04.13.2016 – Project 4 Proposal

  1.  Topic: What is your claim right now?  What kind of claim is it (fact/definition, value, cause/effect, solution/policy)?
    1. My claim for my exploratory essay was Woodstock Music and Art Fair in 1969 influenced many different threads of politics.  Since I am changing my genre of writing to a biography of a local musician the claim will change.  Roger McCabe is a local musician, who declined an invitation with his band to play at Woodstock ’69.  This biography will investigate the life of Roger McCabe starting from his first experiences with music to his last, and the different impacts (political, social) that effected his life and music.  I believe that this is a claim of fact and definition.
  2. Stakeholders:  What stakeholder specifically needs to hear this argument?  Why them?  How will you appeal to that audience’s assumptions, values, and beliefs?  How will you use logos, ethos, and pathos appeals?
    1. I chose the audience to be a scholars (usually other students).  I picked students scholars because this biography of a local musician is specific.  The scholar would already be doing research on the topic of music and the history around the time of the music.  I believe that I can bring in a lot of facts coming from oral interviews with Roger McCabe; as well as, use historical documents (such as pictures) for confirmation of the story.  This is also add to my credibility of the topic if I can confirm his story using historical documents.  The emotional appeal, I wanted to use a more ironic tone in the biography because of his Woodstock story.  However, I do not believe that there is much of an emotional appeal in a biography genre of writing.
  3. Exigence:  What prompted YOU to want to write this?  Why is the topic important?
    1. I wanted to write this because I was deeply interested in Roger McCabe’s life story.  He and his bands did a lot, as well as played a lot throughout New York state.  I wanted to learn more of Roger’s stories because this was something that I wasn’t really able to find online–this individual story of a local musician.  This topic is important to me because not many people know Roger McCabe’s story.  Even my roommate who introduced me to McCabe didn’t know these stories.
  4. Research:  How will your research help support the claim you’re making?  Describe the gaps or unanswered questions in your research so far and describe how you might address them with further research.  Where do you need more support, information, or examples?
    1. My research now of the history around the time of Woodstock and how the music influenced many different political aspects, social aspects, and more.  But with the change of genre to a biography of Roger McCabe, I need to do more research in the local music of the city of Utica.  I need to conduct a second interview (if not more), of Roger McCabe to get a longer fuller life story.  After the interview, I need to transcribe it, fact check it, and investigate the information that he gave me.  This will help create a stronger biography of Roger McCabe.
  5. Genre:  What genre will you use in this project?  In what ways is this genre well-suited to to your target audience?  What are the conventions of this genre (tone, style, visual attributes, sound, etc.)?
    1. I want to make a biography of a local musician as my genre of writing.  This genre is for student scholar, who already have investigated into the topic of music at this time.  I am just going to start from the first musical experience that Roger had, and continue to were he is now.  I want to include pictures of him and his bands, and the different venues they played.
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04.11.2016 – Homework

  1. My favorite social media platform to use during my free time is Instagram.  I like how other people post pictures and view themselves on online media.  But for the sake of this assignment, I am going to use a sports new blogs site called Table Tennista.  I am really into the table tennis, and this site catches me up on my news about the sport.  The site is also categorized by different continents.  The site appeals to me because each post usually is a bit of news on the topic–usually a match between two players, or a certain player qualifying for a large-scale event (such as a world champion, or the Olympics), and video pertaining to the match or player.  I believe that this pertains to the logos, the site offers facts on the topic or the player.  In regards to ethos, the site take most of its information from ITTF (International Table Tennis Federation), which is considered the main news source.  However, I think that the ITTF site is more harder to navigate.  As far as pathos go, I don’t think this site really has an emotional effect on me.  However, if it is worth anything, I think that the site is easier to navigate than the ITTF site.  I really like this site because it isn’t that word of post and it usually contains a video of the topic.  I am able to watch the video and read up on facts of the player.
  2. .
    1. What topic did you explore in Projects 2 +3?
      1. I explored the topic of Woodstock and music at the time.
    2. What audiences do you think need to learn more about your topic?  Why?  What do you want to communicate to them?
      1. I wanted to communicate to an audience who knowns little of the music and culture at the time.  I wanted to let people know all the trends that were attached to the Woodstock music festival.  But, since I switched my genre from a research paper to a biography of a local musician.  Now, I want my audience to learn about a local musician.  The audience would be other peer learning more about the local music of the area and time.
    3. What genres would you be interested in exploring for Project 4?
      1. A research paper of Woodstock and the music during the time
      2. A biography of a local musician.
    4. Make a list of possible audience/genre pairing.
      1. student/biography
      2. scholar/biography
      3. scholar/research paper
      4. student/research paper
    5. Choose 1-2 audience/genre pairings that you might be interested in using for Project 4.
      1. student/biography
      2. scholar/biography
      3. student-scholar/biography

Critical Reflection

The web of influences that came from the Woodstock Music and Art Fair in 1969 played a vital role in our society.  I learned more about the Vietnam War.  I saw how bad the drug culture was at the time.  During my research, I looked through many different search engines for news and information.  I found interviews online; as well as, information to help me with the historical context of Woodstock at the time.  I watched documentaries about Woodstock.  What I liked most about these videos was the original footage.  I didn’t feel like I was at Woodstock, because of the quality.  I found images of advertisements.  Using the images of the old advertisements, we can see what changed during the time before Woodstock.  These advertisements revealed location change; as well as, performance changes.  And lastly, I conducted an interview with a local musician who was invited to play at Woodstock with his band.

In regards to stakeholders during Woodstock, the stakeholders include: young adults, the producers, Max Yasgur, Roger McCabe (interview), musicians, local government, local population, and so on.  Young adults were fleeing the country because of the war.  Max Yasgur’s dairy farm was at stake for supporting and having the music festival on his farm.  Roger McCabe and his band lost their change to perform at a spectacular event.

When I conduced my interview with Roger McCabe, a local musician and bass player in the Jumpin Jax, I wanted to know more.  I found myself not interested in Woodstock and its music, but on the story of Roger McCabe and The Jumpin Jax.  In the future, I want to focus more in the individual.  A genre that I can try out is a biography of a local musician.  A biography shows the thought and research behind the individual—Roger McCabe and The Jumpin Jax.  While a biography is really informative, I believe that logos and ethos will be easier to appeal.  However, finding a more ethos appeal to the biography will help with entertaining the audience.

Woodstock Music and Art Fair in 1969

There is no doubt the music of Woodstock Music and Art Fair in 1969 and its web of influences has played a vital role in our society—these influences include: civil rights, Vietnam involvement, women’s liberation, LGBT movement, and so on.  I wanted to explore more into the topic of music; however, I was surprised by all the cultural threads attached to the Woodstock Festival and its music.  My original plan was to research the political threads attached to the Woodstock music festival; and furthermore, investigate ideas of cultural hegemony.  Following my initial interview with Roger McCabe, bass player for Jumpin Jax and local musician, I wanted to try and pull a different thread for the project—and try a biography of a local musician.

Woodstock-Ad-1
Figure 1 – Advertisement for Woodstock Music and Art Fair from Ramparts Magazine [1]. 
The magazine advertisement of the Woodstock Music and Art Fair (to the left, Figure 1) was one of the first things that I found while conducting my initial research.  I have seen this specific advertisement in many different searches.  I found this advertisement as part of an online journal, Journal of Michael Baum | Travels of an Artist, written by Michael Baum, who studied Fine Arts at Wright State University [1].  This advertisement illustrates what was planned to happen at the festival.  We can see that Woodstock in 1969 was far from what was expected and planned.  Michael Baum commented on the musician line-up on the advertisement did not include the famous Jimi Hendrix [2].  Figure 2 (to the right), is an updated advertisement of the Woodstock Festival [3].  Comparing the two figures, we see The Who was moved from Sunday to Saturday; as well as, an addition of Mountain on Saturday and Jimi Hendrix on Sunday.  Furthermore, we cannot forget the es and a planned location.  Furthermore, we cannot forget the musicians who performed and were not on the advertisement: Melanie, Bert Sommer, Quill, John Sebastian, Sly

Woodstock_ad_1969_Header
Figure 2 – Updated Advertisement for Woodstock Music and Art Fair [3].  
and the Family Stone, Country Joe and the Fish, Ten Years After, Paul Butterfield Blues Band, and Sha Na Na; likewise, we cannot forget the musicians who were listed to perform on the advertisements but did not perform: The Jeff Beck Group, Iron Butterfly, and Moody Blues [3].  There were more changes to the performance line-ups.  Woodstock 1969 was far from what was planned.

 

Now look at location on both advertisements.  Wallkill, New York was the planned location for Woodstock ’69 until the venue changed to Bethel, New York.  Furthermore, Michael Baum states in his blog: “…As it turned out, due to the last minute change of venue, the fences weren’t up, so I walked in.  That was the beginning of an amazing experience [2].”  However, while Michael Baum was able to walk into the music festival, there were many people who climbed over the fences in order to get into the concert.  According to the video footage from the Woodstock documentary made in 1970, there were huge crowds of people breaking down fences during Richie Haven’s performance [4], and this was the first performance.  Through some of the sources that I explore, we will see the expectations that Woodstock ’69 overcame.

Michael William Doyle, Ph. D. prepared Statement on the Historical and Cultural Significance of the 1969 Woodstock Festival Site from the Woodstock – Preservation Archives.  This article was a really good start when looking at the historical context, the impact to the region, the symbolic influences, and more [5].  Historically, there was a lot happening during the time of the Woodstock music festival including: the African-American civil rights, the America-Vietnam involvement, the Women’s liberation, and the Gay and Lesbian liberation movement [5].  Furthermore, one of the most interesting things I found in this article was the impact on the region on the local residents in that specific region.  According to figures 1 and 2, the original venue for Woodstock Music and Art Fair was Wallkill, New York [1,2].  However according to Doyle, the movement of Woodstock 1969 from Wallkill, New York to Bethel, New York was because of the local population and the resident officials were not prepared for the potential influx of people to the concert [5,6].  Furthermore, the movement of venues was not just credited to the local population and the resident officials; besides the lack of resources, the change of venue was fueled by bias towards the hippie counter-culture [5].  More so, when the location of the concert was changed to the dairy farm of Max Yasgur in Bethel, New York signed of opposition read: “Stop Max’s Hippie Music Festival.  No 150, 000 hippies here.  Buy no milk [7].”

The sources that I researched really helped me understand many of the threads attached to the Woodstock Music Festival in 1969.  However, my interview with Roger McCabe, local musician and bass player for the Jumpin Jax, set me on a different direction.  Within the interview, there were many facts that he said that I wanted to research into.  I wanted to know if they were true; I wanted to know more.  One thing that I wanted to know if it was true was his 45 record.  Roger says in the interview that he was told by the engineer that the Jumpin Jax record the first stereo 45 record [8].  This is something that I want to know if it was true, because this is super cool!  This would be something very interesting that I can add to a biography.

I found Roger’s Woodstock story to be extremely ironic.  The Jumpin Jax had met with two producers of Woodstock ’69 on the side on the road.  The producers asked them to come play at Woodstock, but they wouldn’t get paid a lot.  The Jumpin Jax turned down their invitation to Woodstock due to another gig at the end of the state, and began their way to stardom.  And it was all because the Jumpin Jax didn’t want to perform at a cow pasture.

I found it interesting when Roger said that he didn’t really thing anything of the politics at the time.  However, he said that they talked about the war a lot.  Roger was drafted; after examination, an ulcer in his stomach—which leads to emotional problems—and classified him as 4F, which is a designation that you are physically or mentally incompetent to go into the service [8].  Roger said that he didn’t really think of the politics; however, we see a few political within his life.

Lastly, I wanted to end on a photo of the Jumpin Jax—figure 3.  Roger McCabe is on the far left.

IMG_2996 copy
Figure 3 – The Jumpin Jax [9].  
Work Cited

  1. Baum, Michael. Advertisement for Woodstock Music and Art Fair from Ramparts Magazine.  Digital Image.  Journal of Michael Baum / Travels of an Artist.  Michael R. Baum, 1969.    11 March 2016. http://www.michaelbaum.com/journal/woodstock_ad.htm.
  2. Baum, Michael. “Woodstock.”  Web Blog Post.  Journal of Michael Baum / Travels of an Artist.  Michael R.    Web.  11 March 2016.  http://www.michaelbaum.com/journal/woodstock_ad.htm.
  3. Schafer, Jason. “Original Woodstock Ads Show How Much of a Slipshod Operation the Whole Thing Was.”  DangerousMinds.  24 March 2015.    30 March 2016.  http://dangerousminds.net/comments/original_woodstock_ads_show_how_much_of_a_slipshod_operation_the_whole_thin.
  4. Dir. Michael Wadleigh.  Perf.  Joan Baez, Richie Havens, Roger Paltry, etc.  Wadleigh-Maurice Ltd., 1970.  DVD.  Documentary Heaven | Food For Your Brain.  DocumentaryHeaven, 26 March 1970.  Web.  20 March 2016.  http://documentaryheaven.com/woodstock/.
  5. Doyle, Michael William, Ph. D. “Statement on the Historical and Cultural Significance of the 1969 Woodstock Festival Site.” Statement on the Historical and Cultural Significance of the 1969 Woodstock Festival Site.  Woodstock – Preservation Archives, 25 September 2001.    26 March 2016.  http://www.woodstockpreservation.org/SignificanceStatement.htm.
  6. “Woodstock Pop-Rock Fete Hits Snag.” The New York Times 17 July 1969: 56.  Woodstock Preservation.  Woodstock Preservation Archives.    8 April 2016.  http://woodstockpreservation.org/gallery/NYT-PDF/02_WoodstockFestivalHitsSnag.pdf.
  7. “Pop Rock Festival Finds New Home.” The New York Time 23 July 1969.  Woodstock Preservation.  Woodstock Preservation Archives.    8 April 2016.  http://woodstockpreservation.org/Gallery/NYT-PDF/04_RockFestivalFindsNewHome.pdf.
  8. “Interview with Roger McCabe.” Personal interview.  6 April 2016.
  9. Cee, Tony. The Jumpin Jax. From Roger McCabe, Utica, New York.

Interview Proposal + Interview with Roger McCabe

Interview Proposal

Interviewer: Jacky Huynh

Interviewee: Roger McCabe

What topic are you investigating?  What research have you done so far?

  • I am researching into the topic of music, especially during the time of Woodstock Music and Art Fair in 1969.  I am done historical research of the time.  I have looked at advertisements of Woodstock during the time to find changes.  I have read other interviews of Woodstock attendees.  I also have watched the Woodstock documentary made in 1970, and directed by Michael Wadleigh.

What is the connection between your topic and your potential interviewee?  How will they help you with your research question(s)?

  • I know that Roger McCabe was in a band and that he was asked to play at Woodstock. However, I know no other details of the story.  He was alive at the time and questions of politics can help further the interview.  I don’t know how Roger will help me with my research questions.

What is the ethos/credibility of the interviewee?  What makes them a stakeholder in your topic—and what is their stake?

  • I do not know how much I can trust Roger, but if I can find other evidence with his story than it holds a stronger truth.  I believe that he would tell me the truth.  His stake now is integrity to speak the truth.

 

Interview with Roger McCabe

Interviewer: Jacky Huynh

Interviewee: Roger McCabe, bass player for Jumping Jax and local musician

Interview Setting: Interview conducted in home of Roger McCabe in Utica, New York.  The interview was conducted at 7:10 PM on Wednesday, April 6, 2016.

Affiliation with interviewee: Roger McCabe was introduced to me by Jordan Robinson, my freshman year roommate.

(Start of Interview)

Jacky Huynh:  I know you have a lot of stories, but I am going to start of with a few more basic and general questions.  Okay, so what was your band called?

Roger McCabe:  Umm…well…my last band was called preacher.  And the band before that was called Crabs…

Jacky Huynh:  When were you in those bands?

Roger McCabe:  Well…you wanna start from the beginning, or what?

Jacky Huynh:  What ever is easier for you?

Roger McCabe:  Do you want me to start back in high school or after high school?

Jacky Huynh:  What ever is easier for you; lets start after high school.

Roger McCabe.  Well…in high school…I was in several bands.  It think that started was 1961, I saw Chubby Checker at the Utica Memorial Auditorium.

Jacky Huynh:  Chubby Checker?

Roger McCabe: Chubby Checker…the black guy that did the twist.

Roger McCabe: And um…I said shit I can do that…I can…twist and sing up there and um…and the freaking girls were screaming.  And he was making a lot of money and I thought well I could do that.  And thus began a journey to do that.  Then I made it my first goal in life…My first goal was to be an actor or a musician.  A musician is actually an actor if they’re on stage.

(Switched Recording Media from iPhone to Laptop)

Jacky Huynh: What type of music did you band play?  And I am asking by band, I mean the band that was asked to play at Woodstock ’69.

Roger McCabe: We were the Jumpin Jax…and if you would like, I will play you a record.

Jacky Huynh:  I would love to listen to the record when we conclude with the interview.

Roger McCabe:  The Jumpin Jax recorded the first stereo 45 record made in America.

Jacky Huynh:  That is really cool.  That is really really cool.

Roger McCabe: Yeah, or that is what the engineer told me.  Of course, he also said, “These are John Lennon headphones.”  And I says, “Well, give me some that fucking work!”

Jacky Huynh:  Where were you and your band located?

Roger McCabe: New York State.

Jacky Huynh:  More specifically, where in New York State?

Roger McCabe: The management was based in Utica.

Jacky Huynh:  Where did the Jumpin Jax practice together?

Roger McCabe: I would go from Utica to Binghamton to rehearse for months.

Jacky Huynh:  Did you go all day?

Roger McCabe:  Umm..yeah—I practiced all day with the band.

Jacky Huynh:  How did you feel about Woodstock concert as a whole?

Roger McCabe:  If I’d play Woodstock, I most likely would’ve been dead—like Jimi Hendrix, Janis Joplin, all those others.

Jacky Huynh:  That’s how you feel about Woodstock?

Roger McCabe: Or, I could have been a very big star.  Like most of them that came out of Woodstock, were all big starts—and/or dead.  So, Woodstock made the generation I think musically and culturally.

Roger McCabe:  Did you know that at Woodstock people brought top of the shelf L. L. Bean camping equipment?  They spent thousands of dollars to camp at Woodstock.  When it got some muddy, they said that they didn’t want to clean it.  So they just left it there!  Tents and camping gear all over Woodstock; and they plowed it all under!  They just plowed it under and let the grass grow.

Jacky Huynh:  Did you go to Woodstock yourself?

Roger McCabe:  No.

Jacky Huynh:  Because…where you playing somewhere else?

Roger McCabe:  Right, the Woodstock story.

Jacky Huynh:  What is your Woodstock story?

Roger McCabe:  The Jumpin Jax were going on the road—traveling to places in Syracuse, Rochester, Jamestown, whatever.  But either way we were on the throughway driving.  We saw two guys broken down on the side of the road by the rest stop.  So, we felt sorry for ‘em and they looked cool.  So we stop to share a beer with them.  They…we spent a little time and got to know each other for a little bit by the picnic table.  “Oh…you’re in a band.”  We said, yeah yeah.  They says we’re putting on this festival downstate, (next…I don’t know) next couple of months.  And, “Why don’t you come and play?”  They told us that they couldn’t pay on that much but we would have a good time and there will be at least 100,000 people there.  They were overwhelmed with the turn out at Woodstock.  And we said, “No, no—we have another gig at the other end of the state.”  It gave us a couple of hundred bucks each.  And we wouldn’t have to go set up at a dirty cow pasture and not get paid for it.  NO, we were beyond that—we were on our way to stardom; yeah, we were on our way to stardom.  Actually we were, the kid had a plan, the guitar player had a plan—we all had a plan.

Jacky Huynh:  Did you know the two guys you were talking to?

Roger McCabe:  The guy with the curly hair that’s on television.  They were the two producers of Woodstock.  Well, I don’t know.  We didn’t introduce ourselves.  We just chilled sitting at a picnic table.  Just sat down and they didn’t introduce themselves but they said, we’re putting on this festival and a Woodstock.

Jacky Huynh:  What was their hook when inviting your band to play at Woodstock?

Roger McCabe:  They asked us to play cause we’re in a band.  Probably, they needed some fillers between the Stones and the Joplins, and things like that.  And so yeah, they says, “We’ll give you a good time and there will be a lot of people there.”

Jacky Huynh:  But they wouldn’t pay you a lot?

Roger McCabe: Yeah.

Jacky Huynh:  Back to the Woodstock Story: what was this plan?  Did everyone in the group have the same plan?

Roger McCabe:  I was working as a computer programmer in 1966, just out of college—kicked out of Utica College because they had a “three cut rule”.  If you cut three classes, you’re out.

Jacky Huynh:  I guess I would be kicked out of Utica College.

Roger McCabe:  So um, some guy called me from an insurance company.  And he said, I got your name from your high school principle.  And I says, “I don’t wanna buy insurance.”  He said no I am offering you a job.  So I went down for an interview, because I had nothing else to do.  I had to think of making a living all of a sudden.  After I left the job, this kid calls me after a couple of years.  He calls me and says, “I hear you play bass.”  I said yup.  He says to me: “I’m starting a band, and we are going to make record and become stars.”  And I said, “Okay, okay”  So, that was how the Jumpin Jax were formed.

Jacky Huynh:  Who were apart of the Jumpin Jax?

Roger McCabe: We had me on bass and this guy on guitar.  We had a drummer from Norwich, Peppy.  And a girl singer, Francine Ellis from Binghamton.  So, we practiced for a few months and started playing out.

Jacky Huynh:  When or where did the Jumpin Jax land their first gig?

Roger McCabe:  The first couple of months we landed a job in Lake George for the summer.  And I says, “This is nice.”  Don’t have to set-up the equipment or take it down.  And you’re in a resort area.  And they’re playing me.  So…um, we took it.  And that was the summer of love.  I called it the summer of love because it was the summer of love—love was in bloom.  Peace, love, Volkswagen buses.  Ya know?  I had a green Volkswagen bus—which is the emblem of the Woodstock era, green Volkswagen bus.

Jacky Huynh:  Did you know anyone else who chose not to go to Woodstock, maybe local bands in the area?  Or did go?

Roger McCabe:  I didn’t know if anybody was asked.  I still haven’t talked to anyone that was asked—as far as local bands.

Jacky Huynh:  How did you feel about the Vietnam War?

Roger McCabe:  I got drafted.  I got drafted just out of high school.  But then, six or seven of my classmates in high school have been killed.

Jacky Huynh:  And this was just after graduation?

Roger McCabe:  Umm…yeah.  So ummm, I went to Syracuse to take the physical.  And, I saw a doctor before because I had problems with my knee, and I had problems with my back.  I thought it was safe to tell them what they were getting in for if they took me into the service.  They told me that we don’t care about your broken knee or back.  We only care that you have a start of an ulcer in your junior year of high school.

Jacky Huynh:  An ulcer?

Roger McCabe:  Ulcer, in my stomach.  And they said that means that you have emotional problems and that you’re crazy.  So I said to them, “You don’t want to take crazy people and teach them to kill, but you wanna take sane people and make them crazy.”  And they didn’t answer.  But, they didn’t take me.  To answer your question, I wasn’t going.  I said I’ll type, I’ll type; but I wasn’t going to Vietnam.  He said, “Okay, you’re crazy…you’re crazyy.”  And they classified me for 4F.

Jacky Huynh:  What is 4F?

Roger McCabe:  4F, which is a designation that you are physically or mentally incompetent to go into the service.

Jacky Huynh:  During this time people were leaving for Canada because of the Vietnam War, how do you feel about that?  And did you have people that left for Canada?

Roger McCabe:  The politics didn’t play in at the time.  You were 18/19, and girls/nurses, drinking, and this and that.  I put it on the back tangent about Vietnam and politics.

Jacky Huynh:  So, you didn’t think about the politics much?

Roger McCabe:  I just didn’t think about it.  I really didn’t think about it.  We thought about the war a lot, but we didn’t think about the why.

Jacky Huynh: You kind of answer this question already.  But, did any of your music talk  about the politics, or anything at the time?

Roger McCabe:  We ummm, you mean the type of music we played?

Jacky Huynh:  Yeah, the genre of music you played.

Roger McCabe:  The Jumpin Jax played music that you would hear at a club—we were a club band.  Dance, ballads, and we played it all quiet.  We played it all quiet as possible; so that, you and your date could talk at a table.  Ya know?  We basically played popular music of the day: hits—all hits.  And if there was a message to some of the songs.  I didn’t get lost in the lyrics.  If it was catchy and had a beat.  And we could do it—nicely.  Then we played it.

Jacky Huynh:  You said before that the Jumpin Jax had a record and would play it.  I would love to listen and record the music.

Roger McCabe:  I’ll get it out, but the record player is old—but its functional.

Jacky Huynh:  As long as it’s functional.

Roger McCabe: (Brings out old record player, and 45 record of the Jumpin Jax)

Jacky Huynh:  Can I take a picture of the record?

Roger McCabe: (Hands Jacky the record, and continues to set-up the old record player)

Roger McCabe:  This is a remake of a Beatles’ song.  This record was done while we were in Lake George.  The Oxford Watch Band was playing up there—a band from Rochester.  And they to come in—cause they only doing three sets a night; we’re doing six.  And they would come in.  We got to know them.  They did a set—and anything so we didn’t have to work as hard.  Anyway the guitar player said, “You guys should record, you guys should record.”  And Bobby said, “Yeah!  That’s what we’re planning on doing.”  He has a dream—we’re getting girls; we’re putting the band together; and we’re recording and becoming stars.  So Brad said, “My brother knows a guy who’s the vice president of Capital Records.”  I says, “Why don’t you talk to him?”  He says, “Well we’re not ready yet.  But you guys sound like you’re ready.”  So we went and talked to this guy, and he really did know a guy who was the vice president of Capital Records.  And he says, “Yeah, record—come on down with your band and we’ll set you up with studio time.”  And the first one we did was a remake of a Beatles’ song.  Now this is a stereo recording but it’s also one huge speaker.

Roger McCabe: (Starts stereo recording of the Jumpin Jax’s cover of It Won’t Be Long by the Beatles)

 Roger McCabe:  This was the type of music that we played.  This is just a demo record.  The agent was going to take this and shop it around to different companies.

Jacky Huynh:  She was really good.

Roger McCabe: (Flips record) But, here’s the one I like.

Roger McCabe: (Plays Love, that’s where it is by the Jumpin Jax)

Jacky Huynh:  I like how this record player is Sears.

Roger McCabe:  Huh?

Jacky Huynh:  It’s Sears, and like they just got rid of the one in the mall.

Jacky Huynh:  She’s really good.

Roger McCabe:  She was a paranoid schizophrenia.

Jacky Huynh:  Who?

Roger McCabe:  The singer, it was very interesting.

(End of Interview)

 

 

04.06.2016 – At-home assignment

  • What are you studying at SU?
    • I am studying anthropology, chemistry and forensic science.
  • What type of writing do you do in your field of study?  What genres do you use?
    • Forensic Science
      • Written Reports of Evidence
      • Expert Witness Reports
      • Research Papers
    • Anthropology
      • Research Papers
      • Comparison Papers
      • Ethnography Papers
      • Field Journal Notes
      • Fieldwork Reports
    • Chemistry
      • Research Papers
      • Laboratory Notes
      • Laboratory Reports
  • What are the purposes, audiences, and contexts associated with these genres?  In other words, why do you write in these genres, who are the audiences for them, and where/in what context do these genres function?
    • Written Reports of Evidence
      • This is for documentation of the evidence.  This is done in order to keep organize all pieces of evidence, and to maintain the chain of custody of the piece of evidence.  This report is for the legal individuals who need to use the evidence.
    • Expert Witness Reports
      • This is a full report of all the qualifications, methods, and test used by the expert witness.  This report is given to all parties in a court case.  The expert and their report prepares for a direct testimony during court for the jury.  Expert witness reports are usually written and given in a legal court setting.
    • Research papers (forensic science)
      • Most scientific experts have research papers and publications in their field in order to further qualify as an expert witness.  These papers are usually increasing the data quality of their specific research, or adding new information and data to the forensic science world.  The audience for these papers are usually other forensic science researchers, or other researchers.  And these research papers will most likely be found in a scientific peer-reviewed journal.
    • Ethnography paper
      • This usually includes the individual research’s field notes as well.  Ethnographic papers are usually firsthand accounts of the individual’s experiences in their particular setting.
    • Field Journal Notes
      • I use my field journal like I use my lab notebook, to record observations made during my research work.  If I were to find “special” artifacts during digging, it would be noted in my field journal.  Your field notes should alway have the location and site record.  Also you should record a date, time, and a temperature of the specific sites.
    • Fieldwork Reports
      • Fieldwork reports are a summation and analyst of the observations that the individual made during the specific day of field work.  The audience for these reports are usually for archaeologically literate peers in the field.  Fieldwork reports are usually found within larger research work within a larger regional area.
    • Research paper (chemistry)
    • Laboratory Notes
      • Laboratory notes have a procedure report and an actual report.  Observations and critical changes are noted in the lab notebook.  The notebook is for chemically literate individuals to read and follow–hence, the procedure.  While the actual report shows if the experiment succeeded or failed.
    • Laboratory Reports
      • Laboratory reports include the procedural report, actual report, experimentation, a conclusion, and a discussion section.  Laboratory reports usually are a summation of your laboratory notes.
  • What are the conventions of these genres?  In other words–how long are they?  Do they include images?  How are they formatted?  Is the tone formal?  Informal?  Do you use first-person pronouns (“I”)?  How are these conventions related to the audience’s expectations?
    • Forensic Science
      • Expert witness testimonies are one of my favorite types of writing.  I have written and read several expert report; however, the reports are usually unprofessional.  These reports are usually written as professional as you can.  Since these reports are usually given to legal professionals.  The pattern that I have seen with expert reports are the introduction (including credibility and qualifications), methods, testing results, followed by a conclusion.  These expert reports usually have no opinion from the expert.  The expert has no stake in this case, nor should the expert show bias.
    • Chemistry
      • Laboratory Notebooks
        • While the laboratory notebook contains an procedural report and an actual report, for the most part it is very informal–until you write a laboratory report on the experiment.  This usually contains informally written observations made to note later when writing a more formal report.
  • As you reflect on the research you’ve done so far for Projects 2 + 3, which stakeholders or stakeholder groups are most interesting to you?  What do they need/value/believe?  What do they have to gain/lose?
    • Through my research there are many stakeholders in music, especially during Woodstock.  Focusing on the music, there were stakes for the musicians performing at the concert.  Other stake holders are the young teenagers getting ready to leave for Vietnam or country.  You can gain/lose your life.  You can gain/lose finances.
  • What genre(s) would you be interested in using for Projects 4?
    • With the research that I have done for music and Woodstock, I would mind doing a more deeper interview to write a biography for the individual.  However to strengthen my forensic science written, I wouldn’t mind written a laboratory report.
  • What genre(s) might be well-suited to the stakeholder(s) that you listed in response to question #4?  Why?
    • If I wanted to further my projects towards the individual such as the person I interviewed for the project, I believe that a biography written piece would be done well–and it is something a little different.  A biography because he was in multiple bands and there was a lot said during his interview.  But, I also think that a normal essay would be a good genre to use to inform.
  • If you wanted to turn this research into something that would be relevant to a person in your field of study, what genre(s) could you use?  how would you shape the information so that it was relevant to them?
    • I really wish I could turn this into an expert report for court.  But I don’t think that is possible–and if it is possible, I do not really know how to do it.  However, I think that I can further on the interview and turn this into a biography for him.  Maybe in an anthropology sense, I could continue with the politics with Vietnam and Woodstock.  This genre should just be a normal research paper made to inform.

 

04.04.2016 – Explanatory Essay

While exploring the different topics to research for this class, I found myself struggling to zero-in on a topic.  I managed to narrow down my topic of interest to exploring more about music because I am very interested in music; however, there is a lot that comes in to and out of the topic of music.  I knew that music would have a lot to work with—except, I did not expect there to be so much to research.  And all the different routes one can take with music.  One main route I want to take is to look at all the artist who were New York state residents.

When diving into the research, I thought that the Woodstock Music and Art Fair in 1969 was a good place to explore.  I knew that the Woodstock Festival was in New York state, and that could help guide me to a more focused idea with local histories in Syracuse/New York.  However, Woodstock was more than just a music and art festival.  According to Jonathan Lipsin, a record store owner who attended Woodstock ’69: “Well, it gave me a sense that we can do things also for the planet, because out of the ‘60s came women’s liberation and came, that whole issue of gay rights.  There’s a lot of issues that came out of that—ecology, environmental concerns—and these are all things that we’re dealing with now.”  I agree with Lipsin that we are still dealing with these problems.  Furthermore, it has been almost half a century since Woodstock ’69, these problems still exist and we are still dealing with them.

As part of my research, I decided to watch the Woodstock documentary made in 1970 directed by Michael Wadleigh.  This documentary had original footage from the festival, and allowed us to get a better sense of Woodstock ’69.  What I liked most about the original footage of the Woodstock festival was at some points during the video, there were multiple footage at the same time.  This helped represent all that was happening during Woodstock.  For example, the video showed footage of Richie Haven’s performance, the first act, but at the same time showed footage of the groups of individuals breaking down and climbing the fence during R. Haven’s performance to get into the music festival.  This documentary was not just filled with footage of musical performances.  There was footage of when the medical helicopters came; of interviews about the sanitation of the portable bathrooms; of interviews that lead to positive and negative comments towards the festival—and so on.  One thing that caught my eye was when someone was opening a can of soda.  If you looked close enough, you can see that the top soda can is a different style of present soda cans.  This is something small but interesting to material culture.

A tentative focus I wanted to take on music and Woodstock was a political focus, bringing out the fact that during this time there was a war happening in Vietnam.  While there were a lot of other political aspects and issues in America, I wanted to focus on Vietnam—because I am Vietnamese.  This connection help solidifies my interest in the topic and further my research.  In the Statement on the Historical and Cultural Significance of the 1969 Woodstock Festival Site, during this time “protest against American involvement in Vietnam had drawn thousands of people into the streets”.  Again there were more issues than just Vietnam during this time.  With the Vietnam war happening there was a lot of tension.  Anyone 18 and older all were leaving the country, if not for Vietnam then for Canada.

As for my interview, I have not met with the individuals but I have two people in mind.  One who was asked to preform at Woodstock and declined.  The other, a person who was in Upstate New York during the time of Woodstock but decided not to go.  I wanted to ask question along the lines of: Why you didn’t go? How did you feel about Woodstock before and after? How did you feel about the politics during this time? How did you feel about the Vietnam War? Did you know anyone that went to Woodstock? I believe that these questions plus others would help further my research.

One last thing that I wanted to try and focus on was cultural hegemony during the Woodstock festival, or around the time of the Woodstock festival.  I quick definition of hegemony is political dominance.  However, it isn’t just dominance.  It is when political authority controls a large population through cultural hegemony.  A lot of the time hegemony is overseen, and the population agrees with the political power.  This will allow me to move into ideas of classes and races.  Cultural hegemony in music could be the political elites preventing marginalized groups to be in the industry; however, there are fault lines such as Led Zeplin, and Sly and the Family Stone.