SUMMARY OF DR. DONALD R. HILL'S VITA FOR Spring 2001:
Dr. Donald R. Hill, Professor of Anthropology and Africana/Latino Studies (Chair, 1996- Spring 1999) at State University College at Oneonta, New York received his Ph.D. in Anthropology from Indiana University (1973). He has been a Curator of Education at the American Museum of Natural History (1973-1975) and an Assistant Professor of Anthropology at City University of New York - Hunter College (1975-1978). Dr. Hill has taught courses in cultural anthropology, folklore, and ethnomusicology for over 28 years. Dr. Hill has studied ethnography and ethnomusicology of the Caribbean and has published two books and many scholarly articles, photographs, field records, notes for commercial recordings, reviews, encyclopedia entries and magazine articles. His most noted academic publications are Calypso Calaloo: Early Trinidadian Carnival Music (University Press of Florida, 1993, co- winner of the 1994 University of Chicago Folklore Prize); The Impact of Migration on the Metropolitan and Folk Society of Carriacou, Grenada (American Museum of Natural History, 1977); and “’Peter Was A Fisherman’: The 1939 Trinidad Field Recordings of Melville and Frances Herskovits, Vol. 1” (CD producer and co-author of booklet, Rounder Records 1114, Cambridge, MA, 1998). Hill has annotated, produced, and/or made field recordings for 22 long playing records and CDs. He is co-author of "'Play Mas' in Brooklyn" (Natural History, August 1979) and author of "Trinidad Pan" (Natural History, Feb. 1995). Dr. Hill has created an archive and computer data base of 18,000 commercial recordings and has deposited over a hundred hours of his early ethnomusicological recordings at the Indiana University Archive of Traditional Music.
BRIEF BIOGRAPHY IN NATURAL HISTORY, FEBRUARY 1995:
"When people ask me what I play, I tell them the tape recorder," Donald R. Hill says by way of explaining his musical ability. As an undergraduate at Pomona College in the late fifties, he sometimes spent less time in the classroom than on the road recording country music, blues, and jazz. After a year in Korea as an Army linguist, Hill went on to earn degrees in anthropology and folklore from San Francisco State and Indiana Universities. Since 1978, he has been a professor of anthropology and Africana and Latino Studies at the State University of New York College at Oneonta. Earlier, he did a three-year stint in the Education Department of the American Museum of Natural History, running its minority curatorial training program. "About twenty-five graduated before it folded, and many went on to become important in the museum world," he says proudly. When Hill isn't teaching, he dips into his collection of seventeen thousand 78-RPM records and works on such projects as making a CD of early steel band music and editing his great-grandmother's diaries.
COMMENTS FROM THE JUDGES ON THE 1994 CO-WINNER OF THE CHICAGO FOLKLORE PRIZE FOR Calypso Calaloo (conferred by the International Folklore Society and the Department of Germanic Languages and Literatures at the University of Chicago and awarded annually since 1928 for major contributions to the study of folklore):
Hill expertly describes and analyzes the content, context and evolution of a musical genre. Clearly written and amply documented, the work situates this music and its development in the artistic and entrepreneurial agency of local actors, the power and discourse of local Trinidadian institutions and the exigencies and opportunities of an evolving global economic system that shaped both Caribbean society and popular entertainment as each is known today. In its careful attention to performance events, interrelationships between performance genres, complex identities of individual artists and depth of historical record, the book presents a rich case study of particular tradition. It also serves as a model for understanding the complexity in the development of many of the world's traditional genres of public performance.
NAME: Donald R. Hill
POSITION: Chair, Africana/Latino Studies and
Professor of Anthropology and Africana and Latino Studies,
State University College at Oneonta
Home: HC 64, Box 77A Phone: (607) 432‑9183
Oneonta, New York 13820
Office: Departments of Anthropology & Africana and Latino Studies
State University College
Oneonta, New York 13820 Phone: (607) 436‑2018
FAX: (607) 436-2653
Web page: http://www.oneonta.edu/~hilldr/
Schools Major (Minor) Degree Date
Indiana University Anthropology(Folklore) Ph.D. 1973
San Francisco State U Anthropology (Jr.Col.Cred.) MA 1968
Defense Lang. Inst. Spoken Korean N/A 1962
Pomona College Philosophy BA 1961
Fisk University Sociology N/A 1959
AREAS OF INTEREST:
Introductory Anthropology, Music of the Caribbean, Anthropological Ethnomusicology, Ethnohistory, Anthropological Folklore, Media (Film, Sound Recording, Data Base Management), and Popular Culture. Museum and Archive work (see below).
Professor of Anthropology, SUCO (1995-present; at SUCO 1978-present).
Director of section on Caribbean Music, Black Atlantic Seminar, Indiana University, Summer, 1996.
Adjunct Professor, Hartwick College, Fall, 1986.
Adjunct Assistant Professor, Hartwick College, Spring 1980.
Assistant Professor of Anthropology, Hunter College (CUNY), 1976‑1978.
Assistant Curator of Education, American Museum of Natural History, 1973‑1976 (courses credited through City College of New York).
Teaching Assistant, Department of Anthropology, Indiana University,
Instructor, San Quentin Prison, 1967.
Lecturer, San Francisco State University, 1967.
Student Teacher, San Francisco City College, 1966.
DISSERTATIONS AND THESES:
1. “’England I Want to Go’: The Impact of Migration on a Caribbean Community,” Ph.D. dissertation in Anthropology, Indiana University, May 1973 (913 pages, charts, appendixes).
2. “Empirical and Conventional Anthropology: Two World Views,” MA thesis in Anthropology, San Francisco State College, January, 1968.
1. Calypso Calaloo: Early Trinidadian Carnival Music, University Press of Florida, 1993, published in both hardback and paperback editions (110,000 words; 45 photographs, maps, and other figures; appendix of song lyrics; index; compact disc with notes).
2. The Impact of Migration on the Metropolitan and Folk Society of Carriacou, Grenada, Anthropological Papers of the American Museum of Natural History, Vol. 54, Part 2, New York, 1977 (120,000 word major revision of Ph.D. dissertation, 42 maps, photographs, and other figures, glossary, 3 appendices).
CONVENTIONAL ARTICLES AND BOOK CHAPTERS (REFEREED):
1. “West African and Haitian Influences on the Ritual and Popular Music of Carriacou, Trinidad, and Cuba,” Black Music Research Journal Vol. 18, No. ½ , Spring/Fall 1998, pp. 183-201.
2. “’I Am Happy Just To Be In This Sweet Land of Liberty’: The New York City Calypso Craze of the 1930s and 1940s,” book chapter in Ray Allen and Lois Wilcken, eds., Island Sounds In the Global City, New York: Institute for Studies in American Music and the New York Folklore Society, 1998, pp74-92.
3. "West Indian Carnival in New York," New York Folklore Vol. XX Nos 1-2, 1994, pp. 47-66 (text + 10 photos), including journal cover photo), Winter-Spring 1994.
4. "Up From the Fifties," [co-author is Blanche O. Hill], book chapter in Walton Johnson and D. Michael Warren, eds., Inside Mixed Marriage, New York: University Press of America, 1993.
5. "Dressing in Costume and the Use of Alcohol, Marijuana, and Other Drugs by College Students," Adolescence, Vol.28, No.109, Spring 1993 (Hill is third listed author; other co-authors are Kimberly A. Miller and Cynthia R. Jasper).
6. "Calypso, the Cuban Son, Reggae and Meringue; Four Musical Styles, Four Creole Views of Life in the Caribbean," Book Chapter based on a paper given at the Terser Seminario di Folklor di Latino-Amerika i Karibe, July 22-29, 1990, CuraHao, Netherlands Antilles, July 25, 1990.
7. "Costume and the Perception of Identity and Role," in Perceptual and Motor Skills 72, Missoula, Montana, 1991, pp. 807-813. (Hill is third listed author; other co-authors are Kimberly A. Miller and Cynthia R. Jasper).
8. "Magic: Magic In Tribal Societies," Book Chapter in Lawrence E. Sullivan, Hidden Truths: Magic, Alchemy, and the Occult, 1989 (originally published in Mircea Eliade, ed., The Encyclopedia of Religion, Volume 9, New York: Macmillan, 1987, pp. 89-92.
9. "ElJments africains, francais, anglais et amJricains dan le calypso de Trinidad," book chapter in Sylvie ClidiPre, ed., Les Musiques Guadeloupennes, Paris: Editions CaribJennes, 1988.
10. "Calypso Records And Their Significance In The History Of Classic Calypso," Book Chapter in Proceedings, Seminar On The Calypso, Institute of Social And Economic Research, University of the West Indies, St. Augustine, Trinidad and Tobago, 1986.
11. "More on Truth, Fact and Tradition in Carriacou," Caribbean Quarterly 20: 1, 1974.
CONTRIBUTIONS TO CDs AND LP RECORDINGS IN VARIOUS CAPACITIES (Reviewed):
1. “Caribbean Voyage – Tombstone Feast: Funerary Music of Carriacou,” compiler, junior co-author of notes, and owner of cover painting, Rounder CD 1727, January 2001.
2. “Caribbean Voyage – Saraca: Funerary Music of Carriacou,” compiler, senior co-author of notes, lyrical transcriptions, unaccredited photographer, and owner of cover painting. Rounder CD 1726, September 2000.
3. “A Quirky Cook and the Calypsonian: A Match Made in Trinidad,” Afterword to notes in “Calypso Awakening From the Emory Cook Collection (compiled and edited by Ken Bibly and Keith Warner),” Smithsonian Folkways SFW CD 40453, August 2000, pp. 23-24.``
4. “Calypso At Midnight, The Live Midnight Special Concert Town Hall, New York City 1946,” compiler and senior co-author of notes and lyrical transcriptions for Rounder CD 11661-1840-2, 1999.
5. “Calypso After Midnight, The Live Midnight Special Concert Town Hall, New York City 1946, compiler and senior co-author of notes and lyrical transcriptions for Rounder Cd 11661-1841-2, 1999.
6. “’Goodnight Ladies and Gents: The Creole Music of Lionel Belasco,” co-producer and co-compiler and author of notes for Rounder CD 1138, 1999.
7. “Carriacou Calaloo: The 1962 Field Recordings of Alan Lomax,” compiler and co-author of notes (with Dr. Lorna McDaniel), Rounder 1722, 1999.
8. “Golden Years of Calypso, 1931-145,” co-author of notes and lyrical transcriptions (with Yoshiki Fukazawa and Toyo Nakamura), MVCE-24077, MCA Records, Inc. & Universal Victor Inc., Japan, JVC Aoyama Studios, Tokyo, 1998.
9. “’Peter Was A Fisherman’: The 1939 Trinidad Field Recordings of Melville and Frances Herskovits, Vol. 1,” producer co-compiler and senior co-author of monograph (with Drs. Lise Winer, Maureen Warner-Lewis, and John H. Cowley), Rounder Records 1114, Cambridge, MA, 1998.
10. "The Big Drum and Other Ritual and Social Music of Carriacou, Grenada," field recordist and author of monograph, monograph and compiler of cassette tape or CD; Smithsonian/Folkways, Washington DC: Office of Folklife Programs, 1998 [originally published by Folkways Records for the Indiana University Archives of Traditional Music as a long playing record with monograph, New York, 1980, reissued as a cassette with monograph (1992) and as a CD with monograph (1997) by Smithsonian/Folkways, Washington DC, 1992].
11. “Money Be No Sand,” researcher for Original Music CD OMCD031, West African popular music, 1995.
12. "Calypso Calaloo," producer, compiler and annotator of CD with notes that accompanies the book, Calypso Calaloo..., also issued separately by Rounder (CD 1105), Feb, 1994 (see entry under "BOOKS").
13. "Arkansas Songs and Tunes of the Ozarks," field recordist and co-producer (with David Mangurian), cassette tape no. 3812 (1992) or CD (1997), Washington D.C.: Smithsonian Folkways (originally issued as "Music From the Ozarks" on a 33 1/2 rpm disc, Folkways FS series, New York: 1960).
14. "Calypso Pioneers," co-produced and co-annotator 33 1/3 rpm disc or CD, photographs, Rounder Records 1039, Feb. 1989 (Listed in an annual publication by the American Folklife Center, the Library of Congress, "American Folk Music and Folklore Recordings 1989: A Selected List").
15. “Will Shade and Gus Cannon 1961,” field recordist for one 12” LP record Document DLP 561, Vienna, Austria, 1989.
16. “Memphis Sessions (1956-1961),” field recordist for 1961 sessions for one 12” LP record Wolf 120.920, Vienna, Austria, nd (1989?).
17. "'Convoy'," notes for song in Richard K. Spottswood, ed., "Songs of War and History," Folk Music in America, Vol. 10, pamphlet for 33 1/3 rpm disc, Washington, D.C., Library of Congress, 1978.
18. "'Mamaquille'," notes for song in Spottswood, ed. "Songs of Humor and Hilarity," Folk Music in America, Vol. 11, pamphlet for 33 1/3 rpm disc, Washington, D.C., Library of Congress, 1978.
19. "'Don't Do That To Me'," notes for song in Spottswood, ed., "Songs of Complaint and Protest," Folk Music in America, Vol. 7, pamphlet for 33 1/3 rpm disc, Washington, D..C., Library of Congress, 1977.
20. "'Worker's Appeal'," notes for song in Spottswood, ed., "Songs of Complaint and Protest," Folk Music in America, Vol. 7, pamphlet for 33 1/3 rpm disc, Washington, D.C., Library of Congress, 1977.
21. “The Blues of Wade Walton,” unlisted co-producer (with Kenneth S. Goldstein and Dave Mangurian), LP record, Prestige Bluesville 1060, New York, 1962.
22. “Blues From Maxwell Street,” field recordist for songs by King David and Daddy Stovepipe on one 12” LP Record, Heritage 1004, London, 1962.
SCHOLARLY REVIEW ARTICLES:
1. Review essay of ‘Singing in the Spirit,’ by Ray Allen. (Philadelphia: University of Pennsylvania Press, 1991); and “Happy in the Service of the Lord:” African-American Sacred Vocal Harmony Quartets in Memphis, second edition. by Kip Lornell. (Knoxville: The University of Tennessee Press, 1995), and ‘Nightsong: performance, Power, and Practice in South Africa,” by Veit Erlmann (The University of Chicago Press, 1996), in Journal of American FolkloreNo. 446, Vol. 112, Fall 1999, pp. 567-573.
2. "Belief and Ritual: Has Anthropology Lost Its Magic?" Reviews in Anthropology 17 (1), Winter 1990.
3. "The Ambiguity of Reason," Reviews in Anthropology 15 (4), Fall 1988.
SCHOLARLY, 'INVITED' PUBLICATIONS:
1. “Calypso and Delta Blues in the Early Twentieth Century: Parallel Traditions in African American and Caribbean Cultures,” in Black Atlantic Seminar: the Arts, Indiana University, Summer, 1996, A Teaching Sampler, pp. 15-26.
2. "Meade Lux Lewis," Cadence (a journal of the oral history of jazz and blues musicians), Vol. 13, No. 10, October 1987, pp. 16-28.
3. "Wade Walton: Blues Singer, Barber, Raconteur," Cadence (a journal of the oral history of jazz and blues musicians), Vol. 13, No. 8, August 1987, pp. 22-30.
4. "Curtis Jones and the Texas Blues," Cadence Vol. 13, No. 5, May 1987, pp. 22-25.
5. "Quinn Wilson, Autobiographical Note," Cadence, Vol. 13, No. 4, April 1987, p. 16.
6. "Norman Mason, Canadian Jazzman," Cadence, Vol. 13, No. 4, April 1987, pp. 17-19.
7. "Will Shade of the Memphis Jug Band," Cadence, Vol. 13, No. 3, March 1987.
8. "Two Street Musicians: Roy Brown And Daddy Stovepipe," Cadence, Vol.13, No.2, February 1987.
9. "George Lewis, New Orleans Jazzman," Cadence, Vol.13, No.1, January 1987.
10. "Growling Tiger: Discography," (Hill is second listed author; others are Richard K. Spottswood and Richard Noblett), Keskidee 1:10-18, Autumn 1986.
11. "Recorded Calypso: 1912‑1950," Record Research, Fall, 1985.
PUBLISHED ABSTRACTS AND NOTES:
1. “ The 1953 Dial Records of Carnival Music in Trinidad,” see papers below.
2. “West African Influences on the Ritual and Popular Music of Cuba, Carriacou, and Trinidad: A Comparison,” note in Center for Black Music research, Vol. 9, No. 1, Spring 1996.
3. "Calypso Calaloo: Early Carnival Music in Trinidad," see Poster Session below.
4. "100 Years of Anthropology and Recorded Sound, 100 Years of Ethnic Stereotypes on Record" see papers No. 1 below.
5. "Minstrelsy on Record," see papers below.
6. "Seasonality of Marriages and Conceptions on Carriacou, Grenada 1920‑1970" (senior co‑author: R.J. Norelli), American Journal of Physical Anthropology 63: 199 (1984).
7. "'My Tongue is like the Blast of a Gun': Politics, Carnival and the Calypso," Abstract in Hazen, Holloway and Jones, eds., Latin America Today: Heritage of Conquest (Published papers for a Conference at Cornell University, April 3‑5, 1980), Ithaca, New York, Cornell University Latin American Studies Program, Spring, 1981, pp. 88‑90 (see item 5, "Papers Read at Meetings").
8. "The Anatomy of a Collection," New York: The Schomburg Center for Research in Black Culture Journal, Vol. 1, No. 1, Fall 1976 (this is a brief review of the Hill Collection of Calypso which I donated to the library; the review contains information abstracted from my notes to the collection.)
9. Abstracts for the five papers delivered at the AAA Meetings listed in "Papers Read at Meetings".
PUBLICATIONS FOR A GENERAL AUDIENCES (Reviewed):
1. “The Roaring Lion: A Personal Homage,” Everybody’s Magazine Vol. 23, No. 9, September 1999, pp. 36-38.
2. Seven short essays and 31 total entries in the internet version of the All Music Guide . These essays are “Types of Calypso,” “Call and Response Forms,” “The History of Calypso,” “The Great Names of early Calypso,” “Music of the Lesser Antilles,” “The Development of Pan,” “Calypso on Record.”
3. "Trinidad Pan," Natural History Magazine, Vol. 104, No. 2, Feb. 1995.
4. "Profile: Daphne Weekes," Everybody's Magazine, Vol. 6, No. 1, New York, Feb. 1982.
5. "New York's Caribbean Festival," Everybody's Magazine 5 (6), New York, September 1981, pp. 33-37.
6. "Carnival Joys," Everybody's Magazine, New York, Sept. 1979.
7. "'Play Mas' in Brooklyn," (junior co‑author is Robert Abramson), Natural History, New York, August, 1979.
8. "Carnival in New York City," Everybody's Magazine, 1978, pp. 15-19.
7. "Houdini": Early Calypso Magician," Everybody's Magazine, 1977.
BOOK AND RECORD REVIEWS:
1. Review of Louis Regis, “The Political Calypso: True Opposition in Trinidad and Tobago 1962-1987” (Gainesville:
University Press of Florida, 1999), in the New West India Guide (Leiden, The Netherlands, vol74 no. 3 & 4, 2000.
2. Review of Lorna McDaniel, “The Big Drum Ritual of Carriacou, (Gainesville: University Press of Florida, 1999),
in Yearbook For Traditional Music 1999, Volume 31, New York.
3.Review of Peter van Koningsbruggen, “”Trinidad Carnival: A Quest for National Identity” (London, Macmillan Caribbean, 1997), in the New West India Guide (Leiden, The Netherlands), vol. 72 no. 3 & 4, 1998.
4. Review of Stephen Stuempfle, “The Steelband Movement: The Forging of a National Art in Trinidad and Tobago” (Philadelphia: University of Pennsylvania Press, 1995), in The New West India Guide (Leiden, The Netherlands), vol. 71, no. 3&4, 1977, pp. 336-37.
5. Review of Peter Manuel, Kenneth Bilby and Michael Largey, “Caribbean Currents: Caribbean Music From Rumba to Reggae” (Philadelphia: Temple University Press, 1995), in The New West Indian Guide (Leiden, the Netherlands), vol. 71 no. 1 & 2, 1977.
6. numerous reviews of calypso, ritual, and other music from the Caribbean in the All Music Guide, Minneapolis, Minn.: Matrix Software, Inc., 1997, hardback, CD ROM, and Internet (http://www.allmusic.com/cgi-win/amg.exe) versions. 31 reviews are in the internet version as of 1998.
7. Review of John H. Cowley, “Carnival, Canboulay and Calypso: Traditions in the Making” (Cambridge University Press, 1996) in Folk Music Journal (English Folk Dance and Song Society), Volume 7, Number 2, 1966.
8. Review of Jeffrey Thomas (comp.), “Forty Years of Steel: An Annotated Discography of Steel Band and Pan Recordings, 1951-1991” (Westport CT: Greenwood, 1992) in The New West Indian Guide, vol. 69, no. 3 & 4 (Leiden, the Netherlands), pp. 391- 394, 1995.
9. Review of Nancie Solien-Gonzalez, 'Sojourners of the Caribbean' (University of Illinois Press 1987), Human Ecology V. 18, March 1990, pp.136-38.
10. Review of David Rudder, 'Kaiso, Calypso Music,' in The New West Indian Guide, Vol. 66, no. 3 & 4 (Leiden, the Netherlands), 1992.
11. Review of Robert Dirks, 'The Black Saturnalia: Conflict and Its Ritual Expression on British West Indian Slave Plantations' (Gainesville: University Presses of Florida, 1987), in Ethnohistory 35: 4, Fall 1988, pp. 403-405.
12. Record Review of 'The Growling Tiger: Old Time Kaiso' (Rounder 5006, producer and author of liner notes: Steve Shapiro), Everybody's Magazine, Vol. 6, No. 1, New York, Feb. 1982; reissued in the All Music Guide, Matrix Software (firstname.lastname@example.org), 1996.
13. "Book Review of 'Race First: The Ideological and Organizational Struggles of Marcus Garvey and the Universal Negro Improvement Association'(author: Tony Martin)," New York: Everybody's Magazine, 1977.
14. "Book Review of 'Dread: The Rastafarians of Jamaica' (author: Joseph Owens)," New York: Everybody's Magazine, June 1977, pp. 24-25.
MANUSCRIPT REVIEW EDITING:
1. Editorial Board, Curator Journal, 1973.
2. Manuscript reviewer, Prentice Hall anthropology texts (present)
3. Manuscript reviewer, University Press of Florida (present)
4. Manuscript reviewer, Ecology Journal
5. Manuscript reviewer, Mellen Press
PUBLISHED PHOTOGRAPHS AND PHOTOGRAPHIC EXHIBITS:
1. Two photographs of Canute Caliste, May Fortune, and Sugar Adams in Tombstone Feast (see CD notes above), 2001.
2. Three photographs of Canute Caliste, May Fortune, and Sugar Adams in Saraca (see CD notes above), 2000.
3. Two photographs of Mr. Canute Caliste and his house, dating from the 1970s, are in “The Aritste Canute Calliste, The Man, His Art,” in Karriacou Maroon, Vol. 2, Issue 2, February 2000 (Carriacou, Grenada). One of the photos is on the journal cover. The paintings featured in the article are in my collection.
4. One photograph in “John H. Cowley Ph.D. - in the Series on Langley Lives,” The (Kings Langley) Villager (English Midlands), No. 48, April 1996, p.7.
5. see "Major Articles...," "West Indian Carnival in New York."
6. One photograph, published in a junior high school level text book entitled, The West Indian Americans, written by Miriam Klevan, with an Introduction by Senator Daniel Patrick Moynihan, New York: Chelsea Press, April 1990, p.28.
7. 12 photographs, including the cover photo, published in a junior high school level text book entitled, Grenada, New York: Chelsea Press, 1988.
8. Photographic exhibit of carnival (and costume consultant) for the North American premier of Earl Lovelace's play, "Justina Calypso," Smith College, Spring 1988.
9. photographs taken in Carriacou, Grenada and Brooklyn, New York, in Robert Abramson, "The Big Drum in the Big City: Creole Enculturation in the Pan West-Indian Community of Brooklyn, NY" Expedition, Winter 1980.
10. Exhibit of Caribbean Photographs, Education Wing, American Museum of Natural History, 1974.
1. "King Fighter," notes for CD, Ice Records, New York, New York.
2. “”Tombstone Feast,” Co-author of notes and transcriptions, Rounder CD, January 2001.
SUMMITTED FOR PUBLICATION:
1. Calypso and The Blues, Arkansas State University book on the blues.
FILM AND MUSIC CONSULTANT WORK:
1. Consultant for “Edison I & II,” Broadcast in January on PBS’s news program, “All Things Considered,” Lost & Found
Sound, 1999. The broadcast included parts of an interview I made (with student, Laurie Kutner) with Harold Lockes,
on the initial phonographs in Oneonta, New York.
2. Consultant for “The Irish in America: Long Journey Home” Volume 3 – Up From City Streets,” PBS Broadcast, 1997.
2. Consultant to “Off the Record Music Services.” He is providing them turn-of-the century original recordings, some of which will be used in the upcoming American Experience series about the year 1900.
3. Consultant for the 100 CD Alan Lomax Collection, to be issued by Rounder Records over the next five years, Summer 1997.
4. Calypso music consultant for a CBS “60 Minutes” piece on Harry Belafonte, hosted by Ed Bradley, 1997.
5. Music consultant for “New York Underground: The Building of the City’s First Subway” which aired on PBS on Monday, February 17, 1997 as part of the continuing series, “The American Experience.” Three recordings from the Hill Sound and Music Archive are included in the film.
6. Music consultant for “Riding the Rails,” a film shown at the Sundance Film Festival, Winter 1997 (film includes “Ozarks Humming” tune based on Arkansas field recording in the Hill Sound and Music Archive).
7. On air acknowledgment for Louis Farahkan piece, produced by Gary Cavino, National Public Radio’s “Morning Edition,” aired on May 26 through 28, 1996.
8. Acknowledged in the credits in “Archival Footage and Photographs “ and “Thank You” sections, “The Journey of the African American Athlete,” HBO, February 1996.
9. Music consultant for “A. Philip Randolph: For Jobs and Freedom,” PBS documentary aired in February 1996 (provided recording of Marcus Garvey) (listed in credits)
10. Music consultant for “Battle Over Citizen Cane,” PBS documentary on William Randolph Hurst and Orson Wells, aired in February 1996.
11. Sound and music consultant for the Guthrie Theater's production of "The Big White Fog," a play about a follower of Marcus Garvey that opened in August 1995 in Minneapolis, Minnesota.
12. Consultant for Blackside, Inc., Film and Television Producers for the music for a six hour Public Television Series on the Depression, 1993.
13. Consultant for Yazoo Video (Shanachie Entertainment Corp.), for a 70 minute video tape entitled, "Times Ain't Like They Used To Be: Early Rural & Popular American Music From Rare Original Film Masters (1928-35), produced by Sherwin Dunner and Richard Nevins, listed on box and in credits as "Thanks To.," 1992.
14. Consultant for a film in progress on Trinidad's Carnival, Flower and Blue Straggler Films, Les Blank, Larry Loewinger, and Michael Goodwin, Producers, 1992.
15. Listed in credits as "Thanks To" in a 15 minute ethnographic film entitled, "Moko Jumbie," Karen Kramer Films, 1991.
16. "Consultant" and original researcher for a 30 minute ethnographic film on Labor Day Carnival in Brooklyn produced by Karen Kramer Films, "Celebration," Fall 1988 (listed in credits).
17. "Consultant" (listed in titles) for a one and one half hour, theater-length film on calypso, produced by RiverFilms, "One Hand Don't Clap," Summer 1988; U.S. premier, Sept., 1991.
PAPERS FOR MEETINGS, SPECIAL LECTURES, AND SYMPOSIA:
1. “Folk Arts from Small Places: The Eastern Caribbean’s Gift to a High-Tech World,” two hour Key;note Address to the 3rd Annual Conference on “The Islands In Between: Language, Literature and History of the Eastern Caribbean,” University of the Virgin Islands, St. Croix, Nov. 10, 2000.
2. “A Celebration of the Art of Canute Caliste,” lecture to guests at Fenimore House Museum, Cooperstown, New York, Sept. 29, 2000.
3. “Recordings of Caribbean Music,” delivered at a conference, “The Islands in Between: Language, Literature, and History of the Eastern Caribbean,” Carriacou, Grenada, Nov. 19, 1999.
4. “A Social History of Houses and Shops in Carriacou, Grenada, delivered at the same conference above, Nov. 20, 1999.
5. “Comparative Analysis of Grenadian Carriacou Carnivals: 1971 and 1999,” on October 22, to the World Conference On Carnival III, in Port of Spain, Trinidad.
6. “Anthropology Goes Digital,” presentation for the Teaching, Learning, and Technology Center, State University of New York at Oneonta, March 16, 1999.
7. “Carriacou Calaloo: The Varieties of Music in Carriacou, Grenada, as Recorded by Alan Lomax in 1962,” paper given at “Caribbean Voyage: The Roots of Popular Music in the Eastern Caribbean,” Hunter College, Feb. 3, 1999.
8. “A New Life for Old Sounds: Some New Directions in Restoring and Annotating Historic: Caribbean Recordings,” World Conference on Carnival, Trinity College, Hartford, CT., Sept. 13, 1998.
9. “Tradition and Trinidad: The 1971 Carnival in Carriacou, Grenada,” World Conference on Carnival, Trinity College, Hartford, CT. Sept. 11, 1998.
10. “West African Influences on the Ritual and Popular Music of Cuba, Carriacou, and Trinidad: A Comparison,” 1997 Inter-American Conference on Black Music Research: Black Music of the West Indies and Latin America, Chicago, Illinois, July 20.
11. “Wade Walton: Barber, Bluesman, and Raconteur,” Blues Symposium III, Arkansas State College at Jonesboro, April 10, 1997.
12. “Calypso Calaloo: Early Trinidadian Carnival Music,” Provost’s Author Series, State University of New York, March 19, 1997.
13. “The 1953 Dial Records of Carnival Music in Trinidad,” in the panel “Festival I: The Trinidad Carnival in the 1950s,” American Folklore Society 1996 Annual Meeting, Pittsburgh, PA, October 18, 1996.
14. “The Trinidad Field Recordings of Melville and Frances Herksovits,” co-speaker David Giovannoni, talk sponsored by the Association for Recorded Sound Collections and The Library of Congress, the Mary Pickford Theater (James Madison Building), Library of Congress, Washington D.C. Wednesday, August 28, 1996.
15. Directed two day symposium on “West Indian Music and the Blues,” for the Black Atlantic Seminar sponsored by the Ford Foundation and Indiana University, on June 22 and June 23, 1996, Indiana University, Bloomington, Indiana.
16. “Calypso and Delta Blues in the Early Twentieth Century: Parallel Traditions in African American and Caribbean Cultures,” The Delta Studies Symposium: The Blues II, Arkansas State University at Jonesboro, April 18, 1996. (This paper was also distributed to participants of the Black Atlantic Seminar: The Arts: A Teaching Sampler, ed. By Dr. John McCluskey, Jr., Chair of Afro-American Studies, Indiana University, as “A Teaching Sampler,” Spring 1997.
17. “Calypso and The Blues,” Paper given to the Seminar on the Blues, University of Mississippi, Oxford, July 1995.
18. "Pre-War Calypso Discs and Dance Halls (in New York City)," symposium paper given at the "Island Sounds in the Global City: Conference on Caribbean Music and Identity in New York City," sponsored by the Institute for Studies in American Music, Conservatory of Music, Brooklyn College, Brooklyn, New York, April 29, 1995.
19. Speaker on film, "One Hand Don't Clap," Upper Catskill Council on the Arts, Oneonta, New York, March 28, 1995.
20. "Commercial Recordings Made in Cuba From the Early 1900's to the Late 1950's: an Anthropological Perspective," Association for Recorded Sound Collections Twenty-Eighth Annual Conference, The New York Public Library for the Performing Arts, Rodgers & Hammerstein Archives of Recorded Sound, June 9, 1994.
21. "Calypso, the (Cuban) Son, Reggae and Merengue; Four Musical Styles, Four Creole Views of Life in the Caribbean," Curacao, 1990 (see grants below).
22. "100 Years of Anthropology and Recorded Sound, (revised title:" 'Your Brains Are Dead,'Ethnic Stereotypes on Records: 1895-1929'," Northeastern Anthropological Association Annual Meetings, South Burlington, Vermont, March 30, 1990.
23. "Minstrelsy on Record," American Anthropological Association Annual Meetings, Washington, D.C., November 19, 1989.
24. "African, French, British, and American Elements in Calypso," Seminar., Les Musiques Guadeloupennes ElJments Au Sein Des Musiques De Monde," November 26, 1986, Centre Des Arts Et De La Culture, Pointe A Pitre, Guadeloupe (later translated into French and published as a book chapter as listed above).
25. "Classic Calypso On Record, 1912‑1950," a Paper Presented To (but not read at) The Seminar On The Calypso, Institute of Social And Economic Research, University Of The West Indies, St. Augustine, Trinidad, January 8, 1986.
26. "English Calypso and Trinidad Society," Talk given to The Program in Atlantic History, Culture and Society, The Johns Hopkins University, October 9, 1984.
27. "The Calypso as Literature," Oneonta State Liberal Studies Faculty Seminar, April 20, 1983.
28. "Halloween in a College Town," (junior co‑author is John Relethford), American Anthropological Association, Washington, D.C., Dec., 1982.
29. "First Person Accounts of Trinidad's Topical Music, 1800‑1942 Methods in Ethnomusicological Research," paper read for the First Annual Meetings of the Society For Ethnomusicology, Eastern Section, New York, Nov. 22, 1981.
30. "Student Halloween in Oneonta," Oneonta State Liberal Studies Faculty Seminar, April 17, 1980.
31. "Local‑Level Politics and the Calypso," paper for the Section, "Ethno‑Politics of Caribbean Folk Music," (Section chaired by the author), New York State Latin Americanists Annual Meeting, Cornell University, April 4, 1980.
32. "Divisions in Latin American Studies," Keynote Address for the New York State Latin Americanists Regional Meeting, State University College, Oneonta, Oct.20, 1979.
33. "Anthropological Perspectives on New York: Labor Day in the West Indian Community," CUNY Anthropological Conference, Graduate Center, New York City, May 6, 1977.
34. "Carnival in New York," American Anthropological Association, Washington, D.C., Nov., 1976.
35. "Music for the Old Parents: The Folk Religion of Carriacou as Expressed in the Big Drum Dance," American Folklore Society, Portland, OR: Nov., 1974.
36. "West Indian Migration: Host Countries and Differential Change in the Sending Culture," American Anthropological Association, Toronto, Nov., 1972.
37. "'England I Want To Go': The Effects of Migration on a Caribbean Community," American Anthropological Association, New York, Nov., 1971 (read for me by Dr. Paul Doughty while I was in Carriacou, Grenada).
I have given many popular lectures, including a talks at a senior citizens home in the upper west side of Manhattan, grade schools, arts councils, the Daughters of the American Revolution, the Upper Catskill Council on the Arts in Oneonta, New York, Temple Israel in Binghamton New York, and many others.
1. "Calypso Calaloo: Early Carnival Music in Trinidad," Poster Session given at the 92nd Annual Meeting of the American Anthropological Association, Nov. 19, 1993.
MAJOR CITATIONS, ACKNOWLEDGEMENTS, AWARDS AND PUBLIC SERVICE AS RECOGNIZED EXPERT:
1. Interviewed by the Grenada Broadcasting Unit in Carriacou, Grenada on the Culture of Carriacou for release on both Radio and television, February 1999.
2. Judge for the World Calypso Monarch Preliminary Competition, Newark, New Jersey, June 1996.
3. Judge for the World Calypso Monarch Finals held at the Brooklyn Center for the Performing Arts at Brooklyn College on July 23, 1994. Contestants came from the United States, nine Caribbean countries, and Germany. For my money judging a competition like this is the best acknowledgment that an anthropologist can have, since it was totally West Indian sponsored and managed.
4. Calypso Calaloo was co-winner of the 1994 Chicago Folklore Prize, announced by the Department of Germanic Languages and Literatures of the University of Chicago. This is the oldest and most prestigious folklore book prize. It has been given annually since 1928 by the International Folklore Association. This book was also a finalist for Best Book Award published in 1993 (concerning a folk or ethnic recorded music), by the Association of Recorded Sound Collections (ARSC), Greenwich, Conn. It has been widely reviewed (over 40 reviews), including Billboard Magazine (where the editor called it a "popular music classic") and the Washington Post, as well as the usual academic reviews.
5. Very wide acknowledgment in many dissertations, books, ethnomusicological recordings, and articles by other scholars in the field, as having an important influence on the work in question.
6. "Calypso Pioneers" was reviewed and cited in “American Folk Music and Folklore Recordings 1989: A Selected List,” (American Folklife Center, The Library of Congress) as one of the best folk music recordings of 1989. This CD was a featured part of the NPR internationally syndicated radio program entitled, "History in Motion: the Calypso," originally broadcast in the United States on Saturday July 16, 1994. Two selections from this CD were featured in July 1994, on Part One of a Four Part National Public Radio international broadcast on the "Horizons" series on music of the Caribbean and on other Public Radio presentations.
7. Some of my publications are cited in various citation indexes. All of the CDs published since 1990 have been reviewed extensively on the internet.
8. I was an "expert discussant on Carnival" on a public radio talk show (by phone) aired live on Chicago Public Radio, Feb. 28, 1995.
9. Recipient of a Plaque (along with Pete Seeger and Alan Lomax) by The Big Drum Nation Dance Co., the Grenada Mission to the United Nations, and the Grenada Commission to the United Kingdom, April 8, 1978.
TEACHING, EDUCATION, AND TRAVEL GRANTS:
1. Travel to Meetings, American Anthropological Association, Nov. 1993, State University College of New York at Oneonta Research Grant, 1994.
2. United University Professions Travel Grant to give a paper, "Calypso, The Son, Reggae and Merengue," CuraHao, Aug, 1990 (see no. 1 under "Papers for Meetings and Symposia" above.)
3. "Preparation of New Course, Anthropological Folklore," Ford Professional Development Grants Committee, 1987.
4. "Preparing the Anthropological Component for an Interdisciplinary Focus in American Studies: Research for Two New Courses," Ford Professional Development Grants Committee, 1980.
5. "Development Grant," The National Council for Traditional Arts, 1980 (grant was to work with the Big Drum Nation Dance Company, Inc., of New York City).
RESEARCH AND PUBLICATION GRANTS:
1. Faculty/Professional Staff Research Grant 1999/2000: “Research for Annotating and Mastering Two Ethnomusicological CDs," Summer 2000.
2. PDQWL Grant: Documenting Folklore Research Conducted by the First Generation of West Indian Scholars Concerning Carriacou, Grenada, Spring 1999.
3. PDQWL: Carriacou Calaloo: The Varieties of Music in Carriacou, Grenada, as Recorded by Alan Lomax in 1962, 1998.
4. Graduate Research Initiative: Obtaining and Studying Primary Documents Concerning the Melville and Frances Herskovits Recording Trip to Trinidad in 1939, 1997.
5. Graduate Research Initiative Grant: “A Field Study of Calypso in Brooklyn, New York,” June 1996.
6. Walter B. Ford Development Grant: “Adjusting Phonograph Records Database to Archival Standards,” 1996.
7. Walter B. Ford Development Grant: “Ethnomusicological Research using DAT Format Field Recordings From Carriacou, Grenada,” 1995-96.
8. National Endowment for the Humanities Summer Seminar on "Mississippi Delta Blues, University of Mississippi, Oxford, June-August 1995.
9. Cultural Diversity Curriculum Development Grant: "Transcribing Interviews concerning West Indian and American Singers and Musicians," Summer 1995
10. Preparing a Manuscript for Publication (Calypso Calaloo), United University Professions Senior Faculty Award, 1993.
11. Walter B. Ford Development Grant: "Preliminary Research for an Ethnohistorical Study of a 19th Century Methodist Woman," Summer 1992 (SUNY Oneonta, NY).
12. Research on West Indian carnival and carnival music in New York and the Caribbean, including the following grants:
(a) Research Foundation of the State University of New York: 1979‑1980.
(b) Research Foundation of the City University of New York: 1977‑1978.
(c) Research Foundation of the City University of New York: 1977.
13. Graduate Research Fellowships for fieldwork in Carriacou, Grenada and Trinidad supported by the Midwest Universities Consortium for International Activities and a Fulbright Graduate Research Fellowship, March 1970 to Nov. 1972.
14. See below for grants received while at the American Museum of Natural History.
FIELDWORK, MUSEUM, AND ARCHIVAL RESEARCH:
1. Audio recordings of quadrille music in Carriacou, Grenada, November 1999.
2. Audio and video of folk Afro/Indian folk culture in Trinidad, October 1999.
3. Audio and video recording of Carnival in Carriacou, Grenada, February 1999.
4. Maintenance of 18,000 item data base of the Hill Sound and Music Archive. This data base stresses traditional music and early commercial 'world' music from 1892 to about 1964. Information or recordings from the data base have been used by National Public Television, Document Records (Vienna, Austria), National Public Radio, and ethnomusicological archives and researchers.
5. Hundreds of hours of my ethnomusicological recordings are stored at the Indiana University Archive of Traditional Music in Bloomington, Indiana. Included are many pages of notes with the recordings. This research tool is listed in the appropriate databases on the Internet (FirstSearch).
6. In January, 1992, I visited Cuba on a seminar (funding from the State University College at Oneonta was rescinded during a budget freeze). While there I made contacts with staffs at the Biblioteca Nacional, the Center for Research and Development of Cuban Music, and the Center for Popular Culture. I recorded about 20 hours of interviews with experts on early recorded Cuban music.
7. Copies of some of my archival material on West Indian Carnival in New York City have been deposited with the Schomburg Center for Research in Black Culture, New York City Library.
8. Approximately three years continuous field work in Carriacou, Grenada and Trinidad from early 1970 to late 1972. Another brief field trip was taken to Carriacou in August, 1978.
9. Interviewing prisoners in the Marin and San Mateo County jails, California, San Francisco State University, 1966.
10. Interviewing low‑income families in Marin County, California, San Francisco State University, 1966.
11. Folk music field recording in the United States, Mexico, Korea, and the Caribbean (intermittent since 1958).
12. Grants written while Assistant Curator, American Museum of Natural History:
(a) Revitalization of circulating exhibits (New York State Council on the Arts, 1974).
(b) Caribbean and Afro‑American Studies Workshop Programs (the National Endowment for the Arts, 1975‑76).
(c) Museum Minority Training Program (NEA).
This program (1974-1976) trained Americans from many different backgrounds: American Indians,
African Americans, Chinese Americans, Latinos, and others. The program was an attempt to give
access to people from groups whose cultures were represented in museum collections but who
were not represented on museum staffs. I believe that this program was one of the first of its kind in
the United States. Primarily because of their own abilities, but also because of the access to the
museum world that this program has given them, individuals who have completed the program have
gone on, for example, to head the museum at Navajo Community College on the Navajo
Reservation in Arizona, run African American museums, and serve on the Board of Directors of the
Smithsonian Institution. Another duty I had while at the Museum, was to screen ethnographic films for an annual showing. This program, which I began in the Dept. of Education at the American Museum of Natural History, was expanded after I left the Museum and became the "Margaret Mead Film Festival," one of the largest, regularly scheduled ethnographic film shows for the public held anywhere in the world.
13. Field audio recordings of Mexican, Anglo-American, Afro-American, Greek, Korean, and Turkish music made between 1957 and 1968 in the United States, Korea, and Mexico.