraph of all F words, we under, we listened to those too, and tried not to get into the debate if that makes sense. PTSD, nobody knew about at that point. You know, it, it was an emotional thing. I had, I had a Marine come into the center one day, and we had a music room where they would play drums and everything else. They were supposed to check the weapons. He brought us up, brought a weapon in with him, and all sudden, I am on duty. And I hear this, "Boom." And, you know, now what, you look. And they said, "Oh, in the music room type thing." I went into the music room, he had shot himself in the foot. So he could get out. And he left. I mean, he was gone before I even got there. "Where would he go?" "Well, he shot himself in the foot, you know, took off." So, you know, yeah, there were, the guys were under a lot of stress. And again, it was not our job to get into that finite portion of right or wrong with them. Listen to them. SM: 33:57 Right. JSBC: 33:58 Listen to them. So it was very interesting. You know, I do not know what I can tell you. I mean, laughter was best, the best medicine. And, and we knew that from again, the previous training from the older women that had been there before. If you get-get them to laugh, they cannot cry and they cannot laugh at the same time. If they can laugh at you, make them do that. If they can laugh at themselves, even better. You know, try and bring some humor and break that facade. If they cannot talk to you. You know if you are serving chow and you have got six of them sitting over on the other side just watching and you know, spill something on yourself or drop a dish and make them laugh. So, you know, you were always aware of that factor. I do not know if that makes sense to you. SM: 34:56 Yeah, it does. It does. I-I was not there. I think this- It is important because the people who will be listening to these interviews, you know, it is all about research and scholarship and trying to understand the times and that war. And it is, and believe me, 20, 30 years from now, generations will be listening to these interviews as well. And I just do not want this, the (19)60s and (19)70s and the Vietnam War, and the lessons learned from these times to ever be forgotten. That is one of the goals of everything we are doing. What- JSBC: 35:31 I can, I can tell you though Stephen. When I came home, I was accosted by women. I was doing a panel with Red Cross one night in Madison. And after I was all done, a couple of the women came up to me, and they were shaking their fingers at me. And they said, "We know what you did in Vietnam." And they were furious. You know, it is like, "You are, you are a whore. We know that." And I just looked at them kind of dumbfounded. And I sealed it off. I never talked about it for-for 10, 15 years afterwards. SM: 35:32 Yeah. JSBC: 35:32 It was just like, I am not going to deal with it. They do not, you know, nobody knows, as a woman, where I was for that year. It is no big deal if a woman disappears. For a guy, they were going to assume that they went over into service. But for a woman they would not. And so I just, I refused to talk about it. SM: 36:26 When now, when your time was nearing an end for 13 months, were you thinking about what you were going to do next when you got home or were you thinking? JSBC: 36:37 Oh, I knew. I knew already what I was going to do. I had applied to graduate school, from Vietnam. And I applied to NYU and I applied to Miami of Ohio. NYU accepted me, but did not give me any funding. And of course, I did not have any money. And so Miami gave me a full ride. And I said, I know where I am going. [laughs] SM: 37:02 That is a good school. I worked Ohio University my first job, that is a very good school. JSBC: 37:07 Yeah, yeah. So that, that made it very easy. But no, DaNang was a wonderful place. I learned a lot. I learned a lot about life. I learned a lot about difficult situations that men can get into. You know, I had wonderful opportunities to kind of expand my whole knowledge. We were, we had sniper fire at night into our house. Never knew I could get under a bed in hair rollers so fast in my life. As I said, our one of our centers was blown up. And I still have to this day a piece of shrapnel from that day. I you know, I used to see guys in the hospitals that look like somebody had taken the course pepper grinder to them. And I would stand there and look at them. I really did not know what at all was, it was shrapnel. And finally, after the center was blown up, it was kind of "Oh, that [laughs], that is what that is" type stuff. You know, oh gosh, going into the hospitals and I learned what burn victims smell like. We had one guy in there. He was isolated and kind of put off to the side. He was covered in patches. He had a little teeny tiny peephole, like a quarter of an inch of the bandage that he could see through. And we had gone into the wards, they had to leave him alone. So we did our thing. We talked to the guys on the ward. On leaving, we went past him. And I just could not resist. I said, "That is a nice peephole." Well, as soon as I said something, the corpsman grabbed me and decided that they were going to give me a shot, an injection, which was just water. But anyway, they got this guy who was just totally bandaged to laugh. And it was probably one of the best moments [laughter]. Here is his little itty-bitty peephole. That is all he could see is these corpsmen grabbing me. And, you know, it was it was a wonderful moment for him. It was a wonderful moment in the hospital just to give that relief to somebody. You know it-it was terrific. We had some very nasty things happen up there. We had some great things happen up there. The Air Force was up there as well. And we got to know a bunch of them. When they would do 100 missions over North Vietnam. They had a fire truck that you could, it was a water truck and you could hose anybody down within range. Well, we got to ride the fire trucks when they hosed people down [laughter]. A lot of people probably hated us. They had some music centers where we could go in and totally just decompress and just listen to music. On tapes, we all had tape decks at that point. Speaking of music, one of the great moments and to this day, I still get tears in my eyes, listening to music and Dvorak, New World Symphony. SM: 37:46 Wow. Oh, wow. JSBC: 40:25 When they started playing "Going Home," we had we had it playing in the center one night, or day. And when that got, I mean, it is noisy in the center. I mean, everybody's talking and people are moving around. And they were very noisy. And that piece came on. And I just remember absolute dead silence. SM: 40:45 Wow. JSBC: 40:46 And all these tough Marines just in another world of going home. It was beautiful. SM: 40:53 Is not that- JSBC: 40:54 Absolutely wonderful. And to this day, I hear that peace out. I just think that those guys just standing there. And how meaningful it was to them. God bless America was another thing that that would stop them. And so you know, you had wonderful things like that happen, as well. And very meaningful. SM: 41:14 I know that you know, those Bob Hope tours were very important to the trips too. JSBC: 41:18 Yeah. SM: 41:18 Every year and of course, the singers and the entertainers that came over. But the music is known "Good Morning, Vietnam." And there is truth to that, because you know, what, no matter what you are talking about, about the people that served in the war, the music was a very important part of their lives. JSBC: 41:34 It was. SM: 41:35 And, and just about all that music from the (19)60s and into the mid (19)70s. I mean, we are talking. Typically, Vietnam War, we are talking (19)59 to (19)75 is what you talk about, but you know, disco came in toward the very end and everything. But, you know, did you hear music a lot when you were going around these places, were they playing it on a transistor radios? JSBC: 41:58 If we were out in the field, no, not a lot of music out there. If we were in the centers obviously, we had the music. SM: 42:05 Right, which of the- JSBC: 42:07 And- SM: 42:07 -were there, were there groups that you felt were like the groups for the troops? JSBC: 42:14 We did not ex- I did not experience that. I am going to say I personally. We had Bob Hope with us at Phan Rang, which was my third stop. And that was meaningful. But for the most part you know, we did not go to the shows in Da Nang. They were too rough, they were too dangerous for the most part. Our center, as I said, the one on the flight line was blown up. The big center up and Freedom Hill, a couple times we were evacuated out of there because they would just throw us in jeeps and get us out there is because VC were on the other side of the hill. So you know, we kind of had to pace ourselves and see what was going on. But music, if they could, if they could hear it, they loved it. And they would play it. Not a lot of radios out in the boonies [laughs]. SM: 43:11 Now that, I am going to get into your post-Vietnam. But when you were in Vietnam, of course, you had the African American soldiers and you had the Latino soldiers and you had Native American soldiers, there was a couple books written right now, why I served. Native Americans and certainly Asian Americans as well. Did you see, was there a camaraderie between these groups during the time that you were there? JSBC: 43:41 I did not notice the difference. Believe it or not in (19)67 I did not see the Black or the Latino or the Asians or whatever group you want to call it. I just saw soldiers. They were all brothers back then. And we had Black, white, pink, polka dot striped whatever friends amongst the groups. There, this, as crazy as it is going to sound, I did not see that difference. And maybe that is part me. And maybe it is part them. But it was early. And we accepted everybody on the same level. SM: 44:27 As they should. JSBC: 44:28 Yeah. SM: 44:29 Yeah. And because you know, anybody I have talked to who has served in war, and I did not do it, so I cannot talk on it, but I have when I have talked to others is they were our brothers and sisters. JSBC: 44:39 Yeah. SM: 44:39 When we were in war, we do not think about this. JSBC: 44:42 Right. SM: 44:42 We think of survival and helping them survive. JSBC: 44:46 Yeah. SM: 44:46 And what happens beyond that is another story. JSBC: 44:50 Yeah. [crosstalk] I know some of the women that came after me in the later years, noticed a difference but when I was there, I did not. People felt the same. SM: 45:01 The last thing I wanted to mention on the what happening, was happening in Vietnam. Did you ever experience or hear about fragging? JSBC: 45:09 Oh, yeah. We know about fragging. [laughs] SM: 45:13 Yeah. Because- JSBC: 45:13 Sorry about that. I know. No, we knew about fragging. We also knew and again, we would hear things when the guys came in, and they were angry. You knew you know, the next time, oh, he was fragged. SM: 45:14 Because, uh you know, graduates of West Point in Annapolis and they had come to Vietnam and some of the young guys under them said, "Who are these guys?" Wow. JSBC: 45:38 And you knew what happened. So we knew that was going on. I did not know anybody personally, who was fragged. But there, you know, there were things going on. There were. SM: 45:53 On your flight back when you knew you were coming home. And were you going to just go home and visit your parents first and then go to the Miami of Ohio? JSBC: 46:02 [laughs] Oh, you are a dreamer. [laughter] Let us see, let me let me backtrack for a few minutes. I just want to say one thing about when I, my third assignment was Phan Rang. And that was with the Air Force. [inaudible] sit on the other side, the Aussies were in the middle, we were with the Air Force. And that was where I was a unit and programming director. And for the first time, I really became aware of the danger that some of the women were in. We had VC picked up, and they had photographed the women. So they were targeting them. We had one of the girls in the group, she had gone to the beach with a soldier, and which was fine with me, they got a motor scooter, and they were going to the beach. And they had some charcoal with them. And they had, somebody put a grenade in the charcoal. SM: 46:54 Oh, god. JSBC: 46:54 So, we, you know, I became very aware of some of the dangers. We had a lot of people peeping toms, we had VC that would be watching the house and we had a dog, the dog would, dog was our security. Dog would bark, and you would go to the door and you would see somebody run up the hill. So we knew, I knew, I should say I knew of some of the dangers at that point that were lurking out there. And I did not, I was not aware of them in the other two locations as such. So, by the time I would become unit and program director because, I would hear from the commanding officer, this is what has happened, you have got to be aware of this. So that is, that is kind of that story. But on to coming home. Came home. I knew where it was going. I flew into, well, it was during Tet, and I could not get out. So I was in Saigon, there were five of us who were rotating out. And I, you know, I wanted out at that point. I, I had a date. I mean, I knew where I had to be in XYZ days, you know, type thing. So I eventually, it was Tet, we went with to the top of the hotel I can never remember the name of, it had a bar on the top. And we could watch all the fireworks going on all the you know, gunships and [inaudible] the ground. And I found a pilot who had a bird dog who was willing to get me back to Phan Rang, where if I got Phan Rang, I could get to Cam Ranh, if I could get to Cam Ranh and I could get a C-23 or C-130 out of the country. So that was my route. And I had a flight suit at that point. So that morning, we left first thing in the morning and the fires were still going on-on the flight line. There were bomb craters all over the place. And he got the bird dog out. Took me to Phan Rang. I got there and they said, "I thought you left, you know, what you doing back here?" And I said, "I am going to Cam Ranh, get me on a flight to Cam Ranh" and got Cam Ranh, wore my flight suit and boots, and got all set to go. But because I was a civilian, I still did not have a stamped passport. Because of that. I had to go back down to Saigon and get somebody, anybody to stamp that book, that passport book, so I could get out of the country. I had orders, but I did not have a passport. I mean, I could get out of the country. I could not get into another country. SM: 49:38 Right. JSBC: 49:38 So, you know back and forth and down and I finally got out, headed towards Okinawa on a military flight, and in Okinawa, then I was able to eventually get to Japan and got a commercial flight home to San Francisco. Got to San Francisco and I did not, I was not ready to go home yet [laughs]. I went to see one of my buddies. And he was an old, I had, you know, it is hard for people to understand. I had so many good friends and buddies, men. And he was an F4 pilot. And he said, you know, on your way home come to McChord Air Force Base, let us go flying. I held him to it. So I had the flight suit. And I had short hair. So I went to, I went from San Francisco to McChord Air Force Base, and we flew T-33s. And just had a wonderful time. And, you know, eventually then I got another flight and went to Madison, Wisconsin. Saw my family, "Hello, I am safe," you know, whatever. And "Oh, by the way, I have to be over in [laughs] Miami at, you know, in Oxford Ohio in a few days here." So I, short stay at home and headed towards Miami of Ohio and got into mischief there, so [laughter]. I was a handful. So that was, that was my flight home. I mean, I you know, I did not really go home-home for any length of time, I spent my time seeing a buddy. I often wonder whatever happened to him, I know he is married. He was an awful nice guy just is the one that said, you know, you are 10 pounds overweight, your head is a mess, get your act together. And, you know, it took a good friend to say that. SM: 51:40 When you, when that plane took off, you know, I am going to ask, when that plane took off, and you were off the ground, and you were heading home to San Francisco. What was going through that mind of yours? JSBC: 51:51 Well, that flight was out of Japan. SM: 51:53 Oh, ok Japan. JSBC: 51:54 Out of Japan. And I had a very nasty dirty man sitting next to me and he wanted to give me a permanent gig, give me a job. He had a position for me. I said, "I have been through a year, you know, 13 months in Vietnam of all these men, and it was an extra dirty old man who was [inaudible] me?" [laughter] I could not believe it. SM: 52:15 Wow. JSBC: 52:16 So, it was a very quiet long flight. [laughter] SM: 52:22 Okay, so when you were going to Miami, Ohio, what were you going to major in? JSBC: 52:28 I was getting a master's in educational supervision. SM: 52:32 Okay. JSBC: 52:34 And I was working in the art department. Specifically in the ceramics lab. SM: 52:41 Is that a two-year program or-? JSBC: 52:42 No, it was a one-year program. And at the end of it, we had to do an exhibit. We had to you know, pass our exams. And then we took a bunch of kids and we went to New York. You know, so it was kind of fun. But it was an interesting year, and I had developed a very good friend, who I decided I was I was not going to stay in the American, in America anymore. I did not like American women at that point. They were snippy snotty, and they had no clue what was going on in the world. And that was just my bias. And so I had I had an opportunity to apply for the USO and become an associate director of the USO. And they offered me a job in Guam or back to Vietnam. And I said, "Well, I have been to Vietnam, I might as well go to Guam." And this other gal in our department, liked what I was doing, she decided she was going to apply but she was six months younger than I was. So of course, she got to go to Thailand. And that was where I wanted to go. And you know, we had many, many funny stories as that story goes on. But that was what I did afterwards. SM: 53:58 And how long were you there? JSBC: 54:01 My tour was almost two years. And I met my husband over there. So I kind of ended it a little bit early and my mother came over and my mother and I traveled around the world. SM: 54:15 Wow. JSBC: 54:15 Yeah. SM: 54:15 What what-was the- your job responsibilities with the USO? JSBC: 54:20 Well, one thing it would have been, it did not last that way. Our director heart attack and died. So two of us who were the associates became, you know, the surrogate directors. We ran a daycare center. We had a big facility on a beach. We did a lot of things, civic programs that were, we were involved. I took the guys what we call duney stomping, we would take them hiking up in the hills of Guam where they were still fighting Japanese from World War Two up there. So it, you know, it varied again but it was another tropical island. SM: 54:59 And after Guam you came home again? JSBC: 55:02 After Guam I came home again and I did get married. I was not 100 percent sure, as the closer I got to New York that I wanted to do that, but I did. SM: 55:13 Right. How did you get your PhD? JSBC: 55:19 Raised two children, went through PTSD did a bunch of other things in the community, and decided, well, why not? I have got a Master's degree. And so I applied, and I was interested in the adult learning program. And just did it on a lark basically, got accepted and cried all the way across town saying, "What have I done, what have I done? Oh, my God, what have I done now?" And anyway, you know, I had to live on campus for a while. And my husband moved in the meantime, down to Virginia for a job. So we were back and forth. And, you know, got all the way through all the exams and everything else. And working, this is just as computers were coming in. So I would send papers home, and it would take a week to get back up to Connecticut, and then 10 days to be read and, you know, back down, and it was not working out one might say. So, I took one degree and then decided that I was ABD at that point, that I still wanted to write the dissertation. And I was interested in women in the Iraq war and their communication patterns. And so I proposed it to another online school at that point, they accepted it, and I finished the PhD that way. SM: 56:43 Wow, that is a good story, too. My God. JSBC: 56:46 Yep-yep. So, I got to meet some of the girls from the Iraq war that that way that I am still in touch with, which is really neat. SM: 56:52 Do you stay in touch with any of the people you worked with in Vietnam? JSBC: 56:57 In Vietnam? Oh, yeah. Yeah, we have a whole group of us, a whole group of us. SM: 57:02 Do you meet? Or do you just kind of- JSBC: 57:05 We periodically try and meet, of course, COVID has not helped. And we are going to, a couple of us are in charge of a conference that will be held in (20)23, up in Portsmouth, New Hampshire. So, we are getting that one in the in the works at this point, which is kind of fun. We try, it tries to move it from different places around the United States. So other people can go when it is, you know, closer by. SM: 57:30 I want to ask you about if you and your peers in the Red Cross, after leaving Vietnam, went through what we just talked about briefly here about how you were treated in in the United States upon your return, when people knew that you served. You know, Vietnam veterans are treated so poorly until (19)82, when the wall was built. JSBC: 57:53 Yeah. SM: 57:53 In fact, they were even I was in California at the time. And I, but I heard there were protesters outside on the streets, even when the wall was being opened, which I thought was ridiculous. JSBC: 58:04 Oh, yeah. SM: 58:05 What the heck-? But just that-that has been, it is not happening now. Because now we got the issue of people lying that they were Vietnam veterans. JSBC: 58:15 Yeah. SM: 58:15 You know, because they are, they are accepted. But at that time, they were treated poorly. Did you experience any of that? JSBC: 58:21 It still happens, it still happens. I will give you an example the other day, with a veterans group locally here, I kind of walked in, well, I backtrack a second. They have two libraries in two of the clubs here, one for each of the buildings. And there are a ton of books about war, and Vietnam and the other wars. There was not one book about women. And when I looked at the shelf, I said, "What, I can do something about this!" So I had a couple books, and I took them over when the group was getting together that they meet once a month. And I gave them to the guy who was running the group. And I said, "Here is the start of your woman's collection." And I said I was a Donut Dollie in Vietnam, and he was very receptive. He took me into the room and he introduced me. And [groans] not everybody is enthralled by you know, being a Donut Dollie in Vietnam. Because a lot of people still do not like the Red Cross. And it is a mixed review, let us put it that way. And they said, "Well, you can stay" and I said, "No, this is a veteran’s group." And again, I am a veteran of Vietnam. I am not a, you know, Vietnam veteran. SM: 59:41 Right. JSBC: 59:41 And I said, But I would be more than happy to help you and anything you need done, just call me, just let me know. So I left and about two weeks later, in a ladies group. I am sitting there and I am talking to [inaudible] some of the women and I said something. And the one woman looked at me whose husband-husband was a West Point graduate. And she said, "Oh, the Donut Dollie!" And you know, it has taken me several weeks to figure out, that was not the biggest compliment. [laughter] So her husband must have gone home and said, "Oh, and we have a Donut Dollie," you know. And she came through and it was not gracious. So, you know, it does still happen. They do not always accept it. And it was difficult for a woman to really say where she was, and to be accepted. SM: 1:00:43 Well, we all know what Diane Carlson Evans went through when the hearings in Congress and she was called everything. And boy, just like Jan Scruggs and creating the wall, it took a lot of courage and guts to get through all the battles to make it happen. But when what where, did you visit the, were you there the day the woman's memorial was dedicated, or? JSBC: 1:01:11 Yes, I was. SM: 1:01:13 That was in I think, November 11th of (19)93. JSBC: 1:01:17 I am not sure the year but yeah, I was down there. SM: 1:01:20 What, can you talk about that day, in terms of your feelings, being there with the nurses, Red Cross, Donut Dollies, I know Holley Watts, I know her well. JSBC: 1:01:33 Yeah. SM: 1:01:33 Just the feeling of being there on that day? JSBC: 1:01:38 Well, I think for most women, it has come a long way. And they are they are pretty darn accepting of one another right now. No, we were not nurses, we did not do what they did. They did not do what we did. It took all of us to make that year, go away for the you know, for the guys. And it was about the men, it was not about us. And so, you know, it, the recognition from one another as females has increased a thousand fold. At one point, we were each other's enemy. You know, in Vietnam, the nurses or the Donut Dollies, or the USO people or the special services. Everybody kind of protected their own turf. But afterwards, after the-the dedication to the wall, and specifically when the dedication of the women's Memorial, it really became more of a united group. And there, many of the organizations that if you were there, we do not care. You can be, you know, be a member of this. I did receive a Presidential Award for VV, from VVA at one point. And so, you know, that made me feel pretty good. Three of us were asked to show up in Springfield convention and they gave us an award. So this is very nice recognition. You know, there is still, a lot of doors are still closed, they always will be. Whose problem is that? Is that the other side's problem or ours? I think it is the other side's problem. SM: 1:03:22 I agree, I agree. JSBC: 1:03:24 And, you know, we have many generations that have gone past now. And that is kind of cool. SM: 1:03:32 I often ask people who have been to the women's Memorial, of course, have been to the Vietnam Memorial. The first time you visited the Vietnam Memorial. I do this and I am still doing it every time I go there I, when the when the remembrance events are over, I sit in a chair before they put all the- I sit there for about an hour. And I just, I look at the wall and I am not a veteran and [inaudible] to go through but I lived through it through a college student and all of all that stuff. I see so many things on that wall. I know Jan Scruggs, I told him about this, I see what you guys did to make this wall happen. I just still do not know how they made it happen. It took, because I know his story as well as Jack Wheeler, who sadly was killed in Wilmington, Delaware a couple years back and I see the faces of Vietnamese, I see the faces of the soldiers I see the faces of the nurses I see the faces of, you know, the Red Cr- I see everything there. I-I just kind of stare at it, and it is just me. But I am wondering what other people, when they see that wall, what they see? I do not know if you if you tend to spend time there you know, I know a lot of the women go to make sure they look up the names of the 12 nurses who were there. And, but and of course, the Vietnam vets you know the guys that died by their side, Jan Scruggs has a whole section where the guys who you served with died, so he would obviously go there. JSBC: 1:05:07 Right. SM: 1:05:07 The Ia Drang Valley guys go to another section. I mean, do you? What-what do you see? Or what do you think some of the other women see when they go to that wall? JSBC: 1:05:19 I think it is going to be very personal for each one that does it. More than the wall, the massiveness of it, because we did not know a lot of their, their names, when we went to see the guys, I mean, if we tried, it hurt too much to know that it was Steve Smith, or Joe Blow, it became hairy or slick, or what, we gave them nicknames. So, I do not know who those names are there, per se. But what I do is I see the faces of the people who are looking at the wall. And I see and sense their feelings. It has it has touched so many people in different ways. That it is, it is almost a gut feeling. If somebody's in trouble, you just go over and you have to put a hand on their arm or a shoulder or, you know, look at them in the eye and just say I understand, you do not have to say anything else. SM: 1:06:30 Right. I love it when I see grandparents with parents and grandchildren. I see it more and more. And now we are talking great grandchildren- JSBC: 1:06:44 Yeah. SM: 1:06:44 -because people are living longer. JSBC: 1:06:45 Yep. SM: 1:06:46 And-and when I see kids there and-and they are pointing to a name of a grandfather that they never heard of. JSBC: 1:06:55 Right. SM: 1:06:56 It touches me. It is about [crosstalk] history, it is about never forgetting. JSBC: 1:07:01 Right. SM: 1:07:02 And I, and when I when I see that wall I, it is about remembrance. It is like what Jan Scruggs originally said, to heal a nation but most importantly to heal the families of those who died in that war, who gave- JSBC: 1:07:17 Right. SM: 1:07:18 -their ultimate sac- who paid the ultimate price for service. JSBC: 1:07:21 Yeah. SM: 1:07:22 Plus, also, to pay respects for those who are still alive and served and were never treated you know, like they should have been upon their return and, and not make it a political entity. It is about service. JSBC: 1:07:38 Yep. SM: 1:07:39 And that has, Jan has done a tremendous job in making sure that happens. Politics always comes up, you know, at some of the remembrance events about you know, Tet and the soldiers' stories in the you know, everything- politics does come up and Bill Clinton went to the wall, obviously the booing took place because he did not serve. So it was that kind of thing. But I thought the courage of Jan Scruggs and Lewis Puller to bring him to the wall on that day was important. JSBC: 1:08:08 Yeah-yeah. SM: 1:08:09 It was so important. And I was there and, and I understood why the guys were booing, but I also understood the other side. That is why I like Lewis Puller because it was Lewis, I do not know if you ever knew Lewis. He was an unbelievable veteran who did not live long enough. He wrote the brunt, I think the greatest book ever written on, you know, "Fortunate Son." And he wanted to be up there and he wanted to introduce Mr. Clinton, and he did. JSBC: 1:08:41 Good job. SM: 1:08:42 And it was about healing. And one thing, Sam, that I want to mention to you, too, is something that has always been on my mind, I would like your thoughts. Do you ever think about the healing process in terms of not only our Vietnam veterans and their families, their survivors, but also the nation as a whole? Do you think, do you think about the healing process of that war and how it really still affects us? JSBC: 1:09:11 It still affects us and I am going to share an incident with you that we could not have done a while ago. When I was teaching at the University of Connecticut at Western. I had been in the department teaching probably 10 years. One of the fellow officers from their police department used to love to come to my class and we would do a course or, you know, a session on nonverbal behavior. He was a wonderful placement, he had first experience with nonverbal, was with a Native-Native American who would not give him eye contact. So, I knew the story and I knew how to act as he has told the story. And you know, the kind of shook the kids in the classroom. They say, "Woa, we had not thought about that" type thing. And anyway, as he was cleaning up that one particular day, he was muttering and sputtering, he had to go back to the office and his boss was a hardass Vietnam vet. And I went, "Hmm." And I, I did not say anything. I just kind of looked at him and said, "He is?" And he says, "Oh, yeah, you know," and I said, "Why did not you tell me this a long time ago?" Well, when I wrote the thank you note, which I always did, to the chief of police, I, you know, said what a wonderful job has his man had done and you know blah, blah, blah. I could not resist because I sent a box of doughnuts. And-and I signed it "DD Vietnam 67-68." Well, about three, I figured I would either get parking tickets for the rest of my life over on the campus, or I was going to, you know. And three days later, the chief of police called me. And he said, “This is Chief McLaughlin.: I am like, yes, waiting for the shoe to fall. And it did not. And we started telling stories. He said, when were- you were and I told him, I said (19)67, (19)68 He said, "I was there (19)67, (19)68. Where were you in [inaudible]." He was in Nha Trang when I was in Nha Trang. And one evening, I was going into a restaurant with an officer, we were going to dinner, there was a scuffle and a bang. I mean, it is a war zone. Not a big deal. And we went into the restaurant to obviously get out of the way. And we heard that a 14 year old kid had been shot. Nothing ever happened of it. I mean, nothing in Vietnam ever came of the whole thing. I am talking to the chief of police from my university. And he says as I am telling them the story about going into a restaurant and there was a kid shot. He said, "Stop, the hair on my arms is up." That kid was 14 years old. And I just stopped and held my breath. And he said, "I was MP on duty that shot him." SM: 1:12:08 Holy cow. JSBC: 1:12:11 And, I mean, it was, you know, it was like, "Ughhh." We met at a ceremony that they were holding a couple of weeks later, I still did not know who the man was. And I walked in, some of the cops are there and I said, "Where is the chief?" and they said, "He is out there." As soon as I walked through the door, and he saw me, he broke into tears. This is a huge burly guy. And he is just sobbing. And he grabbed me and you know, just sobbed and sobbed. And suddenly, you know, they finally got his act together again. And because they have ceremonies to do, he had to, to lead the group. So afterwards, we got talking. We became very good friends. And we were good friends for about four years and he developed cancer and then eventually he died. He left the campus and he died. When we went to the funeral, the cops are standing Color Guard [inaudible], and then walked down and they said, "No wisecracks from you, no wisecracks from you, no wise- [laughs] you know, this is a serious event." And I said, "No problem, no problem." I did my, you know, my honors, and got over towards his family, and his sister grabbed me. And she said, I want you to know that Neil McLachlan was a name, that Neil was a [inaudible] SOB until that day. And after he met you, and found out that he had saved lives, his whole life changed. SM: 1:13:43 Wow. JSBC: 1:13:45 And it was just like, I guess you never know when it is going to happen. But Neil was very special. And when he passed away then, we got him a memorial stone at the State Capitol in, in Connecticut and Hartford. And we have now moved to Plymouth, Massachusetts. Neil is buried 20 minutes from here. And it is just like "Do-do-do-do-do-do" so my husband and I for Veterans Day, drove down to the cemetery. And we went to see Neil, and we laid stones, and we laid, actually we laid coins on his grave to remember him. SM: 1:14:22 What a memory, what a story. JSBC: 1:14:24 Yeah, it is just like, you never know- SM: 1:14:27 Nope. JSBC: 1:14:28 -when it is going to happen, or what meaning it is going to have to somebody. SM: 1:14:33 Wow. JSBC: 1:14:35 So that is, you know, that is kind of a neat story about just that connection that you develop. SM: 1:14:42 Yeah. Wow. Have you put that in writing? JSBC: 1:14:47 I have not. I have not. I have told a couple people about it. And I have written a book about the Civil War women but it does not- [inaudible] SM: 1:14:56 Yeah, that is what my next question- JSBC: 1:14:58 -does not come up in that book. SM: 1:15:00 I am just going to- JSBC: 1:15:00 But no, several people I have told about that. And you know, it is just one of those profound life experiences that you have that I mean, it was so simple that night. It was a gunshot and he was EMP. SM: 1:15:15 My gosh, I only got maybe three more questions. When I was talking about the wall, what I, I kind of write down things after every time I visit the wall and, and Memorial Day and Veteran's Day. I also go to the World War Two Memorial for my dad who was not allowed to see it. JSBC: 1:15:37 Okay. SM: 1:15:38 The two things that came up to my mind every time I go to the wall in Washington is, American heroes. JSBC: 1:15:46 Okay. SM: 1:15:46 American heroes, number one, but then unnecessary death. Looking at the war, and-and I also feel sad for the Vietnamese who died, because I see a lot of Vietnamese lives were lost. JSBC: 1:16:04 Right, yep. SM: 1:16:05 And I have talked to enough Vietnam veterans now who have gone back to Vietnam. And they can empathize with Vietnamese soldiers, just like they can with the American soldiers. JSBC: 1:16:19 Yeah. SM: 1:16:20 You know, they were doing their duty, they were called to war and they were serving their nation. So I kind of leave it at that. I am going to maybe conclude here with, I would like to know about your book. "The Women of City Point, Virginia, 1864- 1865." JSBC: 1:16:37 Correct. SM: 1:16:38 And how that might be linked to Vietnam. JSBC: 1:16:40 Very easy. Back in the (19)80s, we were doing a peripatetic form for southern New England telephone. There were eight of us that the Veterans Center in New Haven, Connecticut had put together and we would go out and talk. This is when awareness about feelings and your family started. And we would go out and talk to the families of people from southern New England telephone, about the Vietnam experience. And one of the guys [inaudible], Joe Mariani ,was working for a bank, and they were cleaning out a vaul- vault one day, and he saw "Women in the War" by Frank Moore, it was a (18)65-(18)66 book. He asked if we could have it, they said, "Yes," he eventually got it and gave it to me. I opened it and like Neil, the hair on my arms went up. I said, I know these women. I know, you know, the sights, the sounds, the smells. I know these women. Long story short, Fred said, you cannot write about everybody in the Civil War, and one of those transfers to Virginia for his job, Civil War territory. We had, you could go out in the backyard and find bullets in your backyard. So I started to manage, I was still going to school, I managed to do a research internship with the National Park Service down there. We started with 12 women. When I left we had 177, then I did an exhibit for the park service. And I wrote an article for Virginia cavalcade magazine. And everybody kept saying, and it just kept snowballing. I mean, I could not leave the women alone. And I had hundreds of them. And so they finally said, you know, proverbial expression, you know, something or other get off the pot type thing. So I started writing the book, and I tell the stories, I could see the difference of the women's jobs and roles because of my experiences. And I understood not all of them were nurses, like women in Vietnam, we were not all nurses. And I started writing it like the stories I would tell people that would come to the park service, to city point. And so their stories, as well as research at the end of what happened to a lot of these ladies. I had approached a lot of different publishing companies. And finally, McFarland said, "Sure, we will publish the book," I nearly fell off my chair, but and so I wrote it. And there are no pictures in it because of copyright issues, we could not do that. So, it is just the stories, but it is of eight different groups of women basically. And frequently, I just did a lecture or presentation to the Civil War group here about the book and the different roles of the women. And it is, you know, they are just fun stories, there is sad stories, there is sweet stories they are you know, difficult stories for some people to tell. But I have done it and I am working on a couple other things. [Inaudible] lady that was from Connecticut, who is a courier for Judah P. Benjamin. And I will do another presentation in the spring, well April I think I am doing that one and throwing it out so that the guys from the group can put their input into, what am I missing? What-what I, do I not have in this? So, it is just kind of been a love of life that has gone from it. But it all started with a book from, you know, women in the war. SM: 1:20:29 Golly. I bet Diane Carlson Evans would love that book. JSBC: 1:20:33 Ah, I bet she would. Yeah. SM: 1:20:36 I might email or a let her know or whatever. I am not in touch with her. But I could certainly- JSBC: 1:20:43 And of course, it came out right as COVID started. SM: 1:20:46 Right. JSBC: 1:20:46 Went into lockdown. [laughs] SM: 1:20:49 My last. My last question is this, and this is I started this a couple of interviews ago. Since this, these interviews that I am doing are going to be listened to by people who are not even alive yet. The goal of the Center for the Study of the (19)60s is to create a really powerful digital center of its kind for research and scholarship, which is what Binghamton University is all about too and, and national scholars so that people will come here to not only listen to tapes, but to study and study this period. We hope to get PhD students eventually, they are going to be hiring a director, a PhD, who will be the director, but also work with Dean Curtis Kendrick, who is the head of the library, and I am running this whole thing. And-and so I am trying to, losing my train of thought here, you ever had that happen? JSBC: 1:21:43 Never-never, never. SM: 1:21:47 What, it is a message, it is the message that you would like to give to those who are listening to this 20 and 30 years from now, even the ones today, of course, but 20 and 30, based on your experiences in Vietnam, and what you have learned in your life, what message would you like to give to those who are listening to your interview 10, 20, 30 and 40 years from now? JSBC: 1:22:13 Oh, gosh, there is an inner strength in each of us, I think that most people never even tap into. And that strength will get you through a lot of difficult times. And life is going to be difficult. There are going to be some very difficult times in life. You can learn I mean, you have a choice, you can go forward. Or you can go backwards and being able to say, "Okay, things are not good today, things are wrong things are whatever it might be." And Heaven only knows what it is going to be 20 years from now. But we have a choice, we can go forward. And how are you going to do that? There is a direction that you can move in, and it is your choice to make that direction. I think that is one of the lessons I learned in Vietnam. SM: 1:23:08 Well, Sam, very, thank you very much for spending this hour and a half with me. JSBC: 1:23:12 No problem. SM: 1:23:13 And I am going to turn the tape off right now, and thanks again. (End of Interview) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly. 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 Dr. Jeanne Marie "Sam" Bokina Christie IIIF Item Metadata UUID 6a478c59-4f2b-4b54-85bf-8d0f015d5bb8 https://omeka.binghamton.edu/omeka/files/original/93e7aa7d394fb0e4ce350b15702ca658.jpg b6234075c07c400433de9de49d28f375 https://omeka.binghamton.edu/omeka/files/original/e0bd33786045a106b76598dea704e375.mp3 a9b40e22115ec638b5765af19670b9c5 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br /> <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Interviewee The person(s) being interviewed Chomsky, Noam Date of Interview ND Interviewer The person(s) performing the interview Stephen McKiernan Language English Digital Publisher Binghamton University Libraries Digital Format audio/mp4 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data MicroCassette Material Type Sound Interview Format Video or Audio Audio Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:30:04 Biographical Text <span data-sheets-value="{&quot;1&quot;:2,&quot;2&quot;:&quot;Dr. Noam Chomsky is a theoretical linguist, historian, political activist, social critic, author, and scholar. Dr. Chomsky is one of the founders of the field of cognitive science and one of the leading figures in analytic philosophy. He is especially famous with his analyses of the pernicious influence of economic elites on U.S. domestic and foreign policy as well as intellectual culture.&quot;}" data-sheets-userformat="{&quot;2&quot;:771,&quot;3&quot;:{&quot;1&quot;:0},&quot;4&quot;:[null,2,16777215],&quot;11&quot;:4,&quot;12&quot;:0}">Dr. Noam Chomsky is a theoretical linguist, historian, political activist, social critic, author, and scholar. Dr. Chomsky is one of the founders of the field of cognitive science and one of the leading figures in analytic philosophy. He is especially famous with his analyses of the pernicious influence of economic elites on U.S. domestic and foreign policy as well as intellectual culture.</span> Keywords <span data-sheets-value="{&quot;1&quot;:2,&quot;2&quot;:&quot;General Yuan; Photographs; Study Abroad; College student in the nineteen sixties; Nineteen forties; North Vietnam; Rise from the South.&quot;}" data-sheets-userformat="{&quot;2&quot;:769,&quot;3&quot;:{&quot;1&quot;:0},&quot;11&quot;:4,&quot;12&quot;:0}">General Yuan; Photographs; Study Abroad; College student in the nineteen sixties; Nineteen forties; North Vietnam; Rise from the South.</span> Subject LCSH Linguists; Historians; Authors, American--20th century; Scholars; Political activists--United States; Chomsky, Noam--Interviews Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Transcription Any written text transcribed from a sound, or alternative text from a visual medium McKiernan Interviews Interview with: Noam Chomsky Interviewed by: Stephen McKiernan Transcriber: REV Date of interview: ND --------------------------------------------------------------------------------------------------------------------- (Start of Interview) SM (00:01): Great. What are your thoughts on the American youth of the (19)60s and the (19)70s with respect to the following? Were they unique and different than other students you have taught or been around? And that is the students before (19)64 and after 1981. Secondly, do you feel these students know their history better? And did they challenge their professors more? Did they feel more empowered? And what were their strengths and weaknesses? And it's based on your experiences, because I know you cannot talk about 74 million people. NC (00:39): Well, the ninth generation of consciousness, so ninth decade. So, it was kind of like the (19)30s. I was a child then, but the (19)30s and the (19)40s, it was pretty lively, student activism. And the (19)50s, things quieted down, became... It was kind of like a reasonably passive decade. I mean, partly repression, partly other things. The (19)60s, things picked up again, but not... Took some time. I mean, so for example, right here at MIT, it was very quiet until about 1967 or (19)68. Faculty was quite active and anti-war and other activities, but not the student body. And then it was different times in different places. Berkeley was a little earlier, Wisconsin was a little earlier, but by the late (19)60s, there was quite a rise in student activism, interest and all sorts of issues and challenges, thinking about new things, raising questions about the nature of the university, their lives, war, gender relations. So, all kinds of things sort of blew up. And then that just extended in the following years. There was so much student activism that elite circles became extremely concerned about what they called the failures of the institutions responsible for the indoctrination of the young. That is their phrase. That is liberal elite, I am talking about, not right wing, no trilateral, the administration liberals, those people, they are worried about the institution's responsible for the indoctrination of the young. They are not doing their job. And many measures were taken to try to pacify the population, in particular young people, ranging from the drug war to high tuition, to trap people in debt to many other things. But I do not really think it worked very well. I mean, I think generally activism has sustained, maybe even increased. So, lots of things developed in the (19)80s and the (19)90s that did not exist in the (19)60s. For example, the solidarity movements, third-world solidarity movements, they really date from the 1980s. The global justice movement, which is substantial, that is 1990s or even this century. And it is very scattered. There is not anything unified, but it is quite substantial, actually. You can see it when the Iraq War came along. The Iraq War is I think the first war in the history of the imperial powers that was massively protested before it was officially launched. In the case of Vietnam, it took five or six years before any [inaudible] developed. SM (04:05): When you look at the free speech movement on the Berkeley campus in (19)64, (19)65, I love Mario Savio, saddened that he did not live long. But what happened there and the challenges that were taking place within the university, obviously a lot of the students, and we are only talking a percentage now, a lot of the critics, and I would like your thoughts on this. A lot of the critics of the boomer generation of 74 million will always say that only five to 15 percent were involved in any kind of an activism. So, they use that. So, see, 85 to 90 percent were doing nothing. They were living their lives like everybody else. And they used that as a negative, as opposed to a positive. Well, how do you respond to that? NC (04:53): How many people were involved in the civil rights movement? That was a major movement. Changed the country. How many are involved in the feminist movement? Changed the country enormously, country's totally different from what it was 50 years ago. I mean, it takes MIT for... this university, because we happen to be sitting here, but it generalizes over the country, in fact, over much of the world. And if you came here... When I got here in the mid-(19)50s and you walk down the halls, what you saw was white males, well-dressed, deferential, no table out anywhere organizing for something, very passive, doing the work. Take a look down the halls now, you can do it. Half women, third minorities, all kind of protesting this and that, get organized and this and that and the other thing. Those are made informally dressed, which is not just, it is more than symbolic. That means change relationships to change from deference and obedience to interaction, much closer interaction. These are major changes. And how many people were involved? If you count the number of people actively involved, it was probably pretty small. We completely changed the country, civilized the country in a huge way. So, what does it mean? I mean take, say, the American Revolution, how many people were involved? Estimates are maybe a third of the population, and actually a third would probably supporting the rebels. A third were supporting British. A third wanted them all to go away. Something roughly like that. I mean, that is what happens. Take, say, resistance to the Nazis in Europe. How many people are involved with the partisans? Minuscule. In Northern, I mean, in Southern Europe were a huge number, but Italy, Greece. But in France for example, very small numbers. Most people are kind of living their lives. Paris is a pretty decent place to live. SM (07:10): It is almost like if you ever hear a student say, "Well, I am only one person." Well, Dr. King used to always say, "It can start with you." An idea starts with someone, and it spreads. And Dr. King was always a believer that it was about we, not me, and that every person in his congregation or people that were at his presentations, he knew could be just like him. It is about that kind of... NC (07:41): I mean, the civil rights movement is an interesting example that really took off with young people, snake workers sitting in at lunch counters, freedom riders and so on. And it created a wave of enthusiasm, in which King could become a national figure. If it had not been for that, he would have been talking in his church and he would have been the first to say that. SM (08:11): Well, another critics of Boomer generation, if you read and you hear about it a lot today, is- NC (08:16): I do not understand why that is a critic. I mean, it's a criticism of the American Revolution, small percentage of population period. SM (08:23): In (19)94, I believe Newt Gingrich when he came into power made some comments about the (19)60s and he is a Boomer himself. And if you watch television shows today, like Huckabee or some of the other people on Fox, but I do not use them as the perfect examples, but there have been people over time that criticized this generation that grew up in the (19)60s and early (19)70s as the reason why the breakup in the American society, the breakup of the society, which was the divorce rate went on the increase, the lack of respect for authority. The... NC (08:56): That is right. But that is part of the civilizing of the society. SM (08:58): Yeah. NC (08:58): I mean the divorce rate went up. Is it better to have domestic abuse and unhappy marriages? I mean, is it good or bad that the divorce rate went up? I mean, I happen to be married for 60 years, so we are not part. But I mean, the fact that the divorce rate went up is not either good or bad. A traditional marriage with domestic abuse, presentness, patriarchal families, extreme unhappiness. Is that a good thing? But does not mean much. Say the abortion rate went up. Is that better than unwanted pregnancies? This is part of liberation. Part of people liberating themselves is that there's turmoil. That is why the revolutionary generation in the United States cause turmoil. That is why a large part of the population lined up with the loyalists and in fact, fled the country, fled in terror because the rebels they regarded as terrorists were taking over. SM (10:05): Do you think that the attitude that even people my age now feel as they are now getting social security for the first time, a feeling of uniqueness that we were different than any other generation in American history, that we were going to be the change agents just for the betterment of society. We are going to end war, racism, sexism, homophobia, the whole works. NC (10:28): There was a substantial sector of activist engagement and independent thought and concern about human issues in the (19)60s. I cannot give it exact numbers, but there was a substantial, and it did change the society, civilized. So, it is a much more civilized society than it was 50 years ago. A lot of things that were considered perfectly normal 50 years ago would be intolerable today. Unthinkable. SM (11:00): The society that we live in today, which is the divisive as it takes place. Nobody's listening to anybody, "I know better than you know," and "You're the problem and I am not," that kind of an attitude, is that a shoot off? NC (11:14): That is propaganda. I mean, was it any different in the (19)50s? I mean, is it better if people are passive and say, "Okay, I listen to authority." SM (11:23): It is not. NC (11:25): I mean, you just cannot. These cliches that are tossed around, first of all, nobody knows whether they have any basis in reality. And if they do, are they positive or negative? I suppose people do not listen to authority. Is that a good thing or a bad thing? You want to have a totalitarian state, it's a bad thing. If you want to have a democratic society, it is a good thing. SM (11:49): Do you think... This is something that I started out by asking Senator Nelson of all people, a conversation over dinner, and then I used it as one of my questions throughout all my interviews over the last couple years, and actually something I worked on with students who even added to it. And that is that, do you feel that this generation or this group of people born after 1946, between 46 and 64, as they age, as they get closer and closer to passing on that they have an issue with healing, do you think that there's an issue in this country that we have not healed since all of the divisions that were taking place in the (19)60s and (19)70s, divisions over the war, divisions, over all the other issues that came about at that time? Is it important? NC (12:42): The divisions were very good things. Let us take the (19)60s, take the war. Kennedy launched the war in 1962. In 1962, he sent the US Air Force to start bombing South Vietnam. He authorized napalm, started chemical warfare to destroy crops and ground cover. He initiated programs which to drive the rural population into what amounted to concentration camps. Ultimately millions of them to separate them from the gorillas who the United States knew they were supporting. And it was total silence, apathy. You could not get three people together in a room to talk about it. Was that a good thing? I mean, would we think that is a good thing if say Russia had been doing it? No, it was a terrible thing. It was apathy, obedience, lack of concern enabled the United States to practically destroy South Vietnam. We practically destroyed the country before protests began. Big serious protest began around 1967. By that time... read Bernard Fall. SM (13:52): I have, yes. NC (13:52): Okay. You remember what he wrote in his last reflections on a war? He was the most respected military historian and Vietnam specialist, the one guy, McNamara and others respected. He said before he died, that in combat, that in (19)67, that he doubted whether Vietnam as a cultural and historic entity could survive the onslaught of the most violent, savage military machine ever launched against an area that size. Well, he was a hawk, but he cared about the Vietnam enemies. And that is what he was saying at the point when protests began, really took off. So, what was right? The silence and apathy that allowed that to happen, as Gingrich wanted. Or the protests that said, "No, we cannot go around destroying countries," which Gingrich, of course, hated. Supporters of state power, subservient supporters of state power of course want everybody to be quiet and obedient. SM (14:54): In your opinion, when did the (19)60s begin? NC (14:58): When did the (19)60s begin? SM (14:59): And when did it end? NC (15:02): Depends what issue you pick. If you pick Vietnam, you can trace it pretty clearly. So, I mean, I was giving talks about Vietnam (19)64, (19)65 to four people in church. If we wanted to have a meeting on it at MIT, we would have to put together 10 topics and get Vietnam in there and maybe we could get 20 people to show up. In 1965, my wife, we had two little girls, seven and four I think at the time, and she took them to a women's demonstration in Concord, Mass. Concord is the center of American pacifism, you know, go back, it is transcendental center. So, they went to a women's demonstration in Concord, which was just standing quietly in a square holding signs. They were attacked, tomatoes, tin cans and so on, driven out. And we had our first public demonstration against the war in Boston in October 1965. That is three years after Kennedy attacked the country. But that time was already half destroyed. We dared to have a public demonstration on the Boston Common. It was violently broken up largely by students. The only reason I was supposed to be a speaker, but nobody could speak. Saved from being to shreds by a couple hundred state police. Take a look at the Boston Globe the next day, the liberal newspaper. It was praising the counter demonstrators and denouncing those who dared to stand up and say, "Maybe we should not bomb North Vietnam." That is October (19)65. Take a look at Congress, Senator Mansfield, who later pretended to be at Dove, which is a total lie. It was denouncing the demonstrators for their terrible behavior, for daring to stand up against the state and so on. I mean, that was October (19)65. It was a good discipline totalitarian-style culture. Couple years later it did erupt, thankfully, and you can pretty well time it. Like I say, it was in Wisconsin. It was a little bit earlier and there were small SDS demonstrations, but it really took off in about (19)67. And that was the time when Bernard Fall was describing what I said, much too late. And in fact, there has been a massive effort since to suppress what happened, deny what happened. It was so successful that by 1977, Carter was asked at a press conference, "Do we owe the Vietnamese reparation any debt for what we did to them?" His answer was, "We owe them no debt because the destruction was mutual." That is 1977. I mean, if somebody said that in Russia about Afghanistan, we would call it revival of Nazism. And by the time you get to Ronald Reagan, it was a noble cause. You get to George Bush number one, and he said, "Well, we can never forgive the Vietnamese for what they did to us, but we will maybe relax some of the constraints on them and allow them into the world if they face the one moral issue remaining from the war. Namely devoting themselves to finding the bones of pilots who they shot down maliciously." As if they were flying over central Iowa. Well, that is the elite culture and the media and so on. There has been a massive attempt to reject and deny what happened. And what happened is what Bernard Fall described. But try to find it somewhere. Try to find it in the textbook. I try to find it in the press, try to find it in Congress, even in scholarships that is way out the fringe. If fact you take a look at the elite culture, there's never anything more than, "Well, it was a mistake." Say Anthony Lewis in the New York Times way out at the extremist, at the extreme of the media when the war ended in (19)75, his retrospective was, "We entered with blundering efforts to do good," which is kind of like a totalogy if the state does it, it's good. So, we entered with blundering efforts to do good. But by 1969 it was clear that it was a disaster too costly to us. You could have read that in the Nazi general staff after Stalin threat, that is called criticism here. But among the general population that is not the view. And they did become more civilized, although elite sectors did not, the media did not. And for people like Cambridge, of course it is a catastrophe, you are supposed to obey. You are supposed to be quiet and obey the rulers. SM (20:06): But they Beats were pretty important too on this, were not they in terms of they influenced some- NC (20:13): They did. SM (20:13): Yeah. Because when you think about Ginsburg and Kerouac, Cassidy and that group- NC (20:17): And that goes back to the (19)50s. SM (20:17): They were a challenge to authority. NC (20:20): Yeah, it was a challenge, which was part of the background for what happened in the (19)60s. So sure, it was there, the counterculture was there. And those who want to reimpose discipline and ensure that there is no functioning democracy, and that people are obedient and passive, what they focus on is the fringe of craziness in the (19)60s, which was a fringe of craziness. You focus on that. And yet, so you know, scream about the bra burning, but not feminism. Okay, that is a way to try to reimpose discipline, obedience. But we do not have to live in a totalitarian culture just cause the elite sectors wanted. SM (21:03): We know that from history that SDS was a real, to me, it was a great organization. Students from Democratic Society, participatory democracy. And I just interviewed Mark Rudd recently and some of Kent State at the 40th Remembrance, and he admits the mistakes that were made that really affect him when we destroyed SDS. And that hurts him even more. The history of SDS and then they only think about the weatherman. And Dr. King talked about- NC (21:36): Weatherman and PL. SM (21:37): Yeah. NC (21:39): By (19)68 they self-destroyed. SM (21:40): Right. NC (21:40): They split into Weathermen and PL. Yes. And I remember that, in fact. I do not know if Mark Rudd remembers, but I was very critical of what he was doing in Columbia in 1965. In fact, was actually invited by his parents to come to their house so they could dress me down for criticizing what their wonderful son was doing. He may not remember. SM (22:05): The violence aspect is probably the negative part because to me, and I would like your thoughts on this, when we are not only talking about the Weathermen, now we are talking about in the American Indian movement where Alcatraz was a very, I think it was a very valid effort, but Wounded Knee turned into violence. You had the Black Panthers, and of course Bobby Seals says, "Oh, we were not in a violent group. We just had... Somebody else has guns. We have to have guns." So, the concept of the Black Panthers was kind of scary. The guns at Cornell University in (19)69 was certainly scary. NC (22:44): But let us take the violence in the Black Panthers. There was violence in the Black Panthers. Two Black Panthers were murdered. I mean, there was a major campaign by the national political police, FBI, to destroy the Panthers by violence. And it led as far as Gestapo-style assassination. I mean, in December 1969, the Chicago police was set up by the FBI, raided a Black Panther apartment and murdered one of their, Fred Hampton, the major organizer in bed in a 4:00 AM raid-raid. Also marked. That is Gestapo-style assassination at the hands of the state. Yeah, that was violence. Is that what people are talking about? SM (23:35): No, they are talking about the other end. NC (23:36): Yeah, they are talking about a student holding a gun. Not about the national political police, murdering Black Panther organizer. Yeah. So, a lot to talk about reality and fiction, but it's fiction that is favored by the Gingrich's. SM (23:55): I would be curious too, your thoughts on Black power because of the fact that Dr. King was a non-violent protest, Bayard Rustin, who was from Westchester, went to the national tribute on Bayard a couple years back. Bayard had a very important debate with Malcolm X. It was, I think, in 1965, I think it was at Columbia, I think. And then of course Dr. King, that famous scene of Stokely Carmichael and Dr. King with his arms in basically saying, "Your time has passed." And Malcolm was saying that, "Bayard Rustin, your time has passed." By any means necessary. NC (24:32): Let us take a look at what happened. I mean, I happened to be in favor of... I was involved in non-violent resistance. And I thought, well, this was a wrong and a mistake. But nevertheless, let us look at what happened. As long as Martin Luther King was denouncing racist sheriffs in Alabama, he was very popular in the north. But then what happened afterwards, "I had a dream"? He turned to class issues. He turned, first of all, to opposition to Vietnam War, strong opposition and to class issues. He started a poor people's campaign. In fact, he was murdered, remember, in Memphis when he was helping to support a sanitation workers' strike. He was on his way to Washington for a poor people's campaign. Well, at that point, he was already being vilified. And in fact, if you take a look at the memorials to King every January 15th, they are overwhelmingly pure hypocrisy. They talk about the time when he was attacking racist Alabama sheriffs. Not the time when he was trying to organize poor people, was being vilified by northern liberals and was assassinated. SM (25:42): That is beautiful because that is the truth. And I firmly believe, and this is just me, and I would love your thoughts on this, that if Dr. King was alive today in his 80s, that even though we have got a day in memory of him, I think he would be sensitive because he was about we, it was not about me. And he also always talked- NC (26:08): But those days are not about him, they are about him when he was acceptable to the power system. It was about him when he was denouncing racist Alabama sheriffs. Yeah, we can all support that. How about when he is supporting organizing a poor people's movement or criticizing the Vietnam War? No, no, then he was becoming irrational and extreme. And we have to suppress that. So, the celebrations of Martin Luther King are not about him. They are about the part of him that is acceptable to power systems. SM (26:41): Well, I am amazed too because I studied this, and I found out that the two people that have the largest FBI records are Dr. King and Eleanor Roosevelt. Eleanor Roosevelt. NC (26:54): In fact, the largest state repression program in American history was Coen Dupro, which was mostly during the democratic administrations of the (19)60s. And then it started against the Communist Party and then the Puerto Rican nationalists and the Native American movement and the Black movement and the entire new left. And the women's movement, the Panthers, everyone, it was huge regression, totally criminal, led all the way to assassinations. It is wiped out American history. SM (27:32): You would have been a great speaker at Kent State. I do not know if you have ever been one of the speakers there, but they had the 43-remembrance and... NC (27:40): I have spoken there. SM (27:45): I feel that the two people that were missing this year at the Remembrance were you and Howard Zen. Now I am not sure if Howard would have... Dr. Zen would have made it, but I think your voice would have been very important there. Your thoughts on... Kent State to me was a watershed moment for a lot of people felt that everything kind of went belly up after Kent State, that pretty soon the giraffe was coming to an end and young white children, and then of course two Black children or young children were killed at Jackson State 10 days later. What does that mean to the end of so-called the anti-war movement or the (19)60s? Kent State and Jackson State were the line of demarcation. NC (28:40): Kent State is the one that enters history, not Jackson Street, because Blacks were being killed all the time. For example, Fred Hampton. SM (28:50): I always have to check this too. Sure. We are doing fine. Okay. NC (28:54): Kent State became a major movement because they were privileged white students. And yes, that did tell people who had made fun of themselves as victims that you too could be victims, but I do not think that was the end by any means. In fact, the Kent State was... After that came the mayday in Washington mass movement to try to close down Washington. I was there with Howard, in fact, other protests. The protest became strong enough so that they impelled Congress to terminate the bombing of Cambodia, August 1973. And they were strong enough so that the US had to withdraw from Vietnam matter. In fact, they remained strong enough so that the US had to narrowly constrain the invasion of Iraq and never got anywhere near the Vietnam War. The attacks, they could not just take a look, the casualty tools. They could not do any of the things that Kennedy and Johnson could do. And there was massive protest about it. So, I do not think it ended then. I just think it took new forms. But as I said, things like the solidarity movement, which is unique in the history of imperialism, it has never happened before. I mean, in France, nobody that organized to live in an Algerian village to try to help the people and maybe defend them with a white face. But thousands of Americans were doing that in the (19)80s in Central American wars. And now it is the international solidarity movements all over the world. One of the ships that just tried to break the guys at Flotilla was the Rachel Corrie. That is an American kid who was killed by a caterpillar bulldozer trying to protect the home. Things like that did not happen in the past. SM (30:47): You talked about the contributions, all the movements took place, the late (19)60s and early (19)70s. Many of them were offshoots of the civil rights movement because that was kind of a teacher to the other movements, the anti-war movement and the women's movement, even the gay and lesbian and certainly Earth Day in the environmental movement. Gaylord Nelson used that as the teachings as examples of it. NC (31:09): And that was it. That was the 1970, (19)71. SM (31:11): Right. NC (31:12): It is after the (19)60s. SM (31:13): Do you think that is that one of the greatest contributions of the Boomer generation are all the movements that developed over issues? Because today I think they are somewhat being criticized as being segregated. There used to be when you had the anti-war movements in the past, you would have all these groups together. Do you think there is a segregation, or this is there is... NC (31:37): They are supposed to be illusion. I mean, you had the big marches together for about two years. It is (19)68 and (19)67 through (19)69. It is a moment. It was important. It was focused on a major atrocity. Probably the major crime in the post-Second World War period was focused on that, trying to end it. And then it expanded in many different directions, and it should have. So, the feminist movement, for example, which probably has had more effect on American society than any other. Now that is from the (19)70s. It began in the (19)60s, but it really took off in the (19)70s. The environmental movement is (19)70s up until today. The anti-nuclear movement, which had like 80 percent of the population, that was the early (19)80s. Solidarity movements, which were massive and coming right out of mainstream America, incidentally. They were coming out of rural churches and Kansas and Arizona. That is the (19)80s. The global justice movement, (19)90s and today. All of this has its overall effect has been to civilized the country, which is exactly why it is hated and vilified. Now if you take a look at it like any popular movement, you're going to find a fringe of craziness. See? So, then you can kind of blow that up and say, "Okay, that is the movement. It was all silliness. It was all Woodstock." It had a civilizing effect on the society. And by the early (19)70s, that was causing panic among elites. I read someday the book called The Crisis of Democracy. Very important. SM (33:21): Who is the author of... NC (33:24): It is the Trilateral Commission. Liberal, internationalist elites in Europe, the United States and Japan. The American rep with Samuel Huntington from Harvard. I mean this is essentially the Carter administration. In fact, the Carter administration was drawn almost entirely from their ranks. And The Crisis of Democracy is concerned with the fact that the country was getting civilized. They could not stand it. These are the liberals, notice not the right wing. The right wing wanted law and order and so on. This is the liberals. They said there is too much democracy. There is an what they called an excessive of democracy. Now we have to have more moderation in democracy. People who are used to be passive and obedient in the good old days are now press entering the political arena to press their demands. So, there is a turmoil and challenges and that is no good. We have to have more moderation and get back in your box, follow orders, more indoctrination. That is the liberals. And that is the early (19)70s. And a lot of things happened then. That is specific number one of the motives for the drug war, surely, was to try to head off a very dangerous development. By the 1960s, many people, many young people, but also plenty of others, were beginning to question the doctrine that everything that the state does is noble, maybe mistaken, but noble. That is every state tries to impose that doctrine. We are noble. Maybe we make mistakes. You pick anyone you want, the most horrible monsters. That is the doctor. And that was accepted in the 19s through the (19)50s and so on. (19)60s began to be challenged and that was frightening. So, something had to be done to make us the victims. People were beginning to understand what say Fall had been saying years earlier, that it was the Vietnamese that were the victims. We were destroying them. That is dangerous. Well, the drug war was intended to make us the victims. It began with fantasies about an addicted army, mostly fantasies. You get Walter Cronkite; you are getting up on television saying that "Our brave boys in Vietnam are being attacked by the Vietnamese with guns and with drugs." They are trying to addict us, turn us into a nation of junkies and this rare society. So, we are really the victims of the Vietnamese. That is Walter Cronkite. I am not talking about Glenn Beck. That is Walter Cronkite. Liberal hero. And they manage to switch it around. We are the victims. That is why in 1977, Carter could say, "We owe them no debt because the destruction is mutual." And it is an amazing propaganda chief, having destroyed three countries. SM (36:22): When we think of the criticisms of presidents, at least Boomers when they were young, we think of Johnson and we think of Nixon, and I do not think of Ford that much. And certainly, whether you like Ronald Reagan, it is mostly an anti-Nixon, an anti-Johnson. Of course, Johnson was a liberal and Nixon was the most liberal Republican you could find. NC (36:46): I will tell you; he was the last liberal president in the United States. After that came away with conservatism beginning with Carter. SM (36:54): What you are really saying is that in terms of helping civilization as you see it, Boomers were very important in the protesting and setting a tone that we are not the most noble people because Vietnam. The two terms that seem to always bring fire... I have been in the university now for 30 some years. Two words that always seem to raise the, let us not talk about it or let us not go there, Vietnam and quagmire. You meant quagmire. David Halberstam. You mentioned those two words. NC (37:26): An interesting notion. See that is David Halberstam, who was a super hawk. You take a look at his reporting. It was pretty good reporting. But why was he criticized? He was criticized because he said the war is not going well. That is like criticizing some Nazi after Stalingrad who said the war is not going well. We do not call that criticism. And elsewhere we call it criticism. Here, but it is not. He was never Randy Warman, Halberstam. He was a decent reporter. He described what he saw, and he noticed what in fact the US command that polices the lower levels of it knew pretty well. Yeah, it is going pretty badly. The messages they were sending up to the top were, "It is going wonderfully." And he was criticized and considered anti-war for saying it is not true. Is that a criticism? We do not call that... It is an indication of how corrupt the intellectual culture is. We cannot conceive of the notion of criticism. And in fact, the degree of, let us say, take the American history, think there is some real crimes in American history like extermination of the Indigenous population. Why are we here? Is that a crime? Some of the major crimes of history. We are a settler colonial society. That is the worst kind of imperialism. Oh, normal imperialism just subjugates the population. Settler colonialism wipes them out. That is millions of people who were exterminated, and the founding fathers knew it. Like John Quincy Adams talked about what he called that hapless race of Native Americans who we are exterminating with such perfidious cruelty that one of the crimes for which someday God will punish us. It is John Quincy Adams, the founder of the Manifest Destiny, the great grand strategist. But is that part of American history? No. I mean, is slavery part of American history? Well, slavery is there only to say, "Well, we got over. Look how we got over it." In fact, we never got it. SM (39:44): That is why Howard's in this book, the alternative American history book is really good. NC (39:48): That is why it was very important. SM (39:49): That little booklet of essays is... It is just unbelievable. NC (39:55): But notice that his book just changed the consciousness of a generation by bringing out elementary facts that should have been in every elementary school for centuries. But it's considered radical because it was talking about elementary truths, and it still is not penetrated intellectually leads. So, if you read the New York Review of books, for example, the leading liberal intellectual left liberal intellectual journal, an article about a year ago by Russell Baker, who's a critical left analyst. And he talks about how when... He said when Columbus got to the Western Hemisphere, he found an empty continent with maybe a million people from the steaming tropics to the Antarctic stragglers. Kind of like he is off by maybe a hundred million or so. And they had an advanced civilization kind of like Europe except in savagery. But that is the New York Review denying the extermination of tens of millions of people. Today I checked to see there was not a single letter protesting. SM (41:06): When you look at the wall that was built and finished in 1982, and all the veterans coming back when majority of them felt like they were not welcomed home. And we know the history of how they were treated upon their return. NC (41:20): Well, that history is mostly mythology. SM (41:23): It is? NC (41:24): The spiting and all that stuff. SM (41:25): I know the spitting part, but in terms of the veterans of foreign wars, they would not even welcome a Vietnam vets back- NC (41:32): That is right. Because it was not a victory. SM (41:35): Okay. NC (41:36): They want victories. Actually, was a victory for the United States that destroyed Vietnam, but it was not a big enough victory. So, the super jingoists say you guys did not hack it. SM (41:48): When Jan Scruggs wrote the book To Heal a Nation, I had been to the Vietnam Memorial now for 35 times in a row, paying respects. I knew Louis Puller at the end of his life, and that is a great book, Fortunate Son. And I have noticed that the wall was built to heal the veterans. It was to be a non-political statement and it was to help the families of the loved ones who died and those who served. I noticed that there still is a lot of politics there. It is not on the stage, but just you hear it by what people wear, what people say. It is the body language, it is everything. So, we have got to come a long way. What do you think the wall has done in terms of healing the nation, if it has, because that is what Jan Scruggs was hoping he was going to do, the nation as well as the Vietnam veterans and their families. And I am not even sure if he was even thinking of the anti-war people. NC (42:51): I mean, the veterans and their families deserve sympathy and respect. But the big issue is not healing the nation. It is getting the nation to face up to what it did after the Second World War. The problem in Germany was not healing Germany. No, the problem was getting Germans to face up to what they did. It is the same with us. It's not just the defeated who have to face up the what they believe. It is also the victors. In fact, A. J. Muste, great pastor, he once said that the problem after a war is with the victors, that they think they have shown that violence pays, and they are the problem. Watch out for them, not the defeated. And that is right. And in Vietnam though, it was not a super victory. We did not turn Vietnam into the Philippines like a miserable colony. Nevertheless, it was a substantial victory for the United States. When Carter said the destruction was mutual, I mean, the fact that people did not... There was not an uprising of protest. It's amazing. I mean, take a walk in Cordini Province and New York. Is it the same? Destruction was mutual, but that is Carter. SM (44:18): Right. NC (44:20): That is a lot for us to be ashamed of. SM (44:22): When you go to the wall and you stand there, obviously everybody has different perceptions, but when you look at that granite wall and all those names... Two more minutes? Speaker 3 (44:35): He is the boss. NC (44:35): Yeah. Two more minutes. SM (44:36): Yep. What do you see? NC (44:39): What I see is sympathy and pain for the victims. The victims include the American soldiers, includes their families, but a thousand times more, a million times more, it includes the countries and the people we destroyed. SM (44:58): The three million who died in Vietnam. NC (45:00): Probably four million or so were killed in Vietnam. And huge numbers of loss in Cambodia. It is countries that were just destroyed. That part's in turn to moonscapes. SM (45:13): I guess that is... That would be fine. Thank you very- (End of Interview) Rights Statement Many items in our digital collections are copyrighted. 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Title A name given to the resource Dr. Noam Chomsky https://omeka.binghamton.edu/omeka/files/original/9b6a51e99b90c24e91090516995b0385.pdf c75cc5e108f40a2da0d6abc2242353c4 PDF Text Text STATE UNIVERSITY OF NE\V YORK AT BINGHAMTON CONVOCATIONS COMMITTEE presents Shinichi and Yasuko Yuize 8:15 AUGUST 15, 1966 COLLEGE THEATER �PROGRAM GODANGINUTA (Five Sections ) THIS EVENING 'S ARTISTS Kengyo Mitsuzaku (d. 1853) (koto duet) AKIKAZE ( The Autumn Wind ) Kengyo Mitsuzaki (koto solo) A THEME AND VARIATIONS Shinichi Yuize (1923- ) (koto solo) THREE STUDI ES Yasuko Yuize (1926- ) (koto solo) UMEGAE ( A Plum Tree) (voice, koto and sangen) MIDARE HI NZETSU (Disorder) Jodan Yatsuhashi (1614-1685) (koto duet) KlNUTA (The Sound of Billowing Cloth ) Michio Miyagi (1894-1956) (koto duet) Kozaburo Hirai ( 1910) ARABESQUES Flowing, moderato ma Shinichi Yuize, celebrated koto player and one of Japan's best-known composers, has been in New York for the spring semester at Columbia University on a Rockefeller Fund grant as artist-in-residence to train Americans in koto playing and to lecture on Japanese music. Born in Hokkaido, Japan, he began the study of koto at the age of 3, and to write music at the age of 6. He first came to this country several years ago as koto virtuoso soloistwith the Azuma Kabuki Company, touring with this group al50in Britain, Italy, Holland, Germany, and France. lie ha, also performed in Iran and Israel. l n Europe, he has appeared in joint concerts with Yehudi Menuhin, David Oistrakh, and Ravi Shankar.Henry Cowell for hlm which he performed last Spring ( 1965) at wrote a koto concerto Dartmouth College in premiere with Mr. Cowellpresent. For many seasons, Shinichi Yuize ha, also presented in the fall in Tokyo a concert of his own compositions--works in large and smaller forms, and of various combinations and solo instruments. He has been the representative of his country in international festivals abroad, and music congresses at home. Mrs. Yuize is a graduate of Peninsula College in California. Both artists are members of families celebrated in Japan for musical heritage Both also graduated from the Tokyo University of Arts, and have studied koto with the late Michio Miyagi. The couple recently made their duo recital debut in New York at Carnegie Recital Hall on May 24th. During early June, Mr. Yuize was koto soloistwith the New York Philharmonic Orchestra, Andre Kostelanetz conducting, at three Philharmonic Hall Promenade Concerts, in a concerto by his teacher, Michio Miyagi, titled "The Sea in Springtime." Shinichi Yuize's solo records include one recently made for Nonesuch also an earlier Cook album. With Tony Scott, clarinetist, Mr. Yuize has recorded for Verve Records, and with his wife for B. A. M. of France. con spirito Contrast, Pocolento Harmony, Allegrocon l,rio (koto duet) Ushering courtest 01 Alpha Phi Omega and Gamma Sigma Sigma. Masao Matsumoto (1915l WOOD AND STONE Smoking is allowed in the lobby, but not in the theater. A Scene,, Andante A A Struggle, vivace In order to accomodate •• many people as possible for each of the Convocations Committee events, the following system of seatpriorities has been established. Peace, Rondo (koto duet) A RECEPTION honoring the Yuizes will be held by the residents of Johnson I/all in the Lounge of their dormitory immediately following the performance. The audience is cordially invited to attend. Johnson Hall is situated directly across Center Drir,e from the Student Cente r Building. Seat reservations will not be honored after 8:15 p. m. In case of a sell-out seats not occupied at that time will be re-sold. Should a patron arrive late and find that his seat has been resold, the purchase price of his ticket will be refunded. No refunds will be made to persons not attending the concert. This policy has beenadopted so that while advance reservations may be made, no one will be turned away from a program while there are empty seats in the theater. �EVENTS CALENDAR t All programs at 8: 15 p. m. in the College Theater unless otherwise specified. • A presentation of the Convocations Committee Admission charge. Tickets available at College Box Office, 798-2165. SEPT. 16, 17, 18 Friday, Saturday, Sunday þÿ'" " T HFIREBUGS" E An exciting new play by one of Germany's leading playwrights, Max Frisch. Presented by the Theater Department, and directed by Al Brooks. SEPTEMBER 21 Wednesday þÿ'" F I L "HAND M: lN HAND" "Hand in Hand" dramatizes with warmth and insight the friendship of a boy and a girl. Their world is happy and serene until it is invaded by a religious prejudice. AUGUST 16 Tuesday !Oa.m. C.A. 183 LECTU RE / DISCUSSION ON JAPANESE MUSIC Shinichi and Yasuko Yuize in an informal discussion of Japanese music. Mr. Yuize is one of Japan's foremost composers. AUGUST 17 FILM: "THE CRANES ARE FLYING" Cannes Grand Prize drama of two young lovers caught up in the tragic eventsof World War II which strikes a universal note and is revealing of SEPTEMBER23 Friday °FILM: "WHAT PRICE GLORY" (United States, by Mikhail Russian dialogue, subtitles. Presented by the Student Center Board. BEGIN SU!'.1\1 ER RECESS SEPTEMBER 25 Sunday °MARTHA FOUSE, SOPRANO Youth Artists Series SEPTEMBER 30 Friday °FILM: "ANTIGONE" (Greece, 1961 ) T he problem of Sophocles play lies in the rival claims of the state and the individual conscience: on the one hand, the state's need to prosecute the war on its enemies ruthlessly and, on the other hand. the individual's need to honor his personal sense of justice. Irene Pappas stars. OCTOBER 2 Sunday YATES, PIANIST þÿ'"FRANCES Young Artists Series OCTOBER 5 Wednesday °SEYMOUR LIPSET,LECTU RE Internationally known for his studies of political sociology in the United States and Europe and in emerging nations. Wednesday attitudes AUGUST 20 Kalatozov, Directed Saturday AUGUST 28 Sunday AUGUST 29 Monday SEPTEMBER 2 Friday SEPTEMBER4 Sunday SEPTEMBER 9 Friday SEPTEMBER 10 Saturday 7:00 Gymnasium SEPTEMBER 11 Sunday FILM: " MIDNIGHT LACE" A spellbinding and starkly realistic mystery drama with a shocking climax. Doris Day gives a fascinating and emotional performance. Presented by the Student Center Board CLASSES RESU!'.1E °FILM: "THE GOOD SOLDIE R SCHWEIK" (Germany, 1961 ) The Germans know all about good soldiers. and this comedy ( from the novel by Jaroslav Hasek) shows us some of what they have learned. At least, the film is saying, somebody must be crazy. °AN EVENING OF FOLK SONG English, Irish. Scottish and American songs and ballads, sung by Hollis Rinehart. baritone, accompanying himself on the guitar. Young Artists Series SUMMER WEEKEND FILM (to be announced) Presented by Student Center Board þÿ'" "THE CAMBRIDGE CIRCUS" From five months at the West End in London , and six months touring Australia and New Zealand, this mirthful revue with music is directed by John Cle,,;,, and produced by John II. Morris, Jr., producer of "THE ESTABLISHMENT•• GUARNERI STRING Q UART ET Quarter in C Major, K. 387, Mozart; Quartet in F Major, Op. 18 c'>o. I. Beethoven; Quartet in G Minor, Grieg. SEPTEMBER 22 Thursday CHRISTINE LINDSAY, HARPSICHORDIST Presented by the Music Department. 1926) w ay play, starring Victor Broadw McLaglen, Edmund EnglishLowe, and Dolores Del Rio. OCTOBER 6 Thursday °FRANK PULLANO, BARITONE Young Artists Series OCTOBER 7 Friday °FILMS: "THE RED BALLOON" AND "LORD OF THE FLIES'" Two films about what children are: one shows us a child whose delight is the vulnerable and beautiful balloon that accompanies him through the vaguely hostile streets of Paris; the other shows us whose game is war and whose toys are OCTOBER 8 Saturday þÿ'" F I L"DOCTOR M: STRANGELOVE" This film has been granted some sixty intcma· tional awards. It is a brilliant example of screen satire at its finest and funniest. Starring George C Scott and Peter Sellers. Presented by the Student Center Board. children weapons � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. 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Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:54 26:04 22:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54655">Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. 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Creator An entity primarily responsible for making the resource Yuize, Shin'ichi Yuize, Yasuko Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mitsuzaki Kengyō, -1853? Yuize, Shin'ichi Yatsuhashi Kengyō, 1614-1685 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1966-8-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize Recital Tape 1966-8-15.pdf https://omeka.binghamton.edu/omeka/files/original/6a75d94cede5c01827dfd203e5df6c2c.pdf 2a456ae18619754c4231782c64880770 PDF Text Text DUO MONTAGNARD at Joseph Murphy, S axophone M a tthew  Slotkin, G uitar Program to be selected from the following “Nicht Akzeptiert, S onatine” George Dara velis (b. 1964) “Les Trois Soeurs” Charles Stolte Water Air Rock “Before Clocks Cease Their Chiming (b. 1969) Andrew Walters (b. 1967) “Untitled ” Shane Endsley (b. 1975) John Orfe “Fast, C heap, and Out o f  Control” (b. 1976) Marilyn Shrude “Face o f  the  Moon ” “Messengers” (b. 1946) John Anthony Lennon (b. 1950) THURSDAY, M A R C H  11, 2 0 0 9 4: 25 P. M. CASADESUS RECITAL HALL FREE A N D  O PEN T O  T H E  P U B L I C Duo Montagnard’s visit is funded in part by the Harpur College Visiting Speaker Fund   pril Lucas Master class students are from the studio o f A �D U O  M O N T A G N A R D  was formed in 2002 and has performed over 130 concerts in 25 states, Canada, Slovenia, United Kingdom, Greece, Thailand, New Zealand,  and  Australia.  Festival  performances  include  the  Chautauqua Institution, the Hartwick College Summer Music Festival, and the Alexandria Guitar Festival.  Recent commissions include pieces by John Anthony Lennon, George Daravelis, John Orfe and Charles Stolte. J O S E P H   M U R P H Y   has  been  the  saxophone  professor  at  Mansfield University of Pennsylvania  since 1987.  He has also been director of bands, department chair, and taught a variety of courses.  He received the bachelor of music education from Bowling Green State University (OH), and the masters and doctorate degrees from Northwestern University.  Dr. Murphy was the music director of Tiffin (OH) Calvert High School from 1983­85.  In  1985­86 he received a Fulbright Award for a year of study in Bordeaux, France where he received a Premier Prix.  In  June 1996, Dr. Murphy performed a  solo recital at Lincoln Center.  He has performed in 13  countries including Australia, New Zealand, Thailand, Taiwan, Japan, Greece, and several countries in western Europe.  He is a  clinician  for  the  Selmer Corporation  and  Rico  Corporation  and  has  been recorded  on  Erol  (France),  Mark,  and  Opus  One  labels.  Dr.  Murphy’s memberships  include  Music  Educators  National  Conference,  Music  Teachers National Association, North American Saxophone Alliance, National Association of College  Wind  &  Percussion  Instructors,  College  Band  Directors  National Association, Phi Mu Alpha, and Kappa Kappa Psi.  His award winning website is w w w.saxophone­education.com. M A T T H E W  S L O T K I N  is an acclaimed performer, teacher, and scholar, and has appeared in leading venues throughout North America, Europe, Asia, and Australia.  He has achieved success in solo performance, chamber music, and as a  soloist with orchestra.  A commitment to the promulgation of new compositions  has  resulted  in  numerous  premieres  of  works  by  composers including John Anthony Lennon, Scott Lindroth, John Orfe, and many others. Recent  performances  include  tours  of  New  Zealand,  Australia,  the  United Kingdom, and Greece with Duo Montagnard (Joe Murphy, saxophone), as well as concerts at the Monadnock Music Festival, the Hartwick College Summer Music Festival,  the  Guitar  Foundation  of  America  convention,  the  Chautauqua Institution, and the World Saxophone Congresses in both Thailand and Slovenia. American  Record  Guide  praised  Slotkin  on  his  Centaur  Records  release, “Twentieth Century Music for Guitar,” for his “musical sensitivity and technical control,” and for giving “strong readings of this appealing music.”  A concert review from the Classical Voice of North Carolina stated that “Slotkin performed brilliantly.”  Centaur Records released his new recording with double bassist Craig Butterfield, “Dances, Songs, Refrains,” in 2010.  Slotkin directs the guitar programs at Mansfield University in Mansfield, PA and Bloomsburg University in Bloomsburg, PA.  He has  given  masterclasses  at  numerous  institutions  and festivals  including  the  Oberlin  Conservatory  of  Music,  the  University  of Melbourne, and the Alexandria Guitar Festival.  He received the Doctor of Musical Arts, Master of Music, and Bachelor of Music degrees from the Eastman School of Music, where he studied guitar with Nicholas Goluses and historical performance practice with Paul O’Dette. � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Duo Montagnard, March 11, 2010 Recital Tape 2010-3-11 Description An account of the resource Held at 4:25 p.m., March 11, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Duo Montagnard Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/623f80d992d97a4418637105890c4612.jpg 3b646e537b9f17443f7b30439bb20639 https://omeka.binghamton.edu/omeka/files/original/e6570c8d8bb6898115fa85f7bd0a5c81.jpg 45d41819e604202773d35acb7fecd4f7 https://omeka.binghamton.edu/omeka/files/original/72aa03e1d049e6c53e8cb5a9919b8e3e.jpg f3ad571fe51cd0f6e0f0e6b0709c85a4 https://omeka.binghamton.edu/omeka/files/original/0ab7c172e0d994853775cb6b5fc4d85f.jpg 7afca4418d910ec608e8de3fff90c825 https://omeka.binghamton.edu/omeka/files/original/b13cb063d31fc9332edb0491dbd6d4cb.jpg a2a75bb9442b32ee2e5124616a6206d4 https://omeka.binghamton.edu/omeka/files/original/1345a36e58535c55511f43bab9e89441.jpg a01dff7b8f55a2b1032c559ee671160e https://omeka.binghamton.edu/omeka/files/original/d6c4c115dfe3cf7b93da21405f60c7b6.jpg ea4adcd399ac6dd2461c1ea75c59e326 https://omeka.binghamton.edu/omeka/files/original/470c6d20a1faa9ee512414e5eb061cb5.jpg 4bb9a8c2b46a93e2919017ece321daf5 https://omeka.binghamton.edu/omeka/files/original/d311f633d323cea8a08c909ac9bf4f9f.jpg 39ff690ded0df02996e68848b60f8290 https://omeka.binghamton.edu/omeka/files/original/4b0f49602f79ed44340b43ecead16c37.jpg 814607c363d217a72844a04939b97c79 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 Reinhardt Promptbooks Description An account of the resource <strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;tab=DigitalCollections&amp;search_scope=DigitalCollections&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;offset=0">Max Reinhardt Collection Photographs</a></p> <p></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,&nbsp;<br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale Promptbook Description All text in German. Unspecified purple and red pen markings and blue pencil markings. Book about writings from Albrecht Drürer, not a conventional or typical promptbook. Markings of note: black pen Star of David with letter “M” inside in front cover pages, list of Psalms. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 17.25cm x 11.5cm Earlier version Earlier version (dcterms:isVersion Of) Die Dürer-Bibel : mit Holzschnitten Dürers u. anderer Meister Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.12 Production(s) Possibly July 1, 1915 (city unspecified) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Dürer-Bibel : mit Holzschnitten Dürers u. anderer Meister [book] Subject The topic of the resource Dürer, Albrecht, 1471-1528. Dürer-Bibel : mit Holzschnitten Dürers u. anderer Meister Promptbooks Stage directions Creator An entity primarily responsible for making the resource Dürer, Albrecht, 1471-1528 Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3117 Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/d67ec8422639a0cb92cb5895aab488b1.pdf d6aa4e580a0426916de53d6350fb7075 PDF Text Text BINGHAMTON A N I Y  E R D L I L Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K d e c [4 D E P A R T M E N T EARLY O N Peter B rowne, keyboards Barbara Kaufman, recorders Christina Salasny, soprano Stephen Stalker, cello Paul Sweeny, guitar ' \ ] February 4, 2011 8:00 p.m. Room 21, Fine Arts Building �PROGRAM dro Scarlatti Cant ata: Clori Mia Clori Bella..............................Alesan (1660–1725) Recitative:  Clori mia, clori bella  Aria :  Onde chiare Recitative:  Si, si, narrar egli pur bell’ onde amichi Aria :  Parla parla il cor fa tto loquace soprano, alto recorder, cello, guitar, harpsichord nnn Merula Can zona La Pighetta.................cccccevvvveeeeeneennnn (1595–1665) soprano recorder, cello, guitar, harpsichord hn Dowland Can She Excuse My Wrongs............c..cccce................JO(1563–1626) Sorrow Stay  Wilt Thou Unkind thus Rea ve Me? Lasso Vita Mia soprano, guitar, alto recorder, cello ..... . Barsanti Sonata III in g mino r.... ..... ..... ..... ..ce eee evn nn.. (1690–1755) Adagio  Allegro Largo Gavotta Minuet alto recorder, cello, harpsichord Three Ricercari:  Nos. 6, 1, & 3  Domenico Gabrielli (1659–1690) solo cello 0 eorg F. Handel Cant ata:  Nel Dolce Dell’oblio. .  ...........................G (1685–1759) Recitative: Nel dolce dell’oblio  Aria :  Giache il  sonno a lei Recitative:  Cosi fida ella vive Aria :  Ha l ’inganno iI suo diletto soprano, alto recorder, cello, guitar, harpsichord �TEXTS &  INTERMISSION  a CLORI MIA, CLORI BELLA Peter Hurford (B.1930) From: Laudate Dominum Scherzo Meditation Processional organ solo Cello Suite No. 1 Canto primo (sostenuto e Iargamente) Fuga:  Andante moderato Lamento:  Lento rubato Canto secondo (sostenuto) .. Benjamin Britten (1913­1976) I  I solo cello Five Quiet Songs Dirge In Woods Silence An Epitaph Omar’s Lament The Birds Divertimento (1964) Prelude Air Festivo Soliloquy Finale ...... John Duarte (1919–2004) soprano, guitar John Graves Mario Mascarenhas Early On 3. Recitative Clori, my beautiful Clori, Ah! Mine no longer; Clori who loved me so much, and whom I loved, now flees me in disdain and says continually, “I shall detest you as much as I used to love you.” Friendly waters of the Tiber, tell her that I love her so much, that your waves are increased by my weeping. Yes, tell her, friendly waves, that my heart speaks thus, driven to our banks by the cruelty of my suffering. Thus on my lips speaks my heart My lips O Clori, do not tell of their torment, overcome by grief, but the sighing of my heart tells you all too much and yet you do not hear. 2.  Aria 4.  Aria Crystal waters, which scatter tears of silver murmuring on your beautiful shores, I beseech you, do not keep silent ; if weeping stirs you, gather my tears into your waves My heart speaks, made eloquent in describing to you its pain. And with the language of sighs, you know that it speaks of peace. to make known my torment. alto recorder, piano Papagaio Embriagado 1.  Recitative I 1 Lasso Vita Mia Alas my life makes me to die, cruel love consumes my heart with a thousand wounds which make me die. Ah me, alas, cruel love does not let me die but makes me suffer a thousand torments. �Nel Dolce Dell’Oblio 1.  Recitative:  In sleep’s sweet forgetfulness while you are sleeping, my beloved Phyllis watches with her thoughts. And in night’s stillness, love will not allow her to rest but in different ways disturbs her peace while she is sleeping. 2.  Aria: Around her restless bed hover visions of her beloved. Dreaming she sees her love, hurries to embrace his chains. 3. Recitative: Thus, faithful she lives, faithful to the heart she loves. And in darkness, though lying, he breathes the light of that sun for which he is sighing. 4.  Aria: To embrace in sleep’s deception that dear form for which we grieved. O delight beyond belief! But to wake up from this dream of gladness and joy, to discover all was madness, our grief is past belief. FIVE QUIET SONGS 3.  An Epitaph (Walter De La Mare) Here lies a most beautiful lady, light of step and heart was she.  I think she was the most beautiful lady who ever lived in the West Country.  But beauty vanishes, Beauty passes; however rare, rare it be.  And when I crumble, who will remember the lady from the W est Country? 4.  Omar’s Lament (Edward Fitzgerald ­­ trans. Rubaiyat of Omar Khayam) Alas, that Spring should vanish with the rose!  That youth’s sweet­ scented manuscript should close!  The nightingale that in the branches sang, ah, whence and whither flown again, who knows? Ah love! Could thou and I with fate conspire to grasp this sorry scheme of things entire, would we not shatter it to bits and then remould it closer to the heart ’s desire, the heart’s desire. 1.  Dirge in Woods (George Meredith) A wind sways the pines, and below not a breath of wild air; still as the mosses that glow on the flooring and over the lines of the roots here and there. The pine tree drops its dead; they are quiet as under the sea; overhead rushes life in a race, as the clouds the clouds chase, and we go, and we drop like the fruits of the tree:  Even we, even so. 2.  Silence (Thomas Hood) There is a silence where hath been no sound; There is a silence where sound may be; in the cold grave, under the deep, deep sea, or in a wide desert where no life is found, which hath been mute and still must sleep profound. No voice is hushed, no life treads silently; but clouds and cloudy shadows wander free, that never spoke, over the idle ground. But in the green ruins in  the desolate walls of antique palaces where  . man hath been, though the dun fox, or wild hyena calls and owls that flit continually between shriek to the echo, and the low wind moans; there the true silence is, self conscious and alone. 5.  The Birds (Hilaire Belloc) When Jesus Christ was four years old, the angels brought him toys of gold which no man ever bought or sold; and yet with them he would not play.  He made him wild fowl out of clay, and blessed them till they flew away:  Tu creasti Domine, O, Jesus Christ, Thou Child so wise, bless mine hands and fill mine eyes, and bring my soul to Paradise. �Binghamton Univer sity Music Departme nt ’s U P C O M I N G  E V E N T S Mid­Day concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, February 17  — Organist  Jonathan Biggers — A Bach Celebration!! Series — 8 PM — FA21 — $10 general public; $5 faculty/ staff/seniors; $2 students Friday, February 18 — Organist Jonathan Biggers — A Bach Celebration!! Series (11/ 17 repeat performance) — 4 PM — FA21 $10 general public; $5 faculty/staff/seniors; $2 students Saturday, February 19  — Master’s Recital : Cabiria Jaoobsen, mezzo­soprano — 3 PM — Casadesus Recital Hall — free Thursday, February 24  — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — free Saturday, February 26 — University Symphony O rchestra : Vive Ia France — 3 PM — Osterhout Concert Theater — $10 general public; $5 faculty/staff/seniors; free for students Sunday, February 27 — Wind Symphony Concerto and Aria Competition  — 6:30 PM — Casadesus Recital Hall — free Thursday, March 3 — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — free Saturday, M arch 5 — Junior Recital : Mark Rossnagel, orga n — 3 PM — First Presbyterian Church, Binghamton — free Sunday, March 6 — Win d Symphony : Passacaglia (Homage on B­A­C­H) — 3 PM — Anderson Center Chamber Hall — free Thursday, March 10  — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — free For ticket information, please call the Ander son Center Box Office  a t  7 77­A R TS. � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:01 45:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146589">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE146589</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Early On, February 4, 2011 Recital Tape 2011-2-4 Description An account of the resource Works by Scarlatti. Merula, Dowland, Gabrielli, Hurford, HAndel, Britten Creator An entity primarily responsible for making the resource Browne, Peter Kaufman, Barbara Salasny, Christina Stalker, Stephen Sweeny, Paul Morris Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-02-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/d2ceef3f7b180c857ce998c08b144b11.pdf 690c3e5e5451ba70bebebdcfb9801291 PDF Text Text BINGHA MTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K Ld w d e c D E P A R T M E N T E A R L Y  O N MUSIC FROM NOW AND THEN Peter Browne, keyboards Ba rba ra Kaufm an, record er Christina  Salasny, soprano Stephen S talker, cello Pa u l Sweeny,  gui ta r Sa t urday, Octobe r 25, 2014 7:30 p.m. FA 2 1 �ea»  P ROG RAM  4» Caro Augeletto from L ’Oraculo del Fato .. ...Francesco Gasparini Christina Salasny, sop rano Barbara Kaufman, recorder (1661­1727) Stephen Stalker, cello Paul Sweeny, Guitar Peter Browne, Harpsichord A Fancy....  From Silent Night  Sir John Smith, His Almain John Dowland (1563­1626) Christina Salasny, soprano Barbara Kaufman, recorder Stephen Stalker, cello Paul Sweeny, guitar Sonata No. 5 in e minor, RV40  Antonio Vivaldi Largo  Allegro Largo Allegro Sonata Seconda  (1678­1741) Stephen Stalker, cello Peter Browne, harpsichord Giovanni Ba ttista Fontana Barbara Kaufman, recorder Paul Sweeny, guitar Stephen Stalker, cello (1580­1630) Seele, lerne dich erkennen!  Georg Philipp Telemann I.  Aria: Seele, lerne dich erkennen  (1681­176 7) II.  Recitative III. Aria: So will ich dich mit Freuden kussen Christina Salasny, soprano Barbara Kaufman, recorder Stephen Stalker, cello Peter Browne, harpsichord Paul Sweeny, guitar  . Pvlnterm issionb­ �Oration ..........Daniel P inkham II.  Allegro III. Energico, Andante (1923­2006) Stephen Stalker, cello Peter Browne, organ Raymond Sea ley I.  On the Hill II.  In the Window III. The Letter IV. No Answer V.  Ay (b. 1945) Christina Salasny, soprano Barbara Kaufman, recorder Paul Sweeny, guitar Insieme for guitar and harpsichord Theme : Allegretto semplice e spontaneo I.  Un poco agitato II.  Alla marcia III. La rgo e d ignitoso IV. Scherzoso V.  Alla siciliana VI. Finale ............]ohn Duarte (1919­2004) ....Ellen Taaffe Zwilich Stephen Stalker, cello Peter Browne, piano Nos Autem from Esquisses Gregoriennss Set Me as a Seal Upon Your Heart (b. 1939) . Naji Hakim (b. 1955) Christina Salasny, soprano Peter B rowne,  organ Ye Banks and  Braes ( 1791) Robert Burns (arr. Ma tthias Holst & Peter Browne) �Translations Caro Augeletto Dear little bird, you play among the green branches, I understand you, you call me, and love speaks through you. If to that sweet feeling which so greatly pleases you give vent, I understand you, with your song, you greet the dawn. Seele, lerne dich erken nen! Aria :  Learn to know yourself, oh soul!  mere fragments are all  that man’s genius can create.  The momentum of earthly wisdom  is too feeble, far too feeble  to attain perfection. Recita tive: A fledgling whose limbs are still  too weak and tender  will flap his trembling feathers in vain  when trying to emulate his elders  and cleave the loftier realms of air, even though the will is there  to follow them:  it is no different  with our wit and knowledge:  our restless desire  is always fixed on higher things;  our innate pride  strives to make the heaviest tasks  light as a feather,  to make the impossible  possible.  But God has set limits  to our wit, as to our life,  which cannot be exceeded.  The world has known only one Solomon,  whom God, whose throne  is illuminated by the ultimate wisdom,  called “the wisest”.  Yet even Solomon acknowledged his human weakness.  Ah yes, in this life  our perception remains imperfect.  It is through death,  which seems to reduce us to nothing,  that God allows us at last to inhe rit all;  what was dark then becomes a bright light ;  what was a fragment becomes a whole;  what was a child becomes a man. Aria :  Thus will I kiss you joyfully,  oh herald of perfection!  You bring us face to face  with God in his glory  and give us perfect knowledge  and perfect happiness withal. �The Window (or the Song of the Wrens) (adapted from Alfred Lord Tennyson) L  On the Hill The lights and the shadows fly! Yonder it brightens and darkens on the plain. A jewel, a jewel dear to my lover’s eye! Oh, is it the brook or the pool, or her window pane, When the winds are up in the morning. Follow them down the slope. Follow them down to the window of my dear. It brightens and darkens, brightens like my hope. It darkens, it brightens and darkens like my fear, And the winds are up in the morning. H.  At the Window Vine, vine and eglantine, Clasp her window, trail and twine! Rose, rose and clematis, Trail and twine and clasp and kiss, Kiss, kiss; and make her a bower All of flowers, and drop me a flower, Drop me a flower. Vine, vine and eglantine, Cannot a flower, a flower, be mine? Rose, rose and clematis, Drop me a flower, a flower, to kiss, Kiss, kiss, and out of her bower All of flowers, dropt me a flower, dropt, a flower. IH.  The Letter Shall I write to her? Shall I go? Ask her me to marry me by and by? Somebody said that she’s say no; Somebody knows that she’ll say ay! Ay or no, if ask’d to her face? Ay or no, from shy of the shy? Go, little letter, apace, apace, Fly; Somebody said that she’d say no; Somebody knows that she’ll say ay! �IV .  No  Answe r The mist and the rain, the mist and the ra in! Is i t ay or no!  Is i t ay or no! And never a glimpse of her window pa ne! And I may die, but the grass will grow, And the grass will grow when I am gone, And the wet west wind and the world Will go on. Ay is the song of the wedded spheres, No is trouble a nd cloud and storm, Ay is life for a hundred years, No will push me down to the worm. The wind and the wet, the wind and the wet! Oh wet west wind how you blow, you blow! The wind and the we t, the wind and the we t! And never a line from my lady yet! V.   Ay Be merry, all birds today, Be me rry on ear th as you never were me rry before, Be merry in heaven, O larks, and far away, Be me rry forever and ever and one day more. Why? For it’s easy to find a rhyme. Oh merry the linnet and dove, And swallow and sparrow and throstle, and have your desire! O merry my heart, you have gotten the wings of love, And fl it like the king of the wrens with a crown of fire. Why? For it’s ay, ay, ay, ay. �V I S I O N S  2014­2015 SEASON a  ’  BINGHAMTON  PHlLHARmO NlC ._.  ovo  (f~  Jose Luis N & ,M   US_ C I Director IVAN “3.4016 G’uliejhrt­ .:J .  ­, 1 6690115!  OYJMNOl “7 fl  N §  &:  0‘  607­723­3931 www.binghamtonphilharmonic.org l  J "  J )   . _  ‘  J  H  I  ID  b d } A  S E A S O N   O F RENE  GE... REV ELRY... REDEMPTION! ,  > a .~ ­  7.  l ­   "  ’ “ 1 _ P ’ 4 ­ : ;   2 4   / I ’ J ’ 1   a  11  1 :3 1 . 1 1   MGM?”­  ‘  '  9­3» _  t '  ~ n   ] 1  r ry E ’ g   GIRL  N I p a t i o s   _  ‘  V F , .  February 6 & 8, 2015  g  ­5  ,  E,“ T 800h  with glisk Superticfss AM”7&19,'2015’  ' rlgzi­crrrrs m a 7421  @ 9 B l u e S t or m T r  C 1 1 1 “  O per a  pr oduct i ons are m ade  p uss­Die b y  the N ew York  Sta te Council  O H M  A rts  wyth the support of G ov e mor  And rew   C u o m o  a  he N e w  York State Logssmlure  Gener al Operarynr) Support i s  pr ovi de d  to Try  C x u c s  Oper a  b y  a gr ant c h m  the United  Cultural mm, a program o f the Broome County Arts Council  T h e  F o r u m  T h e a t r e 2 3 6  W a s h i n g t o n  S t .   0  B i n g h a m t o n ,  N Y 400 o F o r  “ ( k e n c  a l l  6 0 7 ­ 7 7 2 – 0   r purchase online at  t ricitiesoper a.com. i’x ! f �Bi n gbamton Univer sit y M us ic  De part ment’s Coming Events W W W “ Sunday, October 26  ­  Tri­Cities Opera presents Verdi’s Rigolerto ­  3 p.m. ­  The Forum Theatre —  call (60 7) 772 0400for tickets Thursday, O c t o ber ”  – Mid­Day C o n c e r t  1:20 p.m. ­ Casadesus Recital Hall – free Saturday, November 1 ­  Senior Reci tal: joseph Ke ller, baritone ­ 7:30 p.m.  ­  Casadesus Recial Hall – free Sunday, November 2  ­  English and American A rt  Songs – 3 p.m. – Phelps Mansion,  191 Court Street, Binghamton – $ 1 0 general public; B U  s tudents free with ID – For reservations call the Phelps  Mansion at  (607)  722­4873.  This  concert  is  cosponsored  by  the  Binghamton  University Music Department and Phelps Mansion Museum. Thursday, November 6 – Mid­Day Concert ­  1:20 p.m. – Anderson Center Chamber Hall ­ free Saturday, November8 ­  Senior Reci tal: Dan Rosenau, organ ­ 4:00 p.m. ­  FA 21 ­ free Sunday, November 9 ­ M u  Phi E psilon Fall  R ecital ­  1 1:00 a.m. ­ Casadesus Recital Hall ­ free Sunday, November 9  ­  Composers Concert: Hugunine and Sikora ­  4:00 p.m.  ­  Phelps Mansion  Museum ­ $1 0 general  public;  free  for  BU students with  ID.  For reservations call  the Phelps Mansion at (607) 72 2 4 8 73. Thursday, November 13 –Md­Day Concerr– 1:20 p.m.  – Casadaus Recital Hall – free Saturday, November 15 – Unive rsity Chorus: Haydn’s Mass i n  T ime  o f  W ar –  7:3 0 p.m. – Oxterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; free for students Sunday, November 16 ­  Senior Reci tal: Alexia Chang, violin (tenta tive)  ­  3 p.m.  ­ Casadesus Recital Hall – free Monday, November 1 7 – Momenta Quartet Master Class – 8:15 ­  10  p.m.  ­  Casadesm Recital Hall ­ free Tuesday, November 18 ~ Momen ta Quartet: Music Now! ­  7:30 p.m. ­  Casadesus Recital Hall ­ $ 1 0 general pub  é a f w I   = I = ] ;   b ­ E $5 faculty/staff/seniors/alumni; free for students Q M M M M M M M M M b For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607)    7 7 7­ARTS. For a complete  list  of our concerts call (607) 7 7 7­ 2 592, visit musicbinghamtonedu or become a fan on Facebook. l f  you were inspired by  this performance, consider supporting the De partment of Music with a  financial gi ft. Your sup port  helps  to continue the work of students, faculty, and guest artis ts and their contributions to our community. Please  make your  donation  payable  to  the  Binghamton  University  Music Department,  and  send  your  check  to  BU Music  Department,  P.O.  Box 6000, Binghamton, NY 13902. � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:15 56:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74905">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74905</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous 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 Early On: Music from Now and Then  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Gasparini, Dowland, Vivaldi, Telemann, Duarte, Zwilich, Hakim, Burns. Held at 7:30 p.m., October 25, 2014, Fine Arts Building, Room 21. Creator An entity primarily responsible for making the resource Browne, Peter Kaufman, Barbara Salasny, Christina Stalker, Stephen Sweeney, Paul Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Gasparini, Francesco Dowland, John, 1563-1626 Vivaldi, Antonio, 1678-1741 Telemann, Georg Philipp, 1681-1767 Duarte, John Zwilich, Ellen Taaffe Hakim, Naji Burns, Robert Date A point or period of time associated with an event in the lifecycle of the resource 10/25/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource <p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p> <p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p> Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (92 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 92 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 8/2/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244072">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244072</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Ed Ochester with "Open Mike" at the Amsterdam, June 13, 1995 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Ed Ochester at the Amsterdam in Johnson City, N.Y. Several local poets read their works during "open mike" sessions before the featured poet. The event was held on June 13, 1995 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Ochester, Ed Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1995/06/13 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1995 6-13 Format The file format, physical medium, or dimensions of the resource video/mp4 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource <p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p> <p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p> Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (90 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 90 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 10/28/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243896">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243896</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Edwin Torres with "Open Mike" at the Amsterdam, February 16, 1993 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Edwin Torres at the Amsterdam in Johnson City, N.Y. Several local poets read their works during "open mike" sessions interspersed with readings by the featured poet. The event was held on February 16, 1993. The readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Torres, Edwin, 1958- Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1993/02/16 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1993 2-16 Format The file format, physical medium, or dimensions of the resource video/mp4