Hi all—I’ve both been busy at digitizing my cassette tapes that Dick didn’t get to, and have been unable to get into this page to tell you about it, because of a technicality with the site.  But here’s a quickie-update.

First, Peter was here in October, and not only cleaned up (streamlined) a lot of the wiring of my computer/audio set-up, but selected for me a nifty little machine into which I can record my cassette tapes, leaving my computer free for me to do Other Things while digitizing progress is being made: a Tascam DR-40.  This is pretty easy to use, AND did not break the bank (they cost about $150).  In addition, I now have a decent portable device on which I can make new recordings, besides digitizing the ones I have.

So I bombed through several trips’ worth of tapes, and then…I tried to record one, and it sounded—not merely “bad”, but AWFUL!  I could hardly hear anything, and the sound was wobbly.  I cleaned the play head and pinch rollers, tried it in the other deck, in the other direction, but nothing helped.  Yet evidence showed that I had once listened to this tape and taken careful notes on contents!  Suddenly I remembered seeing Dick do something many years ago.  Just as he had done, I whipped the tape out of the machine, turned it over to inspect the little felt pressure pad that keeps the tape snug against the record/playback head.  I guess I can’t show you exactly what I saw, because that piece of evidence is lost in the shuffle, but here is the difference between a Good pressure pad and a Bad one:

Sometimes they get eaten entirely away, which was the case in the poor cassette I had in hand!

So now what?  Fortunately, having lived through this problem before, I knew what to do.  I keep a bag of cassettes whose contents I don’t care about, for exactly this purpose.  You have to unscrew the 5 screws holding the cassette together, separate the two halves CAREFULLY, and remove a good pad  (mounted on a narrow strip of springy metal) from an otherwise “dead” cassette.  Having done that, you open your damaged cassette with even more care (the other one was just “practice” for this part).  Most of all, you do not want to scatter the contents.  You don’t want the tape itself to unwind, or get out of its “track”; you don’t want to lose the plastic sheets that encourage smooth tape travel; nor do you want to dislodge the little rollers with pins inside that can come out  and get lost.  Did all that work?  GREAT, if so, you carefully (using tweezers) lift the bad pad out, throw it away or keep it in your Demo collection, and equally carefully plop the new pad assembly into its place.  Once you’re sure it’s in correctly, reassemble the cassette (being sure the tape doesn’t get pinched somewhere as you do so), put back the screws, and voilà! a cassette with a working pressure pad!

But then, having discovered this one VERY bad one, I examined all the other cassettes in my big box o’ recorded tapes.  I discovered some 30-35 that had pads in greater or lesser need of replacement!  I’ve now spent several hours (is it more than 4?  I didn’t count) doing this, and as far as I know everything is back in working order.  In the process I noted a few tapes I thought I should just re-digitize, because though their pads were not Awful, they were definitely not good.  I got pretty good and even quick at doing this, and am thinking of making a video—if I succeed in that, I’ll put a link here.

There’s one more thing, though.  Having replaced the damaged goods, how do I prevent it from happening all over again?  You know what moths like to eat: WOOL (and some other things, including, as I’ve discovered, some things like polar fleece that I don’t believe are edible!); these little all-important pads are made of felt, which is usually made of—WOOL.  OK, this is a problem I’ve been dealing with for a number of years.  I’ve now seriously reduced the number of moths in my house and stuff, but they do come back, either because you miss some eggs, or because new ones enter your house.

The solution is amazingly simple: you asphyxiate them with carbon dioxide!  (Don’t believe what you grew up with hearing about moth balls—I’ve found a living larva in a garment that had been kept for about a month in a heavy plastic bag with mothballs!  Even if mothballs get the living moths and larvae, they don’t appear to get the eggs….)  So your prep is pretty easy: you arm yourself with some heavy-duty “contractor” plastic bags (check them for leaks, though), or some bins—or even clean trash cans—with loose-fitting lids.    You put your stuff in one of these things, in a place where you can leave it undisturbed for several days to a week.  When you’re all ready, you go to the nearest store where you can get DRY ICE (pellet form is most convenient, but you do what you gotta do).  USE GLOVES so you are not handling it with your bare hands, because you’ll get a nice “burn”, the stuff is COLD.  You rush home with this, because it sublimates pretty quickly.  You put about 1/2 to 1 pound of dry ice into each bag/bin/barrel, and close the top LOOSELY.  As the dry ice sublimates, it releases carbon dioxide, which is heavier than air, so it settles.  You want it to drive out the air, and you don’t want the bag to explode!  Leave it undisturbed for a few days to a week, and you should be home free.  Northwest Center for Alternatives to Pesticides has a nice page on this.

And now, back to work….

Here is a little story I heard in the village of Govedártsi, south-west of Sámokov, Bulgaria, in 1988.  I’ve been saving it, but I think the time has come to share it:

Dobrínka Spásova Kalpáčka was born on the 28th of November 1918 in the village of Raduíl, some 20 kilometers to the south-east of Sámokov. I met her on the afternoon of August 2, 1988, in Govedártsi, a village about the same distance from Sámokov but to the south-west.

This was a bright sunny afternoon relatively early in my two-month stay in Govedártsi (I had a Fulbright grant to do in-depth research into old songs in four villages in the Sámokov region) and I was a bit at loose ends. I thought I’d look for a woman I’d met and recorded a few days earlier—we had found her out tending her cow and she told me some pretty interesting songs, and said she was usually at home in the afternoon. So I had knocked at her door, but, finding no one about, I started down the road, hoping to find someone who knew where she was. But it was noontime, and no one but me seemed to be out and about. Soon I came upon a little grassy patch with a woman sitting in the midst of it in a little patch of shade. Her legs were stretched out straight in front of her the way village women sit (you can see this in the picture at the end of this post), her shoes were off, and she was crocheting. She looked up, and I asked her if she had seen Tina. “No,” she replied, “what do you need her for?” I mumbled something incoherent about looking for old songs, and she said, “Oh, I can tell you one….”

Thus began a delightful session which I remember with great pleasure to this day. My new-found friend was Elénka Ilíeva Mírčeva, herself born in 1921 in the village of Govedártsi. We chatted for a few moments, and her friend Dobrínka walked by. “Dobrinka, come on over here!” she hailed her. Dobrínka replied something that I couldn’t catch, and her friend repeated, “Come over her and we’ll tell the young wife some songs”—and she turned to me to confirm: “Are you married?” When I assured her that I was a married lady, she launched into the song about Krali Marko and Filip Madžárin (not one that, by my lights, would be inappropriate to tell a maiden, but perhaps she was just checking). Dobrinka helped her out a bit, and then it was Dobrinka’s turn. Before she began, I asked the routine information: her full name, when and where she was born. When she mentioned the village of Raduíl, I told her that I had recorded there several years ago. She was excited about this, said I must have recorded her cousins (I could not at the time remember their names, but later checking proved her right). Then I asked her how long she had lived in Govedartsi….

“My father was killed in the war in 1918, and I was born after that, three months later. My mother had been pregnant, and she had me three months after he was killed. After that–my mother came here, she married someone from Govedártsi, and she brought me here when I was eight months old. Trouble was, the people here didn’t want me, and they sent me back. So I lived with my grandmother and my uncles in Raduíl. And—but when I was born, my mother didn’t want to nurse me. She wanted me to die. Y’ know, a child with no father, you know how much that costs. And her breasts got infected. They started to hurt. OK, but it wasn’t like it is now, there wasn’t anything you could buy to feed a baby. And so I was hungry, and I cried and cried, and somebody said to my grandmother, ‘Maria, there’s this Turkish Roma woman nearby, she has a little one. Go talk to her, let her nurse yours too, so the baby can go to sleep, and stop crying.’ And my grandmother went to see that Turkish Roma woman. ‘Selíma,’ she said, ‘would you be willing to come and nurse our baby too, such-and-such happened, its mother is sick and can’t nurse it and we don’t know what to do–she’s very tiny.’ And Selíma, granny Selíma, said, ‘OK, I’ll come. Granny Maria, I’ll come and nurse it.’ So for two whole months a Turkish Roma woman nursed me.”

“Wow!” exclaimed her friend Elenka.

“Two whole months.”

“That means you have Turkish—blood— ”

“Oh, I’ve got Roma in me too,” affirmed Dobrinka.

The thing that struck me at this point was Elenka’s reaction. Clearly the women were good friends—neighbors, as I later learned, and indeed close friends—but from everything I could tell (short of “breaking” the mood by intruding my own questions) Elenka was hearing this piece of information about her friend for the first time. She spoke almost with a sense of wonder, that Dobrinka had “Turkish ‘blood’” in her veins from being nursed as an infant by a Turkish Roma woman.

“Turkish Roma,” continued Dobrinka. “Yes! Well, after awhile my mother’s breasts got better, and— And then she re-married, and she brought me here [to this village]. Well, that was fine, but they didn’t want to have to raise me, here, and they sent me back. OK, but then in ’23 they killed two of my uncles. Both at the same time. And the other two—well, they worried them—you know how they worry people like that. So I went to school there, first and second grade, and then when I was ready to go into third grade my grandmother died, and I[??? something unclear] back here. And that’s the way my life—”

By this time my own mouth was hanging open. With such a story I would sooner have expected a hardened, embittered person—but the woman who sat with us on the grass seemed to be graced with one of the gentlest, most generous souls I have ever encountered, an impression which did not change as I saw her in later years, on other occasions.

“But,” she continued, “wait, let me tell you something else, Elenka! One year we were in Velingrad [a beautiful spa town on the other side of the Rila mountain range] on vacation with the child [presumably her grandchild], I had Sašo with me.”

“Oh yes, tell the young lady!” urged Elenka. (She seemed to know this story, but later she reacted to it as if hearing it for the first time.)

“I’ll tell it. I took Sašo—he was only this big (she shows me how tall he was), we were on vacation together. OK, but the place where we got our food was a little distance away from where we were sleeping—about as far as to the little square down there [down the hill from where we were sitting]. One morning we were headed down for breakfast. Everybody had gone on ahead, and I was waiting for the child—he was playing with this ‘n’ that. And I was standing there by the road waiting for him, and as I looked down below the road I saw some Roma picking camomile. And all of a sudden one of them, big as my husband here [husband Spas had joined us by that time], he was a little closer to us, and he jumped over the gully by the side of the road and came up to me. Right up onto the road. And he says to me, ‘Where are you from?’ ‘From Govedartsi,’ I said, ‘and where are you from?’ ‘I’m from Bratánitsa, near Pázardžik,’ he says, ‘but I was born in Raduil. Aren’t you—my mother’s told me that she nursed a little Bulgarian with my milk?’”

“Good Lord!” exclaims Elenka, and we both gasp.

“Well, if you would believe it,” continued Dobrinka, “I felt as if the ground had just fallen out from under me, and then came back. What a thing—just imagine, what a coincidence, to run into your brother like that! So we stood and talked for quite awhile, and—and to this day I’m angry, it just didn’t occur to me to get that boy’s address.”

In 1989 I saw Dobrinka and her husband again, and she told me the story again.  At the end of that conversation, I asked how the Roma man had recognized her?  (I had secretly wondered if they might have seen each other occasionally as they grew up.)  But both Dobrinka and Spas said definitively that it was a “completely chance” meeting, and he did not know or “recognize” her.  It just turned out that way.  I wish I had a picture of him too!

For the die-hards who would like to hear this conversation, I’ll put it here—but I don’t really expect many people to listen to it!

P.S.:
Later that afternoon, Elenka told Dobrinka how I had visited the village two summers before (with my husband and son) and had gone up into the field where a group of women were haying—another magical occasion. The women had sung, and we had recorded, and Elenka had recognized me from then, although she didn’t let on right away.

This may not be a very exciting story, but I want to share some of how I’ve been spending my time and allowing my recordings to entertain me lately.  I’ve been to Bulgaria 26 times and counting, and made recordings of some sort on all but the first trip.   My first recordings were made in 1978 (on a $40 Radio Shack recorder), and the most recent were several videos I took last summer.  Three of these trips were formal research trips (including one funded by IREX and one by Fulbright) of 3 months apiece, on each of which I recorded about 50 90-minute cassette tapes.  The others ranged from a week at the shortest, to a month or more, with correspondingly less recorded material.

This means I have a LOT of recordings!!  Now, the three biggie trips (1980-81, 1985, and 1988) are documented to a fare-thee-well: big, fat 3-ring binders stuffed with an inch and a half of pages each.  (I would go back to Bulgaria and friends would tell me my Bulgarian was better, and ask me what I’d been doing.  “Oh, listening to my tapes,” I would say.)  These contain complete transcriptions of all the songs plus notes on everything people said that I found potentially interesting (and we didn’t stop the tape recorder between songs, mind you — if you do that, you ALWAYS miss things, because usually the singers don’t “decide to sing something”, tell you about it, and wait till you’re ready before they start singing!  A song will start in the midst of a conversation, often while people are talking.  Or they may sing lightly, and decide to continue; or sometimes they will “try a song out” first (and not want you to record the trial — but we quickly learned to let the tape recorder run, because if it does go well they won’t want to repeat it.  So you record everything and figure you can pick and choose later!)  I’ve also made a short “index” listing for each session (date, what tape number, names of the singers, and a listing of the songs and interesting discussion points, with very little comment), and lists by first lines for each trip.  And a few other forms of lists, depending on what struck me as useful at the time.

I’ve been wanting to make a map showing everywhere I’ve recorded, and also to have a master inventory of everything I’ve recorded, so I recently started to work on this.  But…projects always seem so much simpler when you get the idea, than they do when you start to implement them!  For the informal trips I made after about 1990, when I was primarily “visiting with friends” but also recording, I have a very spotty set o’ documentation.  Some of these are transcribed and indexed as carefully as the big trips, but others…to be painfully honest, there are some I have never actually listened to.  All I know about what’s on them is the location and possibly the date — whatever I wrote on the label to identify them.  Some of them are very neat; others look like this:
and, after all these years, even I can’t figure out exactly what that means!

Around 2000 we started using a Sony minidisc recorder.  When we came home from a trip, Dick would usually make computer files from the recordings, and we would erase the discs so we could re-use them.  Even later we started using a Zoom recorder, again saving the material to our computer so we could re-use the memory chips.  Now, cassette tapes can have labels stuck onto them, but minidiscs and (worse yet!) files on the Zoom recorder are much harder to label when you are “in the field”.  To complicate matters, I never got into the habit of keeping good external “research notes” in any organized fashion.  I’ve never been too good at writing and talking and gathering up equipment, etc., etc., all at the same time!  That is merely “difficult to do” on a formal recording trip; when you’re visiting friends and having parties…it becomes downright impossible!

So here I sit, surrounded by piles of sometimes barely-identified objects, trying to identify a variety of objects positively and make a good list of the contents — which for my present purpose means listing location, date, what tape number/disc/whatever it’s on, how many songs I recorded in that place on that date, and a very cursory description of the informants, usually as simple as “8 women born between 1917 and 1942.”

Where am I with it now?  In retrospect I would say that, because I already had Lists galore, I breezed through the material up through 1988 (though at the time it seemed pretty slow and painstaking, but then….I was inventing my system as I went along).  But then I got to about 1992, and things slowed down and got way more difficult.  I’m now up through 2001, with something between sketchy and full info for all the trips since then, and man! but it can take me days to finish listing one trip!  (On what date DID I go to X in 2001?  Oh, maybe my calendar will tell me….nope, I didn’t make notes in the calendar!  In the more recent years of digital cameras, the date on my photos helps…)  I guess it’s fair to say that I’m coming down the home stretch, I have 7 or 8 more trips to do, then I can start merging all the trips into one humungous Master File.

The Good News is that, in the course of doing all this, I discovered that I can still make the minidisc machine work.  And yes!! I left the sound system set up so that all I have to do to record something is play it (no plugs to chase down and rearrange)!  I made the delightful discovery that no, the fact that my Tablet has a pretty strong magnet in it does NOT seem to have damaged the tapes that have spent under it or piled on top of it (magnets, you know, erase cassette tapes! but evidently this was not strong enough to do damage).  And, I’ve been getting reacquainted with tons o’ Good Stuff to post here.  Just the other day I played a 90-minute collection of some songs I find particularly beautiful (solo harvest songs, sedenka songs, and “table songs” — sung as entertainment at some festive occasion) and found that I wanted to just post ALL OF THEM!  Well, bit by bit.

So, if you’ve gotten this far, thank you for humoring me by reading my rant about what my days have been filled with lately, and now….I think I’ll get back to it, so I can finish the List and get to the eventual Map, and have more beautiful, interesting songs for you!

Back in February I posted five of the melodies used by different villages in their solo harvest songs—but could not at the time find a recording that I had made of the haunting melody used in Bístritsa (a village in greater Sofia, on the slopes of Vítoša Mountain).  (I didn’t feel right about publishing someone else’s recording, but I couldn’t find my own at the time.)

It turned up recently, in a rather interesting way:  I’ve been compiling a master list of all the places I have recorded, with dates and tape numbers, number of songs I recorded, and just a little information about who I recorded.  In thinking about my recordings in said Bistritsa in the spring of 1985, I remembered that my first recording session in the village that year was on a day when I stopped by to see Dánče (Dana Ovnarska), then the youngest member of the group.  It just happened that Ménka Arónova was visiting her at the time, so after having a bite of lunch, the two of them did some singing for me.  I didn’t remember what we’d recorded that day, but I did have a dim memory of having later studied very closely a recording of Ménka and “someone else” singing that song, working very hard to reproduce the vocal ornaments that they were using.  “Aha,” I said, “maybe they did the solo harvest melody that day!”  And it turned out to be exactly the recording I’d been looking for!

От пладне се мома провикнала (Ót pladne se momá proviknála), recorded in ‏ Bístritsa, Sofia region.

At the end of the song I left our discussion for you to hear.  It’s a rather juicy song, this one!  They tell me that they used to sing this song right after they got up from their noontime rest to start reaping again.  These solo harvest songs were sung  while they were bent over reaping (one woman singing, another answering with the same words).  (Try singing this way some time….it’s amazing how the position almost seems to pull the voice out of you!)  Were the singers working close to each other?  “Ah!  They might be, but they also might be far apart” —and Dánče told me how she would sing with her aunt, the aunt working and singing in her own field, and Danče answering as she worked in hers!

Song text:

От пладне се мома провикнала—
да би защо, моме, за низащо!
Ке промина една лудо младо,
ке промина, мирно не замина,
на везело моми свилна китка.
Викна мома, викна колку може:
“Де сте да сте, мои девет брайкя,
де сте да сте сега тука да сте,
да фанете младо неженето!
Ни го бийте, ни младо губете—
при мене го вързан докарайте,
да го тури мома вечна мъка,
летен дено под зелена сенкя,
зимен дено ю ‘ладна одея,
да седне мома срещу него,
да го гори мома с църни очи,
да го бие мома с бели ръце,
да го петни мома с медни уста.”

After noon a young girl cried out—
as if she had a reason, but she had none!
Because a crazy young lad had come by,
had come by and had not passed on peacefully
but had snatched her bouquet of jasmine.
The girl cried out with all her might:
“Wherever you are, my nine brothers,
wherever you are, come quick!
Come and catch that young bachelor!
Don’t beat him, don’t judge him—
just tie that young fellow up and bring him to me
so I can torment him forever—
in the summertime in the green shade,
in the wintertime in the cool house.
I’ll sit opposite him
and burn him with my black eyes,
I’ll beat him with my fair arms
and bruise him with my honey lips!”