magazine of the philadelphia folklore project

Volume 21:1-2 summer/fall 2008 ISSN 1075-0029

G LaVaughn Robinson / in memoriam

G Jewish klezmer / Elaine Watts

G Philadelphia klezmer / interview excerpts

G Felix Pupi Legarreta: Charanguero Mayor G Lois Fernandez: changing that white man’s law

G Bootstraps: Suzanne Povse e d i s Works in progress is the magazine of the Philadelphia

Folklore Project, a 21-year-old public interest folklife n agency. We work with people and communities in the

Philadelphia area to build critical folk cultural knowledge, i sustain the complex folk and traditional arts of our region, and challenge practices that diminish these local grassroots arts and humanities. To learn more, please visit us: www.folkloreproject.org or call 215.726.1106. From the editor philadelphia folklore 3 project staff 4 In memory of LaVaughn Robinson Editor/PFP Director: Debora Kodish Associate Director: Germaine Ingram 6 Elaine Hoffman Watts: “From then on, Program Manager: Dana Dorman I never dropped the sticks” Program Assistant: Thomas Owens Designer: IFE designs + Associates Klezmer interviews: “50 years ago, Printing: Garrison Printers 10 I played the same” [Printed on recycled paper] philadelphia folklore project board

Linda Goss Ife Nii-Owoo Mawusi Simmons Yvette Smalls Ellen Somekawa Dorothy Wilkie we gratefully acknowledge support from:

G The National Endowment for the Arts, which believes that a great nation deserves great arts

G Pennsylvania Council on the Arts G Pennsylvania Historical and Museum Commission

G The Pennsylvania Humanities Council and the National Endowment for the Humanities 'We the People’ initiative on American history Felix “Pupi” Legarreta: Charanguero Mayor G The Pennsylvania Department of Community and 12 Economic Development G The Philadelphia Cultural Fund 14 Lois Fernandez: “You think you’re gonna G The William Penn Foundation change that white man’s law?” G Dance Advance, an artistic initiative of the Philadelphia Center for Arts and Heritage Suzanne Povse: Bootstraps funded by The Pew Charitable Trusts and 16 administered by The University of the Arts Afterword G Philadelphia Music Project, a grant program 18 funded by The Pew Charitable Trusts and administered by the University of the Arts

G The Pew Charitable Trusts G The Malka and Jacob Goldfarb Foundation G The Samuel Fels Fund G The Philadelphia Foundation G The Douty Foundation G The Hilles Foundation G The Henrietta Tower Wurts Foundation G Stockton Rush Bartol Foundation G and wonderful individual Philadelphia Front cover: Folklore Project members Elaine Hoffman G We invite your support: performing at the Curtis thank you to all Institute Christmas Party, 1951. Photo courtesy Elaine Hoffman Watts from the editor

Strength of character, nerve, small but penetrating ties is understood and nur - sheer persistence, creativity, glimpses of inspiring neigh - tured, and where talent and real mother wit: a catalog of bors—people who sustain accomplishment are recog - sterling virtues fills these some of our city’s greatest nized in a multitude of pages of stories about local artistic traditions or who diverse forms and faces. people. A community activist have been part of grassroots and single mother forced the efforts for equity and justice. We tell these stories to honor state to change policy on From our perspective, the inspiring individuals, but birth certificates for children: practice of significant cultural also to remind ourselves and this is the proudest achieve - expression and grassroots our readers that paying atten - ment of Lois Fernandez, social activism are similar in tion to the cultural treasures better known as founder of their positive effect on the among us is something we the long-lived ODUNDE social fabric of our city and each can do—individually festival. The first woman per - its neighborhoods. The paral - and together, in large and cussionist to graduate from lels and similarities are small ways—to build a sense Curtis Institute and a work - reflected in the stories con - of shared promise and an ing mom long before it was tained in this volume. Each avenue for collective invest - common, Elaine Watts kept story is about an "everyday" ment in social progress in our playing her family’s klezmer Philadelphian—someone city and region. The work of tunes, even when no Jewish who could be our next-door building never stops. Rarely bands would hire her. One neighbor—whose passion does a week pass without a of the first women to work and vision led each to defy headline announcing an locally as a transmission the conventions of the day. incident of disregard, neglect mechanic, Suzanne Povse fig - For Fernandez, it was a pas - or abuse of this city's chil - ured out how to advance in sion for the worth and dren. The fact that a man of her trade, one hard-won step blessedness of each child, color, born of an African after another. Playing Cuban regardless of the marital sta - national and raised in charanga music for more tus of his or her parents. Indonesia could become our than sixty years and well- Povse was motivated by a country's next president known as one of the Fania vision of respect and fairness should not obscure the con - All-Stars, Pupi Legarreta in the workplace, regardless tinued existence of unfair became an electrician when of gender or race. Watts barriers to opportunity based music wouldn’t pay the bills. rejected limiting assumptions on gender, disability, religion, And in these pages, the late about the value and place of language, race, great Philadelphia hoofer women musicians and ethnic sexual orientation and other LaVaughn Robinson keeps music. Robinson and invidious distinctions. dancing, his sound and Legarreta proved that excel - Commercialization and Philly-bred style remembered lence and artistry can be homogenization of culture by his protégé and dance achieved in cultural expres - threatens our ability to know partner, Germaine Ingram. sions that were disregarded, who we are and teach our Each of the remarkable peo - devalued, or even denigrat - children who they are. Telling ple in these pages broke new ed. These people have fed these stories is our modest ground. None had an easy sustenance to a vision of our contribution to showing and road. All of them persisted city as a place where each building a way forward. We and endured—and we are so person receives equal respect invite you to read on. grateful! for his or her humanity and potential, where the power of — Debora Kodish and For 21 years, we have been significant cultural practice to Germaine Ingram using this magazine to offer build and sustain communi -

2008 Summer /Fall WIP 3 I N MEMORY OF LAVAUGHN ROBINSON

February 9, 1927 - January 22, 2008

With sorrow, we announce the passing of the great Philadelphia tap dancer LaVaughn Robinson this past January. In many ways, this feels like the end of a defining era of remarkable tap veterans and entertainers. Join the Folklore Project in the coming year for programs recalling the contributions of LaVaughn and others, all now passed, who were part of our Plenty of Good Women Dancers and Philadelphia Tap Initiative projects dating to the 1990s: Hortense Allen Jordan, Libby Spencer, Edith “Baby Edwards” Hunt, Henry Meadows, Delores and Dave McHarris, Isabelle Fambro, Michelle Webster Roberts, Patricia Perkins. We are privileged by their presence.

Above: LaVaughn Robinson Photo courtesy of the artist

Right: Master tap dancers and elders Henry Meadows, Edith “Baby Edwards” Hunt and LaVaughn Robinson, with their students and dancer partners Pete Briglia and Germaine Ingram. Photo: Jane Levine

LaVaughn Robinson and Henry Meadow at a PFP “Stepping in Time “ rehearsal. Photo: Thomas B. Morton, 1994 4 WIP 2008 Summer /Fall For LaVaughn

Philly street dancer romancing the floorboards like Cyrano diggin’ Roxanne; Tapping beguines that breathe the urgent purr of felines drunk on catnip. Swingin’ like a Hampton jump—like Lunceford layin’ down “For Dancers Only”— like Frankie Manning stompin’ at the Savoy… like Ella chasin’ her yellow basket… Skippy ain’t seen no smooth like his soft shoe, and the moon ain’t been so high as me, watching from the wings, him putting an exclamation point on “Artistry.” Fernando jumped out the Hideaway just long enough for him to run an armada’s worth of paddles; And “Lover” drew near to hear the rapture of staccato heels tradin’ with stop-time tune. Papa Smurf catchin’ his wind while tellin’ jokes older than New Years Day. “Sound tap dancing,” that’s what he’d say, ‘fore pouring fire on the stage.

“Peace be still” you say? Death can’t hush his satin roar. Sod and stone can’t quell his story. Sunset can’t out his flame. I stood on the banks of Jordan to see his ship go by… While his song lingers, lingers, lingers, in the air.

Germaine Ingram, January 27, 2008

2008 Summer /Fall WIP 5 < e l i f o r p * t s i t r a >

Susan Watts and Elaine Hoffman Watts. Photo: Julie Brown, 2005

In May 2008, PFP presented a major concert with Elaine and Susan Watts and a band of klezmer greats, premiering new arrangements of the music that these exceptional women have learned from two older generations of musicians in their family. The following conversation was recorded on March 4, 2008, at the Havertown home of Elaine Hoffman Watts by PFP staffer Elizabeth Sayre. Three other women were present, representing two generations of the Hoffman family: Elaine’s sister, Leanore Nathans, and two of Elaine’s daughters, trumpeter Susan Watts and Lorrie Keammerer.

6 WIP 2008 Summer /Fall elaine hoffman watts interview by Elizabeth Sayre from then on , i“ never dropped the sticks ”

Elizabeth: Tell me about the musical Elaine: Mixed. It wasn’t a Jewish Elaine: Krivoe Ozero in Russia. life of your family. neighborhood. It wasn’t Gentile. Elizabeth: How old was he when he Leanore: When Elaine was a toddler, Lorrie: But then they moved. Susan came over? Daddy [Jacob “Jake” Hoffman] was doesn’t even remember. My Elaine: Seven. always at that piano. Elaine took grandparents moved from that house Elizabeth: How did he meet your mom? Daddy’s drumsticks in her hands, and to Wynnefield. We used to lay and Elaine : He played her brother’s the practice pad, and she started to nap under this piano, and Pop-Pop bar mitzvah. play in time with him. Daddy said, played and played and played. You Leanore: And he put a telephone in “Give me the sticks, I’ll show you know, your concept of what is their home in Strawberry Mansion, how to hold them.” From then on... normal is relative. When there were so that he could call her and talk to Elaine: I never dropped the sticks. parties, or even just dinners, there her on the phone. Leanore: … to perfection. My father was always live music after. It didn’t Elizabeth: Tell me about your mom’s always took interest that she be even have to be a party. You always family a little bit. Was she born here? properly educated in music, came into the house, and Pop-Pop Elaine: No, she came here when she percussion. She had the finest was playing a freilach s on the piano. was three, from Kiev, Russia teachers, like Benjamin Podemski and Whether it was a big holiday or we [Ukraine]. She didn’t find this out till David Grupp. 1 I have nothing of were just there being babysat, you we were all grown—there were two music. My ability is in handwork. always had music. In the basement, children, Aunt Margaret and my Susan: And dancing. She has a we used to put on puppet shows, and mother. My mother was three or fantastic sense of rhythm. Pop-Pop used to play the xylophone four, they were like eighteen months Lorrie: She does have musical ability. with our puppet shows. So, Eileen, my apart, and they wanted to get out, They just did never find the right older sister, and I were constantly from the pogroms. They gave the thing for her. exposed to anybody playing anything little girls wine, put them to sleep, Elaine: No, no, my father made her at any time. and they were in the hay wagon, with stop when she was sixteen, because, Leanore: You would come home from horses, and they covered them in the you know, to become a chorus girl— school, Daddy was either teaching or hay. And they drove them out of was terrible. playing. It was always happy. Every Russia into Poland. A cousin told my Elizabeth: Where was the house that holiday, every dinner, every Friday mother the story. you grew up? night dinner, family dinner, it was Leanore: When they were in Russia, Elaine: 6205 Ludlow Street. beautiful. and the Cossacks — my mother told Elizabeth: What was the Elizabeth: So, where was Jake me this — would trample into their neighborhood like at that time? Hoffman born? house with the horses. The floors [Continued on next page > ]

2008 Summer /Fall WIP 7 elaine watts /continued from p. 7

were dirt, mud. My grandfather dug to make sodas at a fountain? Be a house in South Philly. He put in a tunnel. When they would come in, musician!” indoor plumbing, a toilet. He the Cossacks, and raid, he would Lorrie: But the whole family played. made money! put the two girls in this tunnel. And The grandfather wrote music, and Elizabeth: This was before you he put the mud back on them, and they all played. He had lessons at were born. the rug. Settlement Music School … Elaine: Oh, he was a young man! Elizabeth: Did your parents speak Leanore: Seven lessons, he always Lorrie: You’re talking 1910, ‘12, ‘14, Russian or Yiddish? told me, seven. Then he would come before even the First World War. He Elaine: My mother did say they had home at night, a little boy, playing was born in 1898. an old grandmother that lived with weddings. … Elaine: The Second World War Uncle Johnny them, she did speak Russian. But Elaine: Polish weddings … wouldn’t take him because he was Hoffman when the grandmom died … Leanore: or affairs that went on and too short. He wanted to go in the playing drums. Lorrie: They spoke Yiddish. on and on. His hands were frozen Navy Band. It would have changed Philadelphia, Elizabeth: Tell me how your father from carrying the drums, and he his whole life. c. 1920s. learned music. would kick with his foot on the Leanore: Uncle Morris was taller. He Photo courtesy Elaine: They were shamed into it. He door and call his mother in Yiddish, was drafted in the band. Elaine graduated high school, which “Please open the door, my hands Lorrie: All the brothers played. He Hoffman nobody did then. He was going to are frozen.” had how many brothers? There Watts Brown’s, one of those Elaine: But I’ll tell you another one. were four boys … pharmaceutical prep things. And He always worked, he made money. Elaine: Uncle Johnny, Uncle Harry, Grandpop said, “What, do you want They lived in this little hole of a Uncle Morris, and Daddy.

8 WIP 2008 Summer /Fall elaine watts /continued from p. 8

Jake Hoffman, Elaine’s father, and the “ershte eynikl,” first grandchild, 1945. Jake Hoffman at a family Passover seder, with grandchildren Eileen, Robert, Joanie and Lorrie. Photos courtesy Elaine Hoffman Watts

Lorrie: There were four boys and a girl. it is now? the same town in Russia, they were Elaine: Two girls, Ida and Esther. Susan: It was different then because called landsmanschaft organizations. Lorrie: Oh, I didn’t know Aunt Ida. there was more work and you could They would have parties and banquets, But, anyway, they all played. All the make a good living. But it was still and Daddy would play them. The Krivoe boys played. very difficult. Ozero was the town that Daddy came Elaine: They all went to Settlement. Elizabeth: You mean, like, competitive, from, and that’s the musicians they used. Aunt Ida went to Settlement, she and people not treating you well? The German Jews used Abe Neff, this would perform … Elaine: Right, right, right, right! one used this one, and it’s a whole mish- Lorrie: She never played professionally, Leanore: You were not looked up to. You mosh, I found out. Daddy was not a concerts. were a klezmer. businessman! Daddy was a virtuoso Leanore: She played concerts for Elaine: No, I’m not talking about that. I’m musician. He couldn’t care less about organizations. talking about the shows, the the business! Susan: How about Esther? theaters. Daddy didn’t depend on the Leanore: He used to play an act, “Sing Leanore: Violin and piano. klezmer work. This man was a musician along with Jake.” Elaine: Esther, she could play, but she for anybody! Before the sound came in Elizabeth: What was that like? A solo act? was crazy. movies, every theater had a symphony Leanore: He’d play the xylophones, Elaine: Uncle Morris told me that orchestra as good as the Philadelphia starting out with “My Baby,” and those Aunt Ida at one time taught piano Orchestra. Daddy used to play in those songs, all Fred Astaire type of numbers. at Settlement. 60-piece orchestras. Podemski — this is He used to write to Lawrence Welk Lorrie: Uncle Johnny played the drums. . . when Leanore was born, in 1923 — he constantly, “Please, let me audition Elaine: … Good jazz! said, “Why don’t you come in the for you.” Leanore: With Paul Whiteman. Philadelphia Orchestra?” Daddy said, Elizabeth: He was a composer, too, right? Lorrie: And then Uncle Morris Hoffman, “I’m making $60 a week playing at the Tell me about his compositions. he’s still alive, he’s 95, he played at the theater, and you’re only making $40 a Lorrie: We always heard them. He — what was the name of that place? week at the Academy.” Daddy did not played them all the time. He played Leanore: The Latin Casino. 3 depend on klezmer. “Eteleh”; he played “Lakeleh”… Elaine: From the day it opened till the Susan: Nobody depended on klezmer! Leanore: And another one, “First day it closed, at shows and theaters. He Elizabeth: What was klezmer for in Grandchild”… was a doubler; he played all the reeds. those times? Elizabeth: Were there charts? He played sax, clarinet, flute, bassoon. Elaine & Leanore: Weddings. Elaine: Yeah, two, for “Lakeleh” and Lorrie: He taught me how to play clarinet. Elizabeth: Just weddings, or were there “Eteleh.” And one was lost. I have a Leanore: Daddy got to hate music! other events? little cassette that he made in the living Elizabeth: What did he hate about it, Lorrie: No, like at our house … room on Braddock Lane — you [Susan] the business? Leanore: Organizations. The Krivozer were not born. I’m playing drums and Susan: I think it just eats you up. [Krivoe Ozero]… Daddy is playing piano. I have it, and he It’s very difficult. Elaine: The landsmanschaft organization played those three freilachs. And off of Elizabeth: Was it different then than — these people that came over from those, we had the music for “Eteleh” [Continued on p. 20 > ]

2008 Summer /Fall WIP 9 10 W W sa I P

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sw e A page from Joseph Hoffman’s books. Jake Hoffman on xylophone, in an Italian band in Philadelphia. Photos courtesy Elaine Hoffman “50 years ago, i played the Watts same way”: excerpts from interviews

would be on the porch, would he didn't go to Curtis or Julliard. He another sister, Aunt Ida, who was watch us. We had fun! My father took a half-a-dozen lessons at the a great pianist. loved to dance. He was very osten - Settlement Music School when they Henry Sapoznik: This is what's so tatious. He had to be the boss. And were, you know, "Got these tragic and poignant about this. If you we had a good time. The whole fam - immigrants, teach 'em something," wanna play Irish music or Bulgarian ily was together. And then, we were you know. That's what that school music or old-time music, you just enjoying ourselves. But my father was for. And he started out as a get in a plane and you fly to those was the boss! He had my whole life piano player, and he did play for countries, and you just roam around. planned. And I didn’t dare disobey silent movies. He had a sister, Aunt You'll find some old guy on a porch him. If he said this was green, this Esther, she's only died in the last five and he's playing, and you're off to was green. The older generation, years or so. She played violin and the races. We [Jews] don't have that. whatever they said, went. That's piano, and would never play for We need our elders. We need the how it was. anybody—one of those. And Uncle carriers of the tradition. Drummers Elaine Hoffman Watts: My cousin Morris, great saxophone and were in reasonably short supply. But Buddy studied drums with my father, clarinet. And there was another to find an old-time drummer who Jake. And he said, "Your father was uncle, Johnny, handsome guy, who was still actively working, and a eccentric," he said. "But what a was a jazz drummer: he worked for woman! I mean, c'mon—break all musician." I said, "Nah, you're telling Paul Whiteman orchestras. I'm going the molds right here in this one me he was eccentric?" He was a back! And, uh, there was another person. She forces us to re-examine brilliant musician. Very troubled guy, uncle, Uncle Harry, screwball, great the received wisdom. you know. He worked hard to make violinist who ran away from Elaine Hoffman Watts : When I a living. And he was just great. And Peabody. And then there was started already to play, Daddy didn't [Continued on p. 26 > ]

2008 Summer /Fall WIP 11 < by Elizabeth Sayre e l i f o r p * t s

i Felix “Pupi” t r a > Legarreta, Charanguero Mayor A personal note: For me, writing playing with the outstanding Puerto Rican consist of congas, bongó, timbales , bass, about the life and work of musicians is the Latin jazz drummer/percussionist Steve piano, and percusión menor ), but I had next best thing to playing music, but it can Berrios at International House in the never been part of a charanga . I had never also be daunting. Basing my writing on 1990s. I met Pupi several years ago experienced first-hand the unique sound interviews and research into the histories through AMLA, a North Philadelphia– of violins in Latin dance music. In that of sounds and places, I strive for two based non-profit arts organization that context, the violin is an important rhythm goals: accurate, nuanced representation has worked on behalf of Latin music and instrument, as well as a melody and and increased visibility and understanding musicians for more than 25 years. * In harmony instrument. A skilled charanguero of the artist’s work and life in cultural and 2003 I had the unforgettable opportunity must have the instrumental technique of historical context. I used to find this task to rehearse and perform as a a classical player, the ready-to-invent ear of most challenging when I was faced with an percussionist with Pupi and 22 other a jazz musician, and the rhythmic sense of unfamiliar musical style or art form and musicians as part of a two-year project a Latin percussionist. The violins in had to learn enough about it, quickly, to that brought new arrangements of charanga play legato melodic lines, but represent it well. It turns out that “classic” Latin tunes (mostly Cuban) to they also cook! They add to the collective describing something better known can audiences in Allentown and Philadelphia. rhythmic energy of the music by playing be equally challenging. How do I capture Under the direction of Johnny Pacheco (a repetitive, syncopated patterns (called what I, and others, have heard and felt Dominican star of salsa music from the montunos ), just as all the instruments do over years, or even decades? How do I sixties and seventies) and Elio Villafranca at certain times. The montunos of the express the visceral feelings and (Cuban, a former resident of Philadelphia, melodic instruments along with the understandings that certain sounds give and a Latin jazz pianist from a younger tumbaos of bass and percussion create me? How do I relate those personal generation), the orchestra was made up of a rhythmically dense engine to propel thoughts to a bigger picture? How do I people from the Philadelphia area. Many dancers, and a thick platform of sound to connect an individual’s story to a were experienced Latin musicians; others support melodic soloists and singers. The complicated cultural history in just a few came from different genres, such as confidence, attitude, knowledge, and heart Pupi Legarreta. Photos: pages? How do I inspire in the reader the classical music or jazz. (The concerts were that Pupi put into his playing — both Elizabeth Sayre same respect that I have for a musician, titled “A Night of Latin Classics;” major montunos and solos — during those based not only on his or her reputation, funding was provided by the Philadelphia rehearsals and shows made the whole but also on my own accumulated musical Music Project.) experience inspiring, energizing, and fun. experiences? Sitting across the stage from Pupi was a Pupi plays the simplest line with feeling Writing about Pupi represents exactly remarkable experience. I had played in that makes clearly audible his more than that kind of challenge. I first saw him Latin rhythm sections (which usually 50 years’ worth of experience. — ES

12 WIP 2008 Summer /Fall by Elizabeth Sayre

Felix “Pupi” Legarreta,

aster musician Felix “Pupi” Our fathers, they are very strict. playing with a band by the name of Legarreta has performed We’re poor, so our fathers have to Orquesta Sorpresa over there in and recorded with the best be sure that we get some profession Cienfuegos. And I played with that of the best in Latin dance because they cannot support us for band maybe two years, and then I Mmusic since the 1950s. By turns a too long. It’s not like here. All the went to Havana. [Orquesta violinist, flutist, singer, arranger, music courses in Cuba are the long Sensación] used to go to Cienfuegos way. Studying reading four or five sometimes to play. The guy who composer, and bandleader, Pupi has years, with la teoría, el instrumento, la played the drums, he used to be my personally witnessed and participated forma de la música, harmony, friend, Chuchú [Jesús Esquizarrosa]. in the birth of several important counterpoint, orchestration, He saw me in Havana. I went to see musical genres: charanga, cha-cha-chá, conducting. Oh, please. Ear training…. San Lázaro around December 17, 2 1 pachanga, salsa , boogaloo. Yet he is [When you begin] music in Cuba, the and [Chuchú] saw me down in humble, accessible … and, teacher will be sincere with you. If the Rincón, Santiago de las Vegas. He saw unfortunately, not so well known by teacher puts you to do, let’s say, the me there, and he said, “Hey, people outside his community or scale — [sings] “ do, re, mi, fa, sol, la, si, Cienfueguero, you’re here?” I said, generation. do ” — and he sings that to you. And “Yeah.” He said, “What are you Pupi was born in 1940 in the city of he says, “I want you to catch the same doing?” I say, “Nothing, I don’t even Cienfuegos, also known as La Perla del note. I’m giving you this scale by ear.” have a violin.” He said, “Don’t worry Sur , the “Pearl of the South,” for its And you don’t do that? He’s going to about it. Go tomorrow to the radio French-influenced colonial flavor. tell you that you cannot do [music]. station, and we’re going to get you a Cienfuegos is on the southern coast Teachers in Cuba used to say to some violin, and you’ll play with me. You’re of Cuba, the heart of the sugar- of us, “Hey, you don’t have the ear for working with me. That’s it.” And that’s growing lands. It was the original music. Try to be a barber, or a tailor, the way I started playing with home of Orquesta Aragón, founded in or something. But quit music, 'cause Sensación. We used to do Radio the late 1930s and one of Cuba's you got problems.” Mambí, a radio program. We used to most important charangas (a type of By the age of fifteen, Pupi had do Radio Cadena Habana. We’d do Cuban dance orchestra that uses moved to Havana with his uncle, who three radio stations, live, a day. violins, cello, and flute instead of would escort him to gigs. He soon Pupi began his professional life at horns). This was the music that Pupi joined another of Cuba's best-known a time when Latin dance music of the grew up hearing. By the age of seven charangas, Orquesta Sensación: Spanish/Afro-Caribbean variety was he was studying violin—and more: When I was around twelve, I was internationally popular, and well- [Continued on p. 22 > ]

2008 Summer /Fall WIP 13 < e v i h c r a * e h t

m o r f >

“Mother wins fight to end stigma of t started in 1971. working at Blue Cross told me I illegitimacy” was the headline in the I started talking with my mother could use their law library at lunch Philadelphia Bulletin on December 10, about the rights of children born time. So I started going over there to 1978, announcing that all children in out of wedlock, because Blue Cross, right across the street Pennsylvania would have the right to I hadn’t gotten a birth certificate for from City Hall. And I became receive a birth certificate, regardless my son. obsessed one night. I remember of the marital status of their parents. And I said to her I hadn’t received calling my girlfriend and saying, “I’ve Lois Fernandez, best known as a anything. And she was working for written this letter to State founder of ODUNDE, was the major the Bureau of Vital Statistics at the Representative Hardy Williams for force behind the effort to change time. And she said in her own way, the rights for children born out of Lois Fernandez at Pennsylvania policy. She says, “This is “You won’t ‘cause he’s a bastard. wedlock.” ODUNDE, c. 1991. Photo: the big one for me, This was my Il-legit.” And in that one big paragraph that Thomas B. Morton biggest victory. ODUNDE definitely And she looks at me and she said, I wrote to him I said that I’d given would take second place. This is my “I don’t believe what I see in your birth to a prince, but according to . greatest achievement.” Thirty years eyes! You think you’re gonna change law I didn’t have a birth certificate later, we offer Fernandez’s story that white man’s law that’s over two for him because the law says that, about this struggle, transcribed from hundred years old?” you know, he was a bastard or il-legit an interview in the PFP Archive, and So, I was at Community College at born out of wedlock, and you don’t inaugurating our new series of the time. I think I was part time, get a birth certificate. You can get a stories offering first person working for the Department of notification. And the notification only perspectives on local history and Welfare as a gang worker and had the child’s name on there, no cultural heritage. Like her work at majoring in Library Tech, so they mother or father. And I considered ODUNDE, this struggle reflects taught me how to do research. that like it was nobody’s child. And Fernandez’ commitment to self- So I started looking and seeing some when my child was born, I gave all determination, equity and respect— things about children born out of that information—his father’s name and her courage. wedlock . A friend of mine was and everything, you know— to the

14 WIP 2008 Summer /Fall hospital. But that was the law and my And so folks saw that, and a whether he was married or not.” mother had told me. And I couldn’t classmate of mine from Community And we got that. accept the fact that because I wasn’t College, she said to me that she had a And then I went on to talk to the married, that my son would not have a good friend who was heading the Public Interest Law Center, Ned Wolf. birth certificate. And how key, in my Urban League here, and she felt they Because I think the Urban League view, a birth certificate was: a passport needed an issue. And so she said, didn’t have but so much money to put to life. You couldn’t go to school “Lois, I’m gonna have them contact into that legal part of it. And I heard without it. You couldn’t go in the army you, and get in contact with you.” And about the Public Interest Law Center, without it. You couldn’t get married she did. And so I met with them, and and went to do a presentation for without it. You needed a birth he decided that he would let me go them. And when their lawyer finished certificate. And so I asked Hardy make a presentation to their board. talking about it, I said, “You ready to Williams could he help change the And I did, and they were very listen to me?” And finally they let me law, so children born out of wedlock receptive, and several of them said have my say, and when I finished Ned could have their birth certificate. And that they too were born out of Wolf said, “All right, I’ll write the so I sent that letter to Hardy. wedlock, and that they knew about brief.” ‘Cause I took the position after I didn’t hear from him. It was a week the birth certificate issue. Other doing all my research that it was or two, and I ran into him one day in people were amazed. Other people unequal protection under the law, town. And I was crazy, so I asked him didn’t believe that they had separate ‘cause here were two separate birth “You think you’re gonna change that white man’s law?”

by Lois Fernandez why he hadn’t responded to my letter. birth certificates. So they were gonna certificates. Children born in wedlock And he said, “What letter?” So I pulled finance the legal part of it. had a certificate with their mother’s the copy out of my bag, said, “There it And we went to court, but it got maiden name and their father’s name. is.” And he said to me, “Well I’ll check thrown out, if I remember, the first Children born out of wedlock, just up on this, and you will hear from time, because they said we didn’t have had a notification with the name of me.” And I did in a couple of weeks, a father who said that children could the child. and he said he was going to introduce inherit from him. Because the way the But obviously there had been a thing a law that he thought would be the law had it, inheritance was a different where, you know, it was an forerunner for what he called the issue. If you were able to get embarrassment for many women. “most wanted human rights legislation inheritance, you had to pay a higher And women— as my research has that should be in the state.” I still have rate of inheritance tax. So the whole shown—women had to take a whole the original letter he sent me. And thing was out of whack for children if lot of heat for having children out of that was how that got started. And I they allowed you to inherit from your wedlock. You were a spoiled woman. I was so happy when he wrote that father. But if you inherited from your mean you had been tainted. If you got back to me. mother, you still had to pay a higher married, you were supposed to be so And then after that, I decided we rate of tax because you’re born out of honored that this man gave you his need some publicity on this thing, in wedlock. name. You were now married; you order to get it out there. I don’t And so finally we got a father. The were legit yourself, and it made you know— I’d go on my gut. I just felt it man who came—his uncle heard me honorable. And I just didn’t feel was time. But I needed to get some on radio, and told his nephew. The dishonorable. I always felt like, “I’m a public interest stirred up about it. And nephew, after he’d got in contact with human being as anybody. Had my so I knew this woman from the me, and he said, “I’ll be your father for child, and I’m just ready to go to newspaper, Sarah Casey. She was that part of the case. I heard that you wherever I have to go to deal with working for the Inquirer. I called all got thrown out of court because anybody. I’m as honorable as anybody, Sarah, and I think that she wrote the you had no man who wanted his and I ain’t taking nothing from nobody. first article about children. child to have the right to inherit, And I will kick ass and take names for

[Continued on p. 29 > ] 2008 Summer /Fall WIP 15 Bootstraps

by Suzanne Povse

16 WIP 2008 Summer /Fall y first co-workers were 1977 vintage RCA employees: all men. The older men were WWII and Korean War M vets, and many of the younger ones were less than ten years removed from their Viet Nam experiences. I spent my first day on the job in asection of the machine shop that did assembly of sheet metal parts. It was a back Suzanne Povse and the RCA shop behind the main machine shop. building in Camden where she once worked. Now they are upscale lofts. Photos: The six-story brick building covered a whole city block along the Delaware River. It had floor-to- Eva Himmelein, 2008 ceiling windows: they were selling points when the building was converted into upscale loft apartments. Its loading dock is now a bar/restaurant carrying the name of a company that at one point employed thousands of people in the region. My shop was on the top floor of the building. In the winter the wind blew through the wall of windows facing the river. I was hired at the end of October. The temperature became unkind in November along the river. Standing on cement floors in steel-toed work boots made a machinist’s feet particularly cold. On these cold and windy winter days my friend — a welder who was responsible for my getting the interview that landed me my job — would wheel in a hand truck carrying a large hunk of aluminum that he had heated up with a welding torch. He would drop it on the cement floor and shove it under my bench. My feet would stay warm for a good hour.

Handling steel and aluminum for eight hours a day in bitter cold weather was not kind to the fingers either. On days like this, the senior men in the back shop would take apart a pallet and fill a steel drum with the wood and some of the brown wrapping paper we used for shipping our parts. Then they would douse the contents of the steel drum with isopropyl alcohol, which we used for cleaning and as a lubricant for drilling aluminum. They would create a blaze, and we new hires would stand around the drum laughing at their ingenuity and bravado while we warmed our bodies and thawed out our fingers. This behavior was more a statement to the bosses about the horrible conditions we had to work under than a real solution to our discomfort, but it was good for our morale.

[Continued on page 24 ]

2008 Summer /Fall WIP 17 behind the scenes at pfp < d r o w * r e t f a >

How do people come to be late LaVaughn Robinson was than 15 years ago, and ODUNDE featured in Works in involved in Folklore Project efforts and PFP have been friends and allies Progress? Certainly, they are in over decades, including both the ever since. We’ve worked together in these pages because we think they major production Stepping in Time many ways, including collaborative have something to say— but also, and the documentary Plenty of Good efforts from a landmark project on their presence usually means that Women Dancers. Pupi Legarreta social dance ( From Hucklebuck to Hip they are involved with one of PFP’s and Suzanne Povse have Hop ), to the multi-year Philly Dance programs. Elaine Hoffman participated in PFP’s technical Africa programs, and a 2007 Watts was featured in a major PFP assistance program. Lois documentary photo exhibition in concert last spring and is the subject Fernandez first came to a PFP honor of ODUNDE’s 30th birthday. of a documentary in progress. The technical assistance workshop more On that occasion, we showed a

18 WIP 2008 Summer /Fall selection of Tom Morton’s documenting significant These services are always free. Photos: Liberian performers Blamoh beautiful photos of this important community experiences, especially Our 21st year was filled with Doe, Gbahtuo community event, offering copies regarding social change. We prefer activity: two major concerts (sold Comgbaye, Kormassa of the images in exchange for work in which people speak for out, artistic successes), a busy year Bobo and Fatu Gayflor at PFP’s peoples’ stories about them. This themselves, in their own words. If of technical assistance (resulting in farewell party for was a chance for us to hear about you have an idea, we would be major awards to many local long-time staffer Toni (and to document) some of what happy to hear from you. traditional artists— see our Shapiro-Phim. Tai Joselyn and Dr. ODUNDE means to people, and a website www.folkloreproject.org Joanie May Cordova way to make the exhibition live on This summer the wonderful folks for details), a full complement of making birthday in homes around the city, where at Mill Creek Design built a new folk arts education programs hats at PFP’s 20th birthday celebration. the photographs are deeply known back shed at PFP and made some reaching more than 400 students Board member and treasured— and where they other needed repairs to our at the Folk Arts – Cultural Mawusi Simmons surely continue to stimulate building. Thanks to them (and a Treasures Charter School with PFP materials and glimpses of our important storytelling. As part of grant from the City’s Capital (FACTS), founded by Asian Hmong exhibition. this process, Nia Bey Al-Rasul Fund), we’ll be opening a new folk Americans United and PFP, and PFP board and staff: shared a story about Lois arts resource room for public use more. The photos give some Germaine Ingram, Ellen Somekawa, Ife Fernandez— saying that she was this fall— a home within our glimpses of activities at our Nii-Owoo, Debora beloved in the community for her home for our long-running building. Kodish, Mary Yee, fight around birth certificates. That technical assistance program Toni Shapiro-Phim and Dorothy Wilkie. prompted us to get the story offering services to people If you are reading this within Photos: Ife Nii-Owoo. down on tape. It is now preserved working in folk and traditional arts easy distance from PFP, we hope Above: Linford in both our Archive and at and cultural heritage. We are that we’ll see you this fall. Visit our Martin and Andy Peifer, from Mill ODUNDE. What appears in these proud that over the last 21 years, website for current programs, Creek Design, hard at pages tends to be part of such we have helped local traditional See www.folkloreproject.org for work at the new PFP larger and ongoing efforts (and artists and grassroots groups to virtual exhibitions, glimpses of our resource room, summer 2008. Photo: part of how we learn what we raise more than $2.876 million archive, and of course, to purchase Thomas Owens need to be doing). We are initiating dollars in outside funds to support our books and documentaries and this new “Afterword” column to community-based folk arts activity back issues of our long-running share some of these behind-the- here, but that is just one mark of magazine. Or call or email and scenes matters. But all that said: impact. The learning and we’ll add you to our mailing list: we are happy to entertain your conversation among workshop 215.726.1106 or ideas about what might be in these attendees has always been rich: [email protected] pages. We focus exclusively on now we have a permanent space community-based cultural heritage to support this activity. Look for —Debora Kodish in this region, paying close expanded “office hours” in attention to local folk and addition to our second Saturday traditional arts and artists, and to workshops, beginning this fall.

2008 Summer /Fall WIP 19 elaine watts /continued from p. 9

and “Lakeleh,” and Susan’s friend, we eastern European tunes .… about Curtis and what it was like sent him the tape, and he Elaine: That they’re still playing today. being there. transcribed “The Ershte Eynikl.” Elizabeth: Well, Elaine, your father Elaine: Oh, it was nice! When I first Elizabeth: That’s “The First saw your talent, and he really got in there, a couple of guys came Grandchild”? And you’re going to supported you. Tell me what else and said to me, “Are you the girl play those three tunes in the show? happened to you, and how did you that plays the drums?” Because I Elaine: Yeah. become a musician? didn’t realize, not till many years Elizabeth: Tell me about what else Elaine: Actually, I can’t do anything later, that I was the first female that you’re playing. else. My family will tell you that. was ever accepted there to play Susan: Well, we’re playing all the Susan: She certainly can’t nurse. percussion. music that my great-grandfather Lorrie: She can’t cook, she can’t … Susan: And graduated. wrote. I never met him. He seems Elaine: I can cook, I don’t want Elaine: Yeah, that graduated. like the most interesting, nutty. My to cook! Elizabeth: Did the other students mother’s father’s father. Lorrie: She can’t sew, she can’t type. and the teachers accept you? Elizabeth: What was his name? Elaine: I can’t sew and I can’t knit. So Elaine: Oh, yeah! These students All: Joseph Hoffman. it was default — play the drums! that I went with, they all became Susan: He wrote these books. I But I can make kasha. No, I always famous symphony musicians. don’t know whether he did it from wanted to be a drummer. Elizabeth: So, how long were you memory. Nobody knows about Leanore: She went to junior high, there? You went straight from high these books. Holmes Junior High at 55th & school to Curtis? Elizabeth: So these books of his that Chestnut. Elaine: Yeah, I went two years there, you have are dated 1927? Elaine: It’s an African American old then I went a year to the New Susan: Yeah. I don’t know whether age home now. Orleans Symphony, which I did not he had sheet music and copied it. Leanore: When Elaine went to like. It was boring. He did it in three different keys: junior high, I said, “Go down and Susan: You sit there and count … B-flat, C, and E-flat. apply to play in the band.” She came Elaine: And then you come in Elizabeth: It’s for the different home and she said, “They gave me wrong. Then I came back to Curtis, instruments, in other words. the triangle.” I said, “You hit the and I was really devastated because Leanore: He also wrote poetry, triangle. Someday something will my teacher left. beautiful poetry.… happen and they’ll need you.” And Elizabeth: So it was two years, and Susan: He learned Yiddish, he she became the drummer. then the New Orleans Symphony, learned how to play cornet in the Elaine: No, want to hear a story? and then another year, and then you Russian Army. So in this book I had become a famous drummer by got your diploma. there’s all these really nice Russian then, in junior high. The teacher Elaine: Right. In 1952 I was in the marches. And there’s concert wrote a musical. I was the only one New Orleans Symphony. Of course pieces. There’s things he wrote — that could read music, sit down and my mother came with me. You there’s Naftuli Brandwein doinas. 4 play the set. I had the chicken pox. couldn’t let a nineteen-year-old Naftuli Brandwein is a klezmer The principal of the school came to Jewish girl go by herself. Anyway, it clarinetist. Dave Tarras, who was a the house, and they covered me up was still segregation there. On the big klezmer clarinetist at the time, with calamine lotion—the rash was buses, they had signs: “Colored.” that wrote popular stuff … already all out already—and I went They had pegs in the signs, and the Elizabeth: You mean, these and played the show and came seats had holes in them, and then compositions from other people home! you moved them. So, my mother are in the books? Leanore: And did you not perform and I get on the bus, and there’s Susan: Yes, yes! — Paul Whiteman had a program… nobody on the bus but us, so we Elizabeth : Did he transcribe them? Elaine: An amateur hour. Yes. took the sign and hid it. All the Susan: I don’t know, that’s what I’m I did that. people, white or black, didn’t know saying. I don’t know whether he did Elizabeth: When was that? where to sit. It was hysterical, it from his memory, or if he did it Elaine: I was eighteen years old. I they’re looking for the sign — from other sheets of music … was at Curtis. I was on television. “Where’s the sign?” Somebody said Elaine: Or old phonographs, the 78s. He had an amateur hour. to me, many years later — Susan Elizabeth: So, these books are a mix Elizabeth: What did you play, and I were together, they said, “Why of his compositions and other drum set? didn’t you steal the sign?” I said, “I people’s stuff? Elaine: The drums, and I soloed, didn’t have anything, I just stuck it Susan: And “Trad” pieces, whatever. in the bottom.” But it was a traditional klezmer tunes, traditional Elizabeth: So, tell me a little bit hysterical story.

20 WIP 2008 Summer /Fall elaine watts /continued from p. 20

Elizabeth: And then what happened? counting thing when you play. So I Elaine: Scotland! England, Scotland, Elaine: I jobbed around, never felt that I was as good as and Wales. We were in Dover … played, taught … everybody else. Susan: I got sick as a dog. Do you Susan: Had children, got married … Elizabeth: Susan, when did you start remember? Elaine: No, no! Got married first, playing trumpet? Elaine: They wanted to take her then had children! Anyway, but — I Susan: When I was eight; she said I tonsils out in England. played and then I got married. was seven. I didn’t like my piano Susan: Yeah. And I missed a concert Elizabeth: What year did you teachers, and what wound up in Bath. Then I went away to St. get married? happening was I quit the piano, but I Louis Conservatory of Music. It was Elaine: 1955. never stopped playing. I still, to this like Curtis, you had to live on your Elizabeth: And you played … there’s day, love playing the piano. Lorrie own. It was too much, it was too far that picture of you playing drums at played the clarinet, Eileen played the away, I was too young. It didn’t work your own wedding, right? accordion and the bassoon, Pop-Pop out. But I came back home, and Elaine: Yeah! Daddy was playing a was always there playing the piano, that’s when I started playing more. I solo, and I played along. we had a vibraphone set up. went back to Temple, and I started Susan: You had to play at family Mommy’s vibraphone was set up in playing in Haitian bands, and I things whether you wanted to or the living room. I would come home started working in radio, and I not. She played at my wedding. We from school, and she [Elaine] was worked at WRTI, and I got into jazz had a jazz quartet, or something like teaching, and I’d sit on her lap while more. I was in the scholarship brass that, and she played the drums. She she gave lessons, you know? So we quintet at Temple. To make a long said, “Get out of there, get up, I’m had this closet, and it was A, B, C, D. story short, I never graduated with going to play!” It was a sliding closet, the panels on a music degree. Then I went and got Lorrie: We just went to a wedding in the closet. A was coats, B was married, and I went back to school April, in Brooklyn, our cousin’s another sliding [door], then C…. and got a bachelor’s degree in wedding. The band was terrible. There were four doors, and in the English literature from Rosemont, Susan and my mother, and then fourth door on the bottom, ooh, it and quit playing the trumpet. Then, Buddy’s kids, who really play good, was always a mess. On the bottom eleven years ago, I left my husband, Jordan and Larry plays saxophone, were all kinds of instruments. There and I came home to this wonderful they took over the band, because was the accordion, there was a world of klezmer! this band was horrible. Susan knew violin, there were all sorts of Elaine: That’s true, that’s it! That’s the guitar player, and she goes up, percussion instruments, and my how she found klezmer. and she goes, “What’s up with dad’s trumpet from high school was Elizabeth: How did klezmer go from this band?” there. I remember one day, just being something that was bad to Elaine: Susan played, we all played. picking it up and playing it, and I being what it is now? Elizabeth: Elaine, how was Susan as loved it. I just could do it right away, Elaine: If you were a musician, you far as music when she was little? naturally; it just came out. I wouldn’t want to be called a Elaine: Genius! From the get-go. remember saying, “I want to take klezmer. It meant you were a bum in First she went to Suzuki piano. She trumpet lessons.” That’s how I the park. It died out. Dead! Gone! was really good. started to play. I couldn’t count For 20 some years. I would say from Elizabeth: How old was she? either. I didn’t learn how to count the Second World War on. These Elaine: How old, Susan? Three until I started teaching. musicians in New York, Frank or four? Elizabeth: Did you play in groups in London, Henry Sapoznik, and Susan: I don’t know. I just remember middle school and high school? Hankus Netsky here in Philadelphia, loving it. And Lorrie was a fabulous What kind of groups? and several other people. They went clarinet player! She played so good, Susan: Everything. and they said, “This music is too and I remember her clarinet teacher Lorrie: You didn’t have your own good to die, to leave it like that.” In coming over to the house, teaching bands and stuff, no, no. She played in 1976 Hankus Netsky called me and her, and giving her lessons — Joe school orchestra and district said, “I’m looking for Jake Hoffman.” Smith — and she had such a orchestra. I said, “You’re two years too late, he beautiful sound. She thinks she Susan: But I was in Philadelphia died!” Then Hankus came here and wasn’t any good. I don’t know why Youth Orchestra. I was the youngest I showed him Grandpop’s books, she thinks that. person they ever accepted for and he [Hankus] had that Klezmer Lorrie: ‘Cause I never could count, brass. That’s how I got the travel Conservatory Band. Which is a joke and Mommy used to say, “You can’t bug. ‘Cause I went to Australia. I was because klezmer was not a count, you can’t count!” I could play fifteen. I was like, “Oh, my God! [Continued on p. 31 > ] really good, but you have to do that I love this!” Then we went to …

2008 Summer /Fall WIP 21 pupi /continued from p. 13

known bands toured frequently depressed, you know what I mean? by Mongo Santamaría [1922–2003]. between Cuba and the United No dancing, nothing — everybody Pupi recorded four albums on the States. Mexico City was also a was scared to go outside. So, I went Fantasy label with Mongo’s group 5 desirable working environment for back with Sensación. When I came and eventually moved to the Bronx, Cuban musicians; Pupi headed there back from [Orquesta] América, where he lived till the 1980s except after a few years with Sensación to from Mexico, right away Rolando when he was gigging and recording work with a group led by Ninon [Valdes] said, “Pupi, all right?” That’s in Colombia or Venezuela or some Mondéjar (1914–2006): the way I went back to Sensación. other place. In the early 1960s, With Sensación, I played a few At that time, América dissolved Mongo’s group was the most years. From around 1956, I was over there [in Mexico]. The successful among several playing with Sensación. And then, contract finished, and some competitors in New York, playing at Ninon Mondéjar from Orquesta musicians stayed, and others went the Palladium, the Village Gate, América, he had problems with [his] back to Cuba. Birdland, clubs in the Bronx around musicians in Mexico, so then I quit When Fidel Castro came in, I was Hunt’s Point, and other venues. In Sensación to go to Mexico with in Cuba. A little before that, I meet 1962, Pupi ventured to put together América. 'Cause that’s the people Rudy Calzado [1929–2002], the a band and eventually made a dozen that did the cha-cha-chá, so I said, singer. I understood there were records of his own on the Remo “Let me go with Ninón Mondéjar.” some Cuban people — they used Records label. In 1962 he became And besides that, I was going to to have Orquesta Nuevo Ritmo de the first person to use the term Mexico. Anybody, to really be a Cuba in Chicago, with Rolando “salsa” in a record title — Salsa musician [at that time], you had to Lozano on the flute, René Nova with Pupi Legarreta — on the be in Mexico and live two or three Hernandez on the piano … a bunch Tico label, anticipating the rise of years. Music and art in Mexico, it of those Cuban musicians. So I said, this new term for Latin dance music [was] like in Cuba. If you were a “Rudy, can you get me out, and talk in the late sixties. In the mid-1960s musician in Mexico, you were a to Cuco, the drummer, and Pupi decided that he needed to professional. Armando Sanchez [1920–1997]?” learn the flute. He practiced for a I used to be very good friends To see if they can bring me there to year or so and came out playing the with Enrique Jorrín [1926–1987]. 3 Chicago with that band. “I want to five-key wooden “charanga flute,” I was in Mexico, I was with him get out of here.” Rudy used to sing which is preferred by some almost every day, seeing the music with Enrique Jorrín in Mexico, so he musicians for its full-sounding high that he got on top of the table, knew what the problem was in notes. The flutes he prefers were writing music. He played the piano Cuba. He was living in this country manufactured by Martin Frères in — that’s how he wrote his music. already. So Rudy said, “Pupi, let me Paris in the 19th century. And he was incredible, an incredible talk to Armando and Cuco, because On a lot of my records, I play the musician, Enrique Jorrín. Violin we need a violin player there. Let’s flute, not the violin. Because [the player, piano player, good composer. see, maybe they’ll help you out.” It five-key] is the flute we use in Cuba. He did incredible music. Top of the was like that. One day, Rudy said, And that’s the one we need really line. The time of the cha-cha-chá, “Pupi, those people, they’re to make the sound of this thing that the tunes that he did, I’m not going interested in bringing you to go we play. to see a Cuban person do that over there.” He gave me the papers The late 1960s saw the rise of again. He was very intellectual, his the Palladium in New York gave me Fania Records, and the 1970s, the words about the music, incredible. a contract. 4 Yeah! To make them creation of the Fania All Stars. The melodies, type of connections believe that I’m going to play with Arguably the best-known salsa in music, you know that he studied [José] Fajardo [1919–2001] at the group in history, the All Stars were music. You know, the system we use Palladium in New York and to come essentially a collection of superstar in Cuba is very long, but in the long back to Cuba. But it was not true, I performers who had all had their run, we are musicians. was not going back to Cuba. 1959. own groups at different times. Pupi When he returned to Cuba in the November 18, 1959. It was very performed with Fania through the late 1950s, Pupi realized that daily cold, Chicago! Whew!! mid-1980s, touring the U.S., Puerto life there was changing because of After coming to Chicago in 1959, Rico, Europe, Japan, and Africa. political developments. He decided Pupi stayed with Nuevo Ritmo till We used to travel there like crazy. to leave and soon found a way to the early 1960s, when the band One time we went in one week to do so: dissolved at the end of a tour that these countries: we went to I stayed in Mexico from, I would wound up in Los Angeles. He and Madrid, Madrid to Barcelona, say, ’57, ’58, beginning of ’59. I went some of the other musicians in the [Continued on next page > ] back to Cuba. I saw Cuba real group were picked up immediately

22 WIP 2008 Summer /Fall pupi /continued from p. 22

Barcelona to the French Riviera, there three times; I failed. And the also the Cuban five-key flute and Nice or Cannes. [Then] to Paris. fourth, I took the test. When I came the piano. Upon arriving in the From Paris to Amsterdam. In one back to the job, the lady at the States, he quickly got incorporated week. In 1980 we did it, those five office said, “Pupi, go back, you into New York's burgeoning salsa cities like that, in one week. passed the test.” I say, “What?! scene. He helped Arsenio Because when I came back, that’s What you say?” “Go back. The lady Rodríguez realize many of his latter- when those people were leaving from the city called that you passed day arrangements and arranged for Cuba. I cannot forget about that the test. You have to go over there [Johnny] Pacheco, [Ray] Barreto, trip. When I came back they say, to fill out all the papers.” “Ah, OK!” Orquesta Broadway, and other “Oh, people leaving from Cuba!” 6 You know how many times people charangas . As we all know, he [In 1974] we traveled from here fail this? Twenty-seven, 30 times! It’s became a Fania All Star during the to Spain to change planes. We went serious! 1970s and has remained closely to Congo, Zaire, Kinshasa. We went I’ve been having more bad associated with that enterprise, for there, we waited there about three moments than good moments. In good or ill. But there is so much or four days with that weather. And music … this is a dangerous job more to Pupi than biographical then the day of the concert, we here … the economic situation. details. Pupi is one of the most start playing, on the stage, and we To be a good musician, most of the deeply knowledgeable and were playing [sings] “ Que baile mi best musicians, they’ve been continuously probing musicians I gente .” I was playing the flute. I grab suffering in life a lot. No, I haven’t know. His solos are simultaneously the flute from [Johnny] Pacheco, stopped playing! I’m still playing, soulful, jazzy, dotted with Cuban and put the violin on the [ground] but I cannot count on … covering folklore, tuneful, and emotionally …I was standing right there by the the expenses of this house with gratifying. His intimate knowledge drum, so I put the violin on the music. So, I got a living. Thank God I of the charanga , bolero, son montuno floor, and I grab the flute [laughs]. It got that. Some other people, they and jazz standards repertories is starts raining, and you know what don’t even have that. truly breathtaking. I fondly recall my the guy with the camera says? Pupi settled in Philadelphia in the first gigs with him, where he'd tell “That’s it, fellas!!” We start playing mid-1980s, although his connections me the key of a song, very briefly the tune. They canceled the [Ali- with musicians here date back to familiarize me with its chords, and Foreman] fight, 7 and we start the early 1970s. He continues to school me on how to play it, all live playing the concert at the baseball play with local musicians. Most in front of an unsuspecting stadium…and the guy, the camera recently he played on a 2006 CD by audience. Pupi seems very technician, he said, “That’s it!” They local band Foto Rodríguez y Charanga interested in modern Cuban music didn’t want to get those cameras la Única. That CD was dedicated to and frequently cites Paulito FG as wet. Just like that. We started the him and his work with Philadelphia one of the best of Cuba's current concert, and finished! Latin musicians. He is still regularly crop. His harmonic grasp is truly After the mid-1980s, live music called to New York and Puerto unparalleled, at least in scenes declined as disc jockeys Rico to bring his expertise to other Philadelphia's Latin scene. Pupi has became more prevalent; work for musicians’ projects, particularly in schooled us all. I've seen him teach dance bands —in all styles of music the realm of charanga . tumbaos to bass players, breaks to — became scarce. Salsa bands, To close, I would like to share the percussionists, and coros to usually large ensembles with words of my friend and teacher vocalists. We've spent many rhythm section, horns, and singers, Orlando Fiol, himself a young moments critiquing arrangements were affected too. Pupi found master of Latin dance music and or live performances, always himself obliged to seek other work. a newer addition to Latin music sticking to the music itself and I’m going to tell you the real scenes in Philadelphia. 8 He offers an evaluating harmony, beauty in truth. After Fania and the salsa went expert bandmate’s perspective on melody, and tightly structured down or whatever, I had to look for Pupi’s musicianship: presentation. In today's Latin music a job. Music — people really cannot By the time Pupi left Cuba in world, careers are often make a living with music, 1959, he'd already played with all meteorically launched and quickly sometimes. So, I liked electrical the great charanga s. If he didn't play discarded before musicians get a [work]. I found a job with this with a group, he knew everyone in chance to apprentice in truly great person, that’s where I learned, and it. Like most charanga violinists of ensembles and familiarize he helped me 100 percent. After his day, Pupi received classical themselves with the vastness of the that, I went to school, I got my training. That classical background is many repertoire strands that license. I went to take the test with probably responsible for Pupi's [Continued on p. 30 ] the City [of Philadelphia]. I went mastery of not only the violin, but

2008 Summer /Fall WIP 23 bootstraps /continued from p. 17

My first couple of months screwdrivers, pliers, socket on our floor. working at this company were wrenches, and hand-held rivet guns. I was one of four newly hired divided between this back shop and The object was to build a finished machine operators. We had all been the paint shop, where my job was assembly from many individual placed in the assembly shop to putting masking-tape circles over parts. My first job in this section begin our training. After two weeks holes in machined parts that were was placing individual aluminum of placing small 8 x 3/4–inch to be painted in the spray booth. sheet metal louvers into 8 x 10 louvers into the tacked frame and My trainers in the back shop were metal spot-welded frames. The peening over the tabs to hold the Joe, a big Serb who was a widower, finished products were air vents for louvers in place there, I noticed that and Felix. Most of the time the the large cabinets that contained the three other new people, who room was noisy with the stamp of the electronics. were men, were being trained to the rivet machines attaching sheet My lead man was Felix. A lead use different air-driven hand tools, metal parts to other sheet metal man is a worker with a lot of drills, and hand rivet guns. They parts, the sound of hand drills experience on the job who has were being shown how to set up making holes in parts, and the tap been appointed by the boss to and run the single spindle drill press of ball peen hammers against metal. oversee others in the same and the freestanding rivet machine I noticed too that when it was occupation. In a union shop, he is — learning the skills on simple noisy, communication between the usually top on the seniority list. He machines that were the next step men consisted of whistling across can train, assign jobs, and make sure on the way to becoming a first-class the shop at one another. Someone that the jobs are done. I liked Felix. machinist. It occurred to me that would whistle a few notes, and We got along well. But all of my perhaps few people —in this case, someone else would whistle a few jobs were assigned to me by Joe, few of the men — had a positive notes back. This was generally the the second senior man in this shop. assessment of my ability to become practice of the older men. He oversaw my work and also a first-class machinist. When I Now, 30 years later, I work in a enjoyed cooking lunch in his applied for the entry-level machine large shop as a transmission makeshift kitchen behind a rack of operator job, I had every intention mechanic, and I’ve noticed that this shelves. A half hour before lunch, of working my way to first-class way of communicating through you could hear the refrigerator machinist status. It didn’t occur to whistling is something that happens door open, followed by the rattle me that I might be incapable of between some of the younger and scrape of pans over the two that. I expected to get that job and mechanics. Someone will start with hotplates. Joe would signal that the money and other benefits that a few funny and unique notes, and lunchtime had begun by placing a went with it, such as good health across the shop someone else will plate of wonderfully tasty pierogis insurance and a retirement plan. pick it up. I laugh to myself because or blintzes in front of me as I Soon after I noticed the disparity they’re actually having fun with this worked at my bench. I had no idea between my training and that of the back and forth response. what lunch was like in other parts men who were hired with me, Felix Sometimes three or four people of the machine shop because I had called me to his work area. In his will pick up on this from different decided that I would not venture hands was a thick roll of paper that sections of the shop. Perhaps when out to the main floor unless I assumed was a blueprint for a job you’re working on a job, you have absolutely necessary. As the first we were going to do. But when he to have some fun, and the closest and only woman in the shop, I was spread it out on the work table, I person may be at a distance. And uncomfortable with the attention I saw that it was a schematic drawing sometimes the call and response is received. The less interruption I showing the locations for small just a way of taunting a coworker. If caused to the work process, I electronic terminals pressed into the noisy shop were full of women thought, the more obvious it would fiberglass boards. These boards mechanics, I wonder what our be to the bosses that I could fit into were the forerunners of computer attempts at communicating would that environment. At least one of chips. “This is what you should be be like. the older men must have learning,” he said. He explained that In the back shop, we were understood my situation. It was one floor below us was an assembly working on sheet metal cabinets Herb who took me aside my shop where women sat at benches all day and pressed small electronic that housed the electronic second day and showed me the terminals of various diameters and components for the Aegis defense back way to the break room and lengths into fiberglass boards. He, of system. I worked at a bench the back way to the ramp to the course, was implying that by assembling parts with simple hand fifth floor, where the ladies’ room [Continued on p. 25 > ] tools: ball peen hammers, was.There was only a men’s room

24 WIP 2008 Summer /Fall bootstraps /continued from p. 24 learning to read the schematic Now we were all placed in the drill astounded by my mechanical skills. I drawings, I could get a more press section under the supervision accepted their compliments suitable job. I was appalled by the of a new lead man, George. George graciously and reserved for a later discrepancy between what I was liked us and enjoyed setting up our time my outrage at their low expecting of myself and what he jobs and overseeing our work. Our expectations of me. The men who was expecting of me. After the job was to load milled parts of had been hired with me were shock wore off, all I wanted to do various sizes into drill fixtures and already operating horizontal and was strangle him. A machinist’s spot-drill, drill, and tap holes. At vertical milling machines. Needless labor grade and pay were much times there were four to six to say, my determination to be an A higher than a board assembler’s. I’m different procedures to execute on mechanic was strong. But it was at sure that Felix did not intend to one loaded part. This would require this time that I realized that insult me, but his words clearly using six spindles. After loading a people’s low expectations were exposed his opinion. part into a fixture, I would spot- deadly and that their well-meant I never knew if he thought I was drill; scoot down to the next protection was undermining my incapable of being a machinist or if spindle on the multiple spindle confidence. he just thought that this was an table, and drill either a blind hole or Over the 30 plus years I’ve unsuitable environment for a a through hole; then move down to worked in machine shops and woman — dirty, hard, and a third spindle and put threads in model shops, tool and die shops, sometimes heavy work with men the hole at the tap-spindle. And and transmissions shops, there have who spent their lunch hour in the sometimes there were hundreds of always been special men who have locker room watching 16mm films. the same part to be loaded, drilled, understood my position or (I might add that when there were unloaded, etc. The difficult part of recognized my ability or just liked finally three women working in the the job was staying awake. me, who have both taken the time shop, the lunchtime films were One day, soon after I started to teach me new skills and taken discontinued. The reason, I was told, feeling confident about my new skill the generally unpopular role of was that they no longer seemed as drill press operator, I asked being my advocate and ally. There appropriate.) I never asked Felix George if I could see the blueprint was only one time when a woman why he thought I should be working and set the hole depth myself. He was in a position to help my career. a floor below because I had no had seen that we were competent When I started working for RCA, intention of following his advice. on the drill press and seemed to be the company had an apprenticeship That day I learned that there was tickled that he might have a crew of program for tool and die and model at least one man who thought I was women who actually could set up making. Once a year applications capable of becoming a first-class jobs. All that setting up the job were taken and interviews were set machinist. After Felix spoke to me, I required was knowing how to read up for four or five positions. The thanked him for the information a simple print, how to measure the third year that I submitted an and went back to my bench. Joe depth of a hole, and how to use pin application, I was not feeling good came up to me. “What did Felix gages to see if the hole I was drilling about going into the interview, but want?” When I told him, all he did was within the allowed tolerance. when I walked into the room I was was shake his head. That was all I My small toolbox now held a set of surprised to see a friendly face needed to see. He might not have 0–1 inch micrometers, 1–2 inch among the ten interviewers. That been able to do anything about it, micrometers, a set of verniers, a year the company had decided that but it meant the world to me that small selection of slot and phillips it might be wise to include the head he disapproved of what was going on. screwdrivers, an adjustable wrench, of Employee Relations, and the head That first year in the back shop pliers (needle nose and blunt nose), of that department was an African with Joe and Felix, when it became and a set of hex wrenches. After American woman. I was at ease; the evident that I was not going away, finding the information I was interview went well. I was accepted the general manager who had hired looking for on the blueprint, I as an apprentice tool and die and me said, “Well, if you’re going to proceeded to set up my row of model maker. The next time this work in this shop you might as well spindles by simply adjusting the woman was walking through the learn something.” I had been in the setscrew on each spindle to the shop, she took me aside and shop about three months at that required depth. I would then check congratulated me. She said that I point, the size and depth with a pin gage had done well on the interview. and two other women had been and my set of verniers. It turned With a slight smile as she was hired after me. They had been out that setting my own stops walking away, she said, “I gave you a masking parts in the paint shop. caused a stir. The men were one hundred.”

2008 Summer /Fall WIP 25 klezmer /continued from p. 11

want to play the klezmer business wanna use me. I did play Sunday musicians—their families very because it had a terrible mornings— Town Hall. Remember reticent to support them being a connotation. "What are you, a Town Hall? Broad and Race. Was musician. My family was reticent to klezmer musician?!" And this man, this great theatre. And the B’nai support me NOT being a musician. he played for years with Leopold Chaim used to bring in these very So it's a totally different paradigm— Stokowski in the Philadelphia poor productions from New York totally, totally, totally different. And Orchestra. And, 40's, 50s, after the City. Remember? And, they had a because [Elaine] made a living at it, war, he traveled with Arthur Fiedler small orchestra. They hired me only and all her uncles made a living at and the Boston Pops. The Ballet because of Daddy, because I knew it, and her father made a living at it, Russe de Monte Carlo came here, the music. Ernie used to come with and his father made a living at it, it and he traveled with them. I mean, me. And I had to bring drums. The was okay for me to make a living at this was a musician, and so this Town Hall had acoustics: it, you know. But here's, again, her klezmer stuff— he would laugh at unbelievable. The Philadelphia three children, each one in their the whole thing. He would. He Orchestra used to record there on own right, like, a full—like, really would say, "What do you mean? the whatever. And these programs good, fine musicians and artists. What a joke," he would say. But he were for nothing that the B’nai And, I just think that that's kind of knew songs. And he played for the Chaim used to give. And do you amazing, to be honest with you. Jewish Theater, when it was on Arch remember the people used to hit Elaine Hoffman Watts: That's where Street, and he knew all the stars— each other over the head to get in? I learned to play the drums. Molly Picon, Paul Muni. All the It was hysterical. And the [Daddy] would take me down to composers, conductors—they all productions were—they were the cellar, in West Philly, on Ludlow knew Jake Hoffman. And, later poor. But they used me 'cause I Street and he had a drum set, years, at the Locust Street Theater, I knew the music. That was it. They 'cause he taught there, and a played. It was a Jewish performance. weren't thrilled about it, but they xylophone, and that's how he And one of the men—I can't had to have a drummer. And all the taught me. I sat down at the drums, remember his name—they wanted actors knew I was Jake's daughter, and he would say, "Do this, and I'll to know who the drummer was, so I had to be all right. play that." And that's how I learned whatever, and they said "It's Jake Elaine Hoffman Watts: I played— to play. And I remember him saying Hoffman's daughter. Jake Hoffman." fifty years ago I played the same to me—he would show me Morris Hoffman: Elaine, she was a way: where were you? It isn't that something and I didn't get it, and he nice little girl, and when she was overnight I became this marvelous would say, "I'm showing you, growing up, my brother [Jake] drummer. I remembered that the dummy! Dummy, dummy!" But I taught her the drums. And then she boys in high school used to make didn't learn to read music, or the went to Curtis, and her schooling fun of me, and I played rings around rudiments and all that stuff, until I was superb. And she was a fine, fine them, honest to God I did. And was twelve years old. drummer. She could play the then, then I went to Curtis. Go Hankus Netsky: Elaine starts symphony orchestra, that's how know I was the first. It didn't even playing, and I'd never heard anybody good she was. Very talented dawn on me. I just went on my play like that. Everything in the musician. The klezmer stuff— no, merry way, dumb way. music —first of all, she knew she didn't play much of that. She Hankus Netsky: I mean, Elaine, you everything. She knew exactly how was an excellent Jewish drummer. know, I had no idea that her father the songs went. But she wasn't She knew all the tricks of the trade. had taught her the traditional playing a beat on the drums; she [But] in those days, the men drumming exactly as he played it, was playing the tunes on the drums. wouldn't hire a girl! And she and that they'd made recordings It was different for every tune he resented it terribly. And, uh, it’s together with him playing played. Elaine played a style that different [now], but the men xylophone and her playing drums. was an older style. It really was a resented the ladies. He would show her everything to style that was like a tone painting Elaine Hoffman Watts: The Jewish do, just like she's doing for her with the drums. It was not like this Society bands, they wouldn't use grandson now, you know. Russian military kind of beat. She me. "She's a girl." My own cousin: Susan Watts: The fact that this is a really was playing the music on the "Elaine, you're great but you're—." family thing—it means something. It drums. Then I listened back to how I was a married woman. My means something to me. I think Jakey Hoffman played on those children heard him say it! "But that's one of the reasons it feels recordings, and that was how Elaine you're a woman," what's that got to comfortable. Most most people was playing exactly. And it was do with how I play? They didn't that I talk to— my friends that are amazing; it was like a time machine.

26 WIP 2008 Summer /Fall klezmer /continued from p. 26

It's like, here was this person in enhance what's going on in the school, and I would sit on her lap 1995 playing a style that I don't frontline?" So that's why I always after school while she taught her know if anybody had played since like sitting next to her; it's like I'm students, 'cause otherwise I never the 20s. And it turned out that the still learning. got to see her. And she played the reason that she had stayed with Elaine Hoffman Watts: But when I xylophone with the kids too, so I that style was basically that because started out, you know, my father got to learn all these other songs she was a woman, she couldn't get was just worried I wouldn't get that she played on the xylophone. on the scene. The Jewish klezmer married. I did play in the New Then, starting at a very early age, scene was really a male thing in Orleans Symphony. I didn't like that she schlepped me to her jobs. Philadelphia. And it was kind of a kind of work. I liked playing the Elaine Hoffman Watts: And the first both blessing and a curse in a way shows, and different stuff. In the date we had, Ernie came with me because, you know, because she Symphony, you sit there for three on the job to carry the tympani, and never modernized, and never did movements, and come in with a he's been carrying the drums ever what the guys did—you know, in triangle, or whatever. It wasn't my since. But I always worked! Oh, terms of playing, really kind of cup of tea. But I was a very, very from the day I got married. Listen, I transforming the klezmer into just good tympanist, and I could've made went out with boys who said, "Oh, kind of general club date rhythm. it as a tympanist in a symphony. But you can't play the drums." I said, She still played this incredible music I, you know, I was married. I had "Yes. Goodbye." A couple of them. on the drums, and it was like Eileen. I would have to take my What are you, crazy? meeting someone who was a family to North Dakota or some Elaine Hoffman Watts: This is a little hundred years old. place, you know. story about Jacob Neupauer. We Henry Sapoznik: Those of us who Hankus Netsky: I think of Elaine as used to rehearse every Sunday have had the chance to work with someone who really plays the old morning Saturday—whatever— these representatives of another style. It’s like putting something in a Richmond and Allegheny on top of era, like Elaine, are fortunate. time capsule in about 1920, and we a taproom. And my oldest daughter Anyone who doesn't take advantage still have it because of her father had just been born. And I used to of playing with the old musicians teaching her, "This is the way it's bring her. We all used to go to the has missed a glorious opportunity. done." Whereas Jakey Hoffman was rehearsals! My mother, Ernie— and For example, last night when we not a very modern drummer, [his I used to bring her in a wicker were setting up the bandstand, I brother] Johnny Hoffman was. clothes basket! I was the tympanist. was one musician separated from Johnny Hoffman played with swing And he made this unbelievable Elaine. I said, "No, I wanna be next bands. I mean, Johnny Hoffman did arrangement! They were all great. to the drums." And I'm sitting there make that transition more. Jakey They all went on to become great listening to Elaine, and I'm saying, was more of an orchestral musicians. And I became a klezmer "I'm stealing that. I'm stealing that. drummer. When swing music came drummer. And then Marco Farnese, I'm stealing that. I'm gonna play this along for that generation, they had a we did these great operas. And I back for her on the next repeat." choice to either go with it and used to take my mother. And we And then I'm hearing Elaine hearing modernize or not. And I don't think used to play in South Philly on all me, and I'm saying, "I don't care Jakey was a guy who modernized. the playgrounds. And he was just a about anyone else, we've got our He stayed with that orchestral wonderful man to me. Also, you own concert going on back here. approach, and he learned, you didn't make a lot of money. But I I'm her audience and she's my know— the right way. I mean he was the only drummer, and I had to audience." The thing I always found learned, he was a trained drummer, do everything. And he used very, most interesting was listening to and he could play with the very good musicians. I mean, these the drummers to understand the orchestras. And the Jewish music were all good jobbers: a lot of press rolls and those tight patterns, for him— and this is the key with retired orchestra violinists. And it and that became the goal for playing Elaine— the Jewish music was an was a pleasure, and it was good. banjo. So, when working with outgrowth of the orchestral music. Then I used to do some jobs someone like Elaine, whose It was not a subset of swing, but in around Columbus Day for Italian musicality is so immense that she New York it became one. bands. Ernest'll tell you about it. And can coax out a variety of tonal ideas Susan Watts : The live music in the I used to take the kids. We had fun in the playing—not just easy stuff house was Jewish; there really there. Not a lot of money. You'll like volume or stream of wasn't anything else. The only other notice this strain runs through it. consciousness playing—it's really thing was that when I was a kid, you Marco Farnese: I had a small opera about, "How can I support and know, she taught every day after [Continued on p. 28 > ]

2008 Summer /Fall WIP 27 klezmer /continued from p. 27

company here in the city, and the man and I listened, and I listened, and I taught him. Eileen was in her Dr. who was getting me musicians for the listened, and I listened, and I listened, Dentons. And he was just good. He performances, the contractor, said, "I and I continued to listen, daily, to was good! have a little lady for you that you might singers, to everything I can— anything I Gerry Brown: So they took me to this be able to use. And, so that's how I met could get my hands on. I'd buy just any place— the West Philadelphia Music Elaine. So, of course, she did ask me old Jewish record for a quarter at yard Center. Well, they brought me there, would we have anyone else. I said, "No, sales. Whether it's good, whether it's and the teacher that was there was this you're it." And, to make a long story bad, it doesn't matter. It's all good; it's gentleman by the name of Jake short, she'd just go through that music, got somethin' on it that I need to listen Hoffman. However, as it turned out, he and she would select every crucial to, you know. was busy with touring and things like section of whatever section had to play, Gwen Foster: We couldn’t do Handel’s that so I studied with [his daughter] and she just would make up, you know, Messiah without her unless she was Elaine for, I guess, about nine years. That either in her mind or a separate sheet just unusually busy and couldn’t come. was the foundation of my career. or something, and cover everything After that first performance, we just People can come up and say, "Oh, yeah, that had to be done, which was fell in love with her—this little Jewish yeah, you know, you're a world-class incredible. And fortunately she also had lady. And that was controversial drummer." You know. And, "How did all her own instruments. She carried enough, but when Elaine— you know you get started?" Well, I actually got it those back and forth. And she just was how she is full of passion; we just fell in started with a woman. I'm very proud incredible. Incredible, for all the years love with her. But wherever she was, to acknowledge that and to give Elaine that she did this for me. I would have she just fit in and just electrified the the accolades that [she] deserves. You certain people that I knew I could performance, brought not only class, know, she was dropping little seeds, and depend on. And, of course, Elaine was but excitement, to every performance of course it was up to me to, you right at the top of the list. Once I got and still does. Nothing bothered her. I know, "Okay, I need to check this out." to know her, then I wouldn't hire mean, we would just do something I didn't know where it was leading, but anybody else She was just great, you she’d never heard of before, she said, there was this trust. The desire was know. To me it never meant anything “Just bring it on me.” Whatever you there, but I [also] trusted her and that's that she was a woman playing, you wanted, she could make it happen. priceless. know, percussion. She was a Elaine Hoffman Watts: How did I do Susan Watts: When she had students in percussionist, and period. And this? I don't know how I did this. And I the basement, which she still does, but top flight. carpooled Hebrew school too. When I when I lived there, I would go down Susan Watts: She really taught me to started working the theaters and things and play the xylophone with her listen to singers—'cause she always like that, my husband got disgusted students. I would play the xylophone, used to play for operas. And she would washing dishes, and he bought a she would play the drums some times. sit over there when we lived here, and portable dishwasher. That's how I got Like, I've been playing with her forever. when we lived on Braddock Lane she my portable dishwasher! From the get-go. When she schlepped would sit in this big, fuzzy brown chair I taught for the Philadelphia public me to jobs, she schlepped me 'cause that was right next to the stereo. And schools music. They had— this was in she was playing the drums. I was she would put the opera on, and she the 50s, the 60s— such a music playing with her. So, I [have] played would have the score in front of her, program like you wouldn't believe, and with her forever. and she would read the score as the the man's name was Dr. Lewis Worsen. Theresa O’Brien: She would never pull opera was playing, where she would— He was a marvelous, marvelous man. any punches with you. She'd say, "Come and when her tympany came in, she When he died, forget it, and now it's on, get it right! What are you doing? would practice. You know what I'm nothing. And I taught on Saturday Did you practice?” She would get on sayin'? She learned her part in a way mornings for them; they had satellite you. We'd trudge down to her that—she listened! Do you know what things. And I was making three- basement, where she had a drum set of I'm saying? This is big, huge and something an hour. I was making ten pads, and that's where I started taking important. This was a big, huge lesson dollars for the whole morning. And lessons and learning how to play more for me that carried me throughout my they had all good musicians coming classical music. And she opened my whole, entire musical life, to this day. there and teaching. I started teaching eyes gently. She was harsh on me in a You have to listen. You have to listen to Gerry Brown when I was about nice way, you know. But she always music. Music is an aural click thing, you eighteen or nineteen. Daddy started pushed me to try to do better, just know. And it's all about your ears. And him, and he said, "No, Elaine, you teach because she wouldn't take less than you can only get out what's in. And him. He's better off with you." He used what I could do. You know, it's all about what's—you can only get what's in by to come in a little sailor's suit. And confidence, and I think that's what putting in, you know. And so I listened, Eileen used to sit on my lap when I Elaine gave to me, which I'm trying to [Continued on p. 29 > ]

28 WIP 2008 Summer /Fall klezmer /continued from p. 28 give to my students, is you can't lose if that's true and right and feh! to all you difference. You throw a pebble in the you don't try. She always wanted me to men who had the monopoly, but that's water, and the ripples and the ripples do better. not what makes her so fascinating. And and the ripples. Well, she has sixty years Elaine Hoffman Watts: In 1959, I was that's not what makes me lucky, you of ripples! Do you know what I'm teaching I think it was the Logan know. And it's not what makes her an saying? She's still rippling! So it's still Elementary. They had Saturday morning amazing musician. And it's not what happening. . . music classes, and wonderful, wonderful makes her a great teacher. And it's not teachers. Those kids—it was great. I what makes Marco Farnese hire her. I was pregnant with Lorrie, my middle mean, it's this one thing that happened daughter. And the supervisor came in. I to her. And, because she is the kind of was sitting at the desk and I got up. And woman that she is — very strong— he said, "Hup! You can't teach when people saying things to her goes in one you're pregnant. Go home, and when ear and out the other, you know. I you have the baby, you can come back mean, anger motivates her. And that's next year." That's the way it was. It isn't what she's done from the beginning. So that they fired me. They said, "You can't she's getting all this attention because teach when you're pregnant. You'll come she's this woman musician, and woman back in the fall." drummer, which is rare. And she's still Susan Watts: People are starting to give playing. She's never stopped. She's full- her attention, and I think that what time. All these wonderful things about initially came out is important but it's her. And, you know, she doesn’t see that not the whole story. What initially came what she's done has made a difference. out was, you know, "Huh! You men, you And, fine. But it has. Do you know what had the monopoly, but here I am!"And I'm saying? I mean, it has made a huge

lois fernandez /continued from p. 15 my child,” you know. “’Cause he’s the forth. And Ann Freedman from the babies ‘cause they didn’t want to be same as anyone else. His momma just Women’s Law Project, she came to me stigmatized if people knew. Women had wasn’t married, that’s all,” you know. I one day and said, “Lois, they’re saying to go through hell. She went with that said, “But that is not their fault, and the that the woman gonna have to prove strategy, she did. sins of the parent I would never allow, that the fathers are the fathers.” And I It took seven years. We started in ’71; in my view, to fall on the children —if said, “Why?” You know, “Are they calling we won in ’78. The Attorney General of there was a sin.” And so that was us a bunch of whores, like we don’t the Commonwealth of Pennsylvania my position. know who we laid down with?” I said, wrote a legal opinion, I think it was, I know folks even said I was arrogant, “Now I don’t like that.” I said, “So let based on laws and precedents that had or whatever. But I just was adamant the fathers disprove that they’re not been set in other states, and then they about it, you know. That these children the father. Why not put that on them? filled in all the other gaps. But we won; had no right to be stigmatized, or no Everything’s on the woman. She got to that was a big one. right to be discriminated against. And prove this. The men don’t get That’s the one with the picture where above all, not even have their parent’s stigmatized; they’re still Mister so-and- you see Ade and Bumi. Bumi is four name on their birth certificate? so. I don’t accept that either. They’re years old and Ade is eleven. And we Nobody’s child? And that’s what I Mister. I’m Miss. Therefore, they don’t won. And I was just – I mean, it brought wrote to Hardy Williams. I just couldn’t get no stigmas, and I ain’t takin’ none,” tears to my eyes to see it in my accept it. And Hardy introduced the you know. “And I ain’t gonna let nobody lifetime, for my children being able to law. And then we needed some more think that I’m just choosing some guy benefit and the millions of other legal help. So then we went to to father my baby. No, I laid down with children that it had affected, you know. I Community Legal Services. It was him,” I said. “I wasn’t raped. It was said, “Oh my God, this is just a gift. This Jonathan Stein. And we end up getting conception by consent, and I know who is just a wonderful gift,” you know. the Women’s Law Project involved with fathered my children. And that’s it. it. There was Jonathan Stein, who was a That’s definitive. I ain’t got to qualify Interviewed and edited by Debora Kodish Transcribed by Thomas Owens beautiful legal mind, and another nothing; let him prove that he ain’t. woman— Ann Freedman. That’s what I’m saying. I’m tired of the And with that, the long legal battle women carrying this weight.” Too long: began, you know, with things back and women had to sack their babies, killing

2008 Summer /Fall WIP 29 pupi /continued from p. 23

contribute to our great traditions, and other labels in the 1970s, and York, programmed Latin bands; it including folkloric music, others see as a valid rallying point was a famous destination for commercial popular dance music, for Puerto Rican cultural pride. dancers and musicians. American jazz, and Western 1 Cuban-influenced rhythm 5 One source, classical music. There is an sections have evolved from lighter http://www.donaldclarkemusicbox. indescribable charm to sounds of bongó, güiro, and com/encyclopedia/detail.php?s=218 encyclopedic knowledge, and Pupi maracas (son) to the louder and 4, says he appears on six of definitely possesses it. He sees fuller rhythm sections of today; in Mongo’s albums. patterns between songs, Cuban timba (the island’s 6 This was the “Mariel boatlift” distinguishes between similar contemporary dance music, exodus from Cuba in the spring chord progressions, and always distinct from salsa in and summer of 1980. reserves his most prized mental instrumentation and feeling), the 7 This concert coincided with the faculties for the veneration of rhythm section also has a drum 1974 “Rumble in the Jungle” fight beautiful melody. set. " Charanga " refers to both a between Muhammad Ali and We look forward to more musical ensemble and a musical George Foreman. contributions from Pupi soon; he style, first heard in the early 20th 8 Orlando is a pianist, plans an album with a few of his century, that grew out of the percussionist (both popular and own compositions alongside classic elegant dance orchestras, charangas Afro-Cuban folkloric music), singer, but forgotten Cuban tunes, as well francesas, of 19th-century Cuba; arranger, and composer. He was as songs written by some of his instrumentation usually consists of raised New York playing from Fania compatriots. He was recently flute, violins and cello, piano, childhood in his father Henry Fiol’s honored with a prestigious Pew percussion, and male voices in salsa band. Orlando is also an Fellowship in the Arts — well- unison. Orchestras typically play outstanding student of North deserved recognition. I can only danzón, cha-cha-chá , and pachanga. Indian classical music. He has lived encourage you to take any Pachanga is an up-tempo variation in Philadelphia since 2001. opportunity to hear the history of on Cuban dance music from the Cuban music in Pupi’s sound. early 1960s. Boogaloo, from the Resources for further exploration 1960s, is a New York City blending Books: —Elizabeth Sayre of Cuban and Puerto Rican dance Bardfeld, Sam. 2002. Latin Violin: How music with rock, R&B, and soul to Play Salsa, Charanga, and Latin Jazz Notes music. Violin . New York: Gerard/Sarzin (book 2 San Lázaro is the saint ruling and CD). * “Latin music and dance” can illness and healing in Cuba. On Gerard, Charley. 2001. Music from refer to any music and dance from December 17 there is a major Cuba: Mongo Santamaría, Chocolate Latin America, from any social procession of devotees, some Armenteros and Cuban Musicians in the register — classical to pop to folk. crawling on hands and knees, to his United States . Westport, CT: Praeger A more specific term is "Spanish shrine in Rincón, Santiago de las (includes a chapter on Pupi Legarreta). Caribbean popular dance music," Vegas, near Havana. Moore, Robin. 2006. Music & describing the music developed in 3 Enrique Jorrín created the cha- Revolution: Cultural Change in Socialist Cuba, Puerto Rico, New York City, cha-chá in 1951, a rhythm designed Cuba. Berkeley & Los Angeles: and other locations over the 20th to have universal and easy appeal University of California Press. century. Son montunos, guarachas, for dancers. Jorrín played with ______. 1997. Nationalizing cha-cha-chás, salsas, boleros, Mondéjar’s Orquesta América, the Blackness: Afrocubanismo and Artistic danzones, and other forms may be band that popularized the cha-cha- Revolution in Havana, 1920–1940 . heard in an evening of “Latin dance chá, but after a dispute over credit Pittsburgh: University of Pittsburgh music.” Another common umbrella for this invention he left for Press. term, “salsa,” refers specifically to a Mexico City, where he formed his Sublette, Ned. 2004. Cuba and Its certain type of instrumentation own orchestra. Mondéjar Music: From the First Drums to the (the inclusion of trumpets and eventually followed him there and Mambo. Chicago: Chicago Review trombones) and tempo (medium re-created Orquesta América with Press. fast). Musicians and others have new personnel. Waxer, Lise (ed.). 2002. Situating challenged the use of this word, 4 From 1948 to 1966, the Salsa: Global Markets and Local which some view as a marketing Palladium Ballroom, a second-floor Meaning in Latin Popular Music . New handle pushed by Fania Records hall at 53rd and Broadway in New York: Routledge. [Continued on next page > ]

30 WIP 2008 Summer /Fall pupi /continued from p. 30

Online: (articles on charanga , charanga 5-key Pupi Legaretta. Reissued 1993. Pupy y Legarreta biography/discography: flute, various musical groups, and much Su Charanga . Tumi 33. http://www.donaldclarkemusicbox.com/e more) Israel “Cachao” Lopez. 1977, reissued ncyclopedia/detail.php?s=2184 Fania Records: www.faniarecords.com 2005. Cachao y Su Descarga . Salsoul 7015. Orquesta Sensación, past and present: Orquesta Nuevo Ritmo. 1960, reissued http://www.cubamusic.com/pg018_op- Selected Recordings: 1999. The Heart of Cuba . GNP 2264 lookup_t-FIGURES_s-BIOGRAPHY_v- Fania All Stars . 1980, reissued 2006. (reissue with Peruchín recording). 133.shtml Commitment. Fania/Emusica remastered Foto Rodríguez y Su Orquesta La University of Texas online resource on edition 130 184. Única. 2006. En Honor a Pupi Legarreta — Latin American music: ______. 1976, reissued 2007. el 27 Aniversario . CM/Corre Music 52. http://lanic.utexas.edu/la/region/music/ Fania All Stars Live in Japan 1976 . Mongo Santamaría. Reissued 1996. Archived articles from Fania/Emusica remastered edition 130 ¡Arriba! Fantasy 24738. http://www.descarga.com, an excellent 278. ______. 1963, reissued commercial Latin music Larry Harlow. 1975, reissued 2006. El 1998. Watermelon Man . Milestone 47075. resource: http://www.descarga.com/cgi- Judío Maravilloso . Fania/Emusica Various Artists. 2007. Charanga at the bin/db/archives/index?RJ4ZvDhQ;;453 remastered edition 130 115. Palladium, Vol. 1 . Universal/Protel 160

watts /continued from p. 21

conservatory kind of music! It was are going to go.” It was at this the War, before the Depression. folk music. So that’s how it started. broken-down hotel in the Catskills. Times change, that’s all it is. Of What we found out is that every city We go up there, and we start to play. course, you get disappointments and has its own kind of klezmer tunes, They had no idea who we were. They frustrations, and fortunately, now, at because the people that settled in went, “Oh, my God, who are they?” this age, Elaine is being recognized New York came from some And that was it. in 1996. And then, for what she worked for and really wherever, and they brought their Alicia Svigals — I played on her deserves. Really, it’s a wonderful music with them. Boston has its own. record, Fidl . I always say she feeling. Philly is known for its particular kind discovered me. She played for me in of klezmer, and a lot of it is in Washington at the concert we did Notes Grandpop’s book. Everybody has for the NEA. 6 So, [now at] their own shtick, their own genre, KlezKamp, I have a class. Year after 1 Podemski was a percussionist in the and we don’t do that. We do year after year. And then Hankus got Philadelphia Orchestra and author of Philadelphia klezmer. That’s what me into KlezCanada. the now-classic Standard Snare Drum we’re known for. Elizabeth: Do you see a lot of young Method . Grupp was timpanist in the Elizabeth: Can you tell me any people who are interested? Philadelphia Orchestra in the 1950s. ways that it’s different from the Elaine: Oh, it’s marvelous! It is really 2 A type of lively Yiddish dance and other styles? great to see all these kids, and my tune.s Elaine: It’s just different melodies, grandchildren, of course. 3 Originally located in Center City that’s all. It’s still klezmer. It’s still a Elizabeth: So you think it’s going to Philadelphia, this well-known area freilach, it’s still a bulgar, 5 it’s just continue to live? nightclub relocated to Cherry Hill, different tunings. Some tunes are Elaine: Oh, I hope so, yeah. They NJ, in 1960, and finally closed its exactly alike, but they start in travel — some of these doors in 1978. different places in different cities. ethnomusicologists travel to Europe, 4 Another common klezmer tune Elizabeth: Since klezmer has come to these little towns, to dig up things. type: improvised, said to derive from back, or been revived, by these Leanore: Elaine is a genius musician. the music of Romanian shepherds. younger guys, how has that affected She was properly educated to bring 5 Popular klezmer dance tune. 6 you? You’ve been able to do some it out of her, the finishing touches. In Summer 2007, Elaine and other traveling, and you go teach at Now through change of environment winners of the National Endowment workshops? and situations, the horah, the Jewish for the Arts (NEA) National Heritage Elaine: We didn’t know about these dances, it’s all being recognized and Fellowship were honored in klezmer things. This KlezKamp in properly brought forward. Before, a Washington, D.C. New York, Henry Sapoznik — it’s klezmer played on a corner in a been there! I said, “Susan, you and I street, with my father’s time, before

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