Harold Dejan interview recording, 1994 August 06
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Transcript
Transcripts may contain inaccuracies.
| Kate Ellis | Will you say your name? | 0:01 |
| Harold Dejan | My name is Harold Dejan. Everybody calls me Duke Dejan. | 0:03 |
| Kate Ellis | Okay. | 0:04 |
| Harold Dejan | Yeah. | 0:10 |
| Kate Ellis | So let me just say that this is Kate Ellis with Mr. Harold Dejan on August sixth, 1994, and we're sort of starting with the family history forms, but we're all just going to start talking too. So— and your nickname has been Duke. | 0:10 |
| Harold Dejan | Duke. Yeah. | 0:33 |
| Kate Ellis | Right. So when was that you got your nickname and that? How long ago? | 0:35 |
| Harold Dejan | Oh, I got my nickname, I guess, around 1920-something. And I did, I said that right, 1922 or '23, something like that. Yeah. | 0:38 |
| Kate Ellis | Because he said— Tell me again now, we've got the tape rolling. | 0:58 |
| Harold Dejan | Yeah. This boy played drum with me. His brother plays trombone with the band right now. He told me, "Duke Ellington raised a lot of hell in New York. We raising a lot of hell here, man. You ought to call yourself Duke Dejan." | 1:01 |
| Kate Ellis | So it'd be like you and Duke Ellington were [indistinct 00:01:24]. | 1:21 |
| Harold Dejan | Yeah, yeah, yeah. | 1:24 |
| Kate Ellis | That's great. Akin to one another. Huh. | 1:26 |
| Harold Dejan | But it'd been working a long time. | 1:26 |
| Kate Ellis | Mm-hmm. | 1:26 |
| Harold Dejan | Yeah. | 1:26 |
| Kate Ellis | Tell me your wife's name. | 1:41 |
| Harold Dejan | My wife, her name was Rose Angelin. | 1:41 |
| Kate Ellis | Angelin? | 1:43 |
| Harold Dejan | Yeah, A-N-G-E-L-I-N. | 1:43 |
| Kate Ellis | Dejan? | 1:43 |
| Harold Dejan | Yeah. | 1:43 |
| Kate Ellis | And when was she born? | 1:55 |
| Harold Dejan | Now, you got me. Let me see if my granddaughter know. Lavetta! | 1:58 |
| Lavetta Dejan | Yeah, Daddy. | 2:08 |
| Harold Dejan | She might know. | 2:09 |
| Kate Ellis | We could— | 2:12 |
| Harold Dejan | When was Honey born? | 2:16 |
| Lavetta Dejan | August thirty-first. | 2:18 |
| Harold Dejan | What? | 2:24 |
| Lavetta Dejan | 19— Oh God, I got to think. | 2:24 |
| Harold Dejan | 19— | 2:24 |
| Lavetta Dejan | When was you born? | 2:24 |
| Harold Dejan | 1909. | 2:24 |
| Lavetta Dejan | Okay, but she born 1910. | 2:24 |
| Harold Dejan | Yeah. | 2:24 |
| Kate Ellis | Okay. Thank you. | 2:24 |
| Harold Dejan | Thank you very much. | 2:24 |
| Lavetta Dejan | Okay. | 2:24 |
| Kate Ellis | When did she pass? | 2:33 |
| Harold Dejan | Huh? | 2:35 |
| Kate Ellis | When did your wife pass? | 2:36 |
| Harold Dejan | Oh, about six years ago. | 2:39 |
| Kate Ellis | Okay. | 2:41 |
| Harold Dejan | Yeah. | 2:42 |
| Kate Ellis | Where was she born? | 2:45 |
| Harold Dejan | My wife? | 2:47 |
| Kate Ellis | Yeah. | 2:47 |
| Harold Dejan | Right here in New Orleans. | 2:47 |
| Kate Ellis | New Orleans. | 2:47 |
| Harold Dejan | Yeah. | 2:50 |
| Kate Ellis | Okay. | 2:51 |
| Harold Dejan | She was. | 2:55 |
| Kate Ellis | And she was— Did you say— What was her occupation? | 2:57 |
| Harold Dejan | She was a housewife, but she used to dance. She was a dancer too. | 3:00 |
| Lavetta Dejan | Entertainer, just like Daddy. | 3:05 |
| Harold Dejan | Huh? | 3:06 |
| Kate Ellis | Housewife and entertainer? | 3:10 |
| Lavetta Dejan | Uh-huh. | 3:12 |
| Harold Dejan | Yeah. | 3:13 |
| Kate Ellis | Okay. I have questions about when your parents were born, should your granddaughter be here? | 3:17 |
| Harold Dejan | Yeah. | 3:23 |
| Kate Ellis | Well, tell me your mother's name. | 3:23 |
| Harold Dejan | My mother was Ella D. Planchard. | 3:26 |
| Kate Ellis | How do you spell that? | 3:31 |
| Harold Dejan | Ella D. P-L-A-N-C-H-A-R-D. | 3:31 |
| Kate Ellis | Okay. Say it again. P-H— | 3:41 |
| Harold Dejan | P-L-A-N-C-H-A-R-D. | 3:43 |
| Kate Ellis | Planchard. Okay. What was her maiden name? | 3:48 |
| Harold Dejan | Oh, that's her maiden name. Her name was Ella D. Dejan. | 3:57 |
| Kate Ellis | Oh, right, right, right. | 3:58 |
| Lavetta Dejan | That's her maiden name. Planchard is her maiden name. | 3:58 |
| Harold Dejan | Yeah. | 3:58 |
| Kate Ellis | Right. Okay. When was she born? | 4:02 |
| Harold Dejan | Now you got me. | 4:17 |
| Kate Ellis | Okay. Do you know how old she was when she passed? | 4:18 |
| Harold Dejan | Yeah, she died, I think she was sixty-something years old. She was in her sixties. | 4:22 |
| Kate Ellis | And when did she die? | 4:32 |
| Harold Dejan | In New Orleans. | 4:33 |
| Kate Ellis | No, around what year did she die, or about how long ago? | 4:35 |
| Harold Dejan | I was playing at the opera house when she died, on Bourbon Street. I would say '44 or '45, something. Rough guess. | 4:41 |
| Kate Ellis | That's great. Rough is fine. Okay. | 5:00 |
| Harold Dejan | [indistinct 00:05:15] place in the steamship line. | 5:14 |
| Kate Ellis | So your father, he had a team of mules? | 5:17 |
| Harold Dejan | He had forty teams. | 5:22 |
| Kate Ellis | He had forty teams of mules? | 5:24 |
| Lavetta Dejan | That was during the time of horse and buggy time that he was— | 5:24 |
| Harold Dejan | Yeah, before you were born. | 5:24 |
| Lavetta Dejan | [indistinct 00:05:27] trucking. It's like you have the trucking time now for transport. Well, the horse and buggy time, he used to do that. | 5:24 |
| Kate Ellis | And so he had forty teams of mules? | 5:26 |
| Harold Dejan | Yeah. | 5:26 |
| Kate Ellis | And wagons to go with them, so— | 5:40 |
| Harold Dejan | Yeah, yeah. | 5:42 |
| Kate Ellis | That's amazing. I mean, that's— | 5:43 |
| Lavetta Dejan | Horse and buggy time. | 5:45 |
| Kate Ellis | Yeah. | 5:46 |
| Harold Dejan | Well, you see, see, here's a— He used to keep about three sets of his horses on a pasture about three months a year. He never believed in working them to death. | 5:46 |
| Kate Ellis | So he'd give the horses about a three month break. | 6:04 |
| Harold Dejan | Yeah. Yeah, yeah. | 6:08 |
| Kate Ellis | So he could kind of rotate his teams of animals? | 6:09 |
| Harold Dejan | Yeah, yeah. Yeah. | 6:12 |
| Kate Ellis | Where was the pasture that he would keep them? | 6:13 |
| Harold Dejan | Oh, Down Gentilly. | 6:15 |
| Kate Ellis | Down Gentilly. | 6:15 |
| Harold Dejan | Yeah. | 6:17 |
| Kate Ellis | That's right. I forget that, of course, the land wasn't as developed as it is now. | 6:19 |
| Harold Dejan | Yeah. | 6:22 |
| Kate Ellis | There were probably more pastures at the time. | 6:22 |
| Harold Dejan | Yeah. Don't have nothing down there. | 6:22 |
| Kate Ellis | Right. | 6:22 |
| Harold Dejan | Before, you used to could take a shovel and go down Gentilly and just shovel you up some crawfish. You can't do that now. | 6:29 |
| Kate Ellis | Really? No, I guess you can't. That's right. You could just shovel— So the crawfishes kind of lived at the surface of the ground? | 6:37 |
| Harold Dejan | Yeah, yeah. But I mean that's how plentiful they were. They would come walking on the ground. You know? | 6:47 |
| Kate Ellis | Yep. | 6:50 |
| Harold Dejan | Going from this place to the another place to find another hole. | 6:50 |
| Kate Ellis | Geez. That's amazing. So he was the owner? He was the— | 6:50 |
| Harold Dejan | They called him Dejan's Transfer. | 6:50 |
| Kate Ellis | Owner, Dejan's Transfer? | 7:17 |
| Harold Dejan | Yeah. | 7:17 |
| Kate Ellis | I see. And so transfer, it was sort of like a hauling company. | 7:18 |
| Harold Dejan | Yeah, yeah, that's right. That's right. | 7:22 |
| Kate Ellis | I see. He would haul things. | 7:23 |
| Harold Dejan | Anything. | 7:23 |
| Kate Ellis | So he could be hired to haul— | 7:23 |
| Harold Dejan | Yeah, to haul anything. Sometimes like these big truckers call them, if you have a shipment coming in, they'd call him to hire him. He was bigger than the guys that they got all these trucks now. He was bigger than all them people. | 7:30 |
| Kate Ellis | Really? You mean all of the current— | 7:48 |
| Harold Dejan | All the current trucking companies. Yeah. | 7:51 |
| Kate Ellis | He was bigger than that. | 7:53 |
| Harold Dejan | That's right. | 7:54 |
| Kate Ellis | How did he develop that business? | 7:55 |
| Harold Dejan | Well, he had a mule and wagon hisself. | 7:58 |
| Kate Ellis | Uh-huh. | 8:04 |
| Harold Dejan | And he was doing hauling, so finally bought another, and bought another, until it go— | 8:04 |
| Kate Ellis | And it just kept growing. | 8:08 |
| Harold Dejan | Yeah, until he got what he wanted. | 8:09 |
| Kate Ellis | Now— Oh, wow. I guess— Hmm, that's really interesting. Given the extent that Jim Crow affected African Americans' lives it's striking that he would have such a successful business. | 8:12 |
| Harold Dejan | Yeah. Well, it had nothing to do with them. Most of the people that hired him was White people. | 8:37 |
| Kate Ellis | Right. Yeah. | 8:45 |
| Harold Dejan | So I mean, just like I never worried about none of that in my life, no Jim Crow and all that stuff. Jim Crow just— this. | 8:49 |
| Kate Ellis | What does that fist mean? That you— | 8:58 |
| Harold Dejan | You know, sometimes people call you lots of names, you've got to straighten them out. After you straighten them out you don't have no more trouble with them. | 9:07 |
| Kate Ellis | How would you straighten them out? | 9:15 |
| Harold Dejan | With this. | 9:16 |
| Kate Ellis | With your fist? | 9:17 |
| Harold Dejan | That's right. | 9:18 |
| Kate Ellis | You mean you'd punch them? | 9:19 |
| Harold Dejan | Yeah. They need to be punched, I'll punch them. | 9:22 |
| Kate Ellis | Uh-huh. | 9:24 |
| Harold Dejan | Maybe that's why I got the stroke. | 9:25 |
| Kate Ellis | No. In your right hand. | 9:26 |
| Harold Dejan | But everything was all right. I live a beautiful life. | 9:37 |
| Kate Ellis | Uh-huh. | 9:38 |
| Harold Dejan | I had White friends just like I had Black friends. You know? | 9:40 |
| Kate Ellis | Mm-hmm. | 9:44 |
| Harold Dejan | In fact, both of my friends was White, because I always lived in a mixed neighborhood. | 9:45 |
| Kate Ellis | You did? | 9:51 |
| Harold Dejan | Yeah. See, all the neighborhoods I lived in was mixed. See, I lived around the Treme, in the Seventh Ward. You know? | 9:52 |
| Kate Ellis | Really? That's where you lived when you were growing up? | 10:04 |
| Harold Dejan | Yeah, the Treme. | 10:07 |
| Kate Ellis | Oh. | 10:14 |
| Harold Dejan | And they were right on Orleans Street where the Treme market was at. And sometimes, if you didn't know how to fight, you couldn't go to the market for your mama. | 10:15 |
| Kate Ellis | Oh, really? So who would you need to fight when you were coming up? | 10:24 |
| Harold Dejan | Well, anybody be a fool. | 10:27 |
| Kate Ellis | Anybody who'd be a fool. | 10:28 |
| Harold Dejan | That's right. | 10:30 |
| Kate Ellis | White or Black? | 10:32 |
| Harold Dejan | Yeah, it made no difference. | 10:33 |
| Kate Ellis | Yeah. Just fight. | 10:35 |
| Harold Dejan | Well, sometimes we used to go take my music lesson, well, I used to dress beautiful. I'll show you all the clothes I got. I got about three, four lockers full. | 10:37 |
| Kate Ellis | Oh, I'd love to see your clothes when we're finished. | 10:46 |
| Harold Dejan | But I can't dress now, but I always did dress good. And when we'd be going to take our music lessons when I was a little boy, fellas would say, "Play me song." This fella would be sitting in the grass, you know. | 10:53 |
| Kate Ellis | Mm-hmm. | 11:12 |
| Harold Dejan | I'd say, "I don't know how to play nothing." Maybe one of the fellas would recognize me, say, "Man, don't mess with them, that's Harold. That's Charlie's brothers." They'd recognize me from my big brother, see? | 11:14 |
| Kate Ellis | Uh-huh. | 11:32 |
| Harold Dejan | And they kept quiet then. | 11:33 |
| Kate Ellis | But when they'd say to you, "Hey, play me a song," you mean they weren't serious, they were like— | 11:37 |
| Harold Dejan | Well, sure they're serious. They'd tell you, "Play me a song." "I don't know how to play one." "Play what you like today." | 11:41 |
| Kate Ellis | So who would be saying— But people would be saying to them, "Don't mess with you—" | 11:50 |
| Harold Dejan | Because, "That's Charlie's brothers." | 11:54 |
| Kate Ellis | Uh-huh. Would you ever stop and play for them though? | 11:58 |
| Harold Dejan | No. | 12:01 |
| Kate Ellis | Why not. | 12:02 |
| Harold Dejan | I didn't have to. | 12:04 |
| Kate Ellis | You didn't have to? | 12:05 |
| Harold Dejan | That's right. | 12:05 |
| Kate Ellis | So you didn't feel like it. | 12:06 |
| Harold Dejan | That's right. | 12:07 |
| Kate Ellis | Wow. Okay. So how many brothers did you have? | 12:09 |
| Harold Dejan | Oh, let me see. We had four boys and six girls. | 12:14 |
| Kate Ellis | Oh, so there was 10 altogether? | 12:21 |
| Harold Dejan | 10. | 12:24 |
| Kate Ellis | Four boys, including you? | 12:24 |
| Harold Dejan | Yeah. But my mama had twins once, but one of them died. | 12:25 |
| Kate Ellis | Died. Huh. And so you had older brothers and— | 12:35 |
| Harold Dejan | Yeah. The oldest ones is dead. I had a brother that lived in California. He died about— My brother next to me, he's dead. Only brother I've got living now is Leo, the one that play the trumpet. Live in Los Angeles. | 12:37 |
| Kate Ellis | You got younger sisters? | 12:58 |
| Harold Dejan | Huh? | 12:59 |
| Kate Ellis | You have younger sisters? | 13:00 |
| Harold Dejan | No, she died too. Vera. She used to play piano. | 13:01 |
| Kate Ellis | Oh. | 13:08 |
| Harold Dejan | Not for money, just for her own entertainment. | 13:08 |
| Kate Ellis | It sounds like you were a musical family. | 13:15 |
| Harold Dejan | Well, partly, me and my brother, yeah. | 13:17 |
| Kate Ellis | And your sister. | 13:20 |
| Harold Dejan | Yeah, but she never played out in public and all that. | 13:22 |
| Kate Ellis | Uh-huh. | 13:24 |
| Harold Dejan | She really didn't want to play. | 13:25 |
| Kate Ellis | She didn't want to play? | 13:29 |
| Harold Dejan | They bought her a piano and she learned it because they bought it for her. That's all. | 13:31 |
| Kate Ellis | Who bought her a piano? | 13:35 |
| Harold Dejan | My daddy. | 13:36 |
| Kate Ellis | Oh. | 13:37 |
| Harold Dejan | Yeah. My daddy bought my brother a gold trumpet, but my brother was too small to play trumpet, so he played violin. You know? | 13:38 |
| Kate Ellis | Uh-huh. | 13:50 |
| Harold Dejan | So when he got big enough to blow the trumpet, he bought him a gold trumpet, and I told my mama, I said, "How's Leo got a gold trumpet and I don't have no gold saxophone?" | 13:51 |
| Kate Ellis | And what'd she say? | 14:05 |
| Harold Dejan | So she said, "That's something." So my daddy said, "But your saxophone cost two, three times more than the trumpet." So just then I got the job playing at the Japanese Tea Garden at Milneburg. | 14:07 |
| Kate Ellis | At the what? | 14:24 |
| Harold Dejan | Japanese Tea Garden at Milneburg at the lake. And my daddy said, "Oh, let's go get you a gold saxophone, and if you can't pay for it, I'll pay for it." So I paid for it about three months and two weeks. | 14:25 |
| Kate Ellis | Really? That's how long it took you to make the money? | 14:43 |
| Harold Dejan | Yeah. | 14:44 |
| Kate Ellis | Three months and two weeks, that's how long it took you to make the money? | 14:44 |
| Harold Dejan | Yeah. To pay for it, yeah. | 14:44 |
| Kate Ellis | Tell me the name of the lake park. That was like a lake resort place? | 14:49 |
| Harold Dejan | Yeah, just out on the lake, right now by the New Orleans University there. | 14:52 |
| Kate Ellis | Yeah. | 14:52 |
| Harold Dejan | But this was at the beginning at the lake, like I said. At Milneburg, it's famous for it. | 14:58 |
| Kate Ellis | Okay, Milne. Okay. That's all I was trying to get, the name of that. | 15:08 |
| Harold Dejan | Yeah. At the My-O-My Club I was playing at. | 15:15 |
| Kate Ellis | The My-O-My. | 15:17 |
| Harold Dejan | A sissy joint. | 15:20 |
| Kate Ellis | A sissy joint? | 15:21 |
| Harold Dejan | Yeah. | 15:21 |
| Kate Ellis | Tell me what a sissy joint is. | 15:21 |
| Harold Dejan | Well, all the men want to be women there. You know? | 15:23 |
| Kate Ellis | That's where you played? They had those kinds of joints— | 15:30 |
| Harold Dejan | What? Sure they had them kind of joints. (laughs) | 15:31 |
| Kate Ellis | Up by the lake? | 15:38 |
| Harold Dejan | Sure. | 15:39 |
| Kate Ellis | What, you're talking like the 1920s? | 15:40 |
| Harold Dejan | Yeah. About 1920, '24, '25, '26, '27, '28, '20— all the while [indistinct 00:15:56]. | 15:46 |
| Kate Ellis | Oh, fine. Fine. | 15:55 |
| Harold Dejan | All the while I know out there. Sure they had them joints out there, them girls. Men used to dress like women. Pretty. | 15:55 |
| Kate Ellis | And you played in the band. | 16:06 |
| Harold Dejan | Yeah. My wife seen I had lipstick on my face one day when I come home. She said, "Yeah, they've been kissing you." | 16:07 |
| Kate Ellis | Wow. So it was called My-O-My Club. | 16:22 |
| Harold Dejan | Yeah. | 16:25 |
| Kate Ellis | Now, was that mostly White people who went to that club? | 16:27 |
| Harold Dejan | Oh, yeah. | 16:29 |
| Kate Ellis | It was only White people. | 16:29 |
| Harold Dejan | Yeah, only. They had some— Well, some would sneak in and would pass for Whites, the fair-skinned and all. | 16:29 |
| Kate Ellis | Uh-huh. How did you know that they were passing for White? | 16:39 |
| Harold Dejan | Well, I know them. | 16:42 |
| Kate Ellis | You knew them yourself. | 16:44 |
| Harold Dejan | Sure. And they feel like going in a place, they go. | 16:45 |
| Kate Ellis | Uh-huh. If you're light enough. | 16:45 |
| Harold Dejan | Yeah. | 16:45 |
| Kate Ellis | Mm-hmm. Right. And you never said anything. I mean, you never— | 16:47 |
| Harold Dejan | No. That's none of my business. | 17:00 |
| Kate Ellis | Right. | 17:01 |
| Harold Dejan | I was making money. | 17:01 |
| Kate Ellis | Uh-huh. Uh-huh. So this was a brass band that you were playing in. | 17:07 |
| Harold Dejan | No, I was playing with a violin, a piano, and a drum, and myself. | 17:12 |
| Kate Ellis | Oh, nice. Huh. | 17:19 |
| Harold Dejan | Yeah. A jazz band, you know? | 17:21 |
| Kate Ellis | Yeah. Yeah. | 17:24 |
| Harold Dejan | Yeah. | 17:24 |
| Kate Ellis | Certainly, you've played, I'm sure, many White only clubs in your lifetime. | 17:31 |
| Harold Dejan | Mostly. | 17:38 |
| Kate Ellis | Mostly White owned. | 17:38 |
| Harold Dejan | Yeah. | 17:39 |
| Kate Ellis | White only clubs. | 17:39 |
| Harold Dejan | Yes. The money was there, you know? | 17:40 |
| Kate Ellis | Yeah. | 17:43 |
| Harold Dejan | Many years ago, a friend of mine called Earl Fouche, what I'd like to do, he played saxophone, and we'd record— I got a saxophone, see, because I was playing clarinet. And he told me, he said— I used to go to his house every Sunday. He'd give me my lesson. He said, "Don't play like me. Stick to your music, and you'll already have a job." Because I'd [indistinct 00:18:28] some of the things that he'd make. He said, "Don't copy after me. Copy after your own self." So I did that. I always kept a job. | 17:47 |
| Kate Ellis | In other words, playing your own— | 18:40 |
| Harold Dejan | Playing my own style. | 18:41 |
| Kate Ellis | Not his style. | 18:45 |
| Harold Dejan | Yeah. | 18:46 |
| Kate Ellis | Tell me about this music now. I was actually going to ask you about this. As far as your music lessons were concerned, who did you— Was he your primary teacher? I mean, who— | 18:46 |
| Harold Dejan | No, no, no, no. I started taking lessons for a clarinet, Professor Nickerson. | 18:57 |
| Kate Ellis | Professor Nickerson? | 19:02 |
| Harold Dejan | Yeah. And his wife was a concert pianist. | 19:03 |
| Kate Ellis | Okay. They were White? | 19:15 |
| Harold Dejan | No. | 19:15 |
| Kate Ellis | They were Black. | 19:18 |
| Harold Dejan | That's right. | 19:18 |
| Kate Ellis | Well, the reason I asked— | 19:19 |
| Harold Dejan | He was a fine man. Handlebar mustache. Well-to-do people. | 19:21 |
| Kate Ellis | This was in the Treme? | 19:31 |
| Harold Dejan | No, no, he was living on Galvez and Iberville. | 19:32 |
| Kate Ellis | Okay, the reason I asked about that, because you said that his wife was a concert pianist. | 19:41 |
| Harold Dejan | Yeah. Her name was Camille Nickerson. | 19:48 |
| Kate Ellis | Camille Nickerson. But am I right that it was difficult for— | 19:51 |
| Harold Dejan | Well, yeah, I guess, there was a fair complexion, and they could go for what they wanted. | 19:56 |
| Kate Ellis | They could? | 20:10 |
| Harold Dejan | Yeah. But I guess they did that sometime when they have to. Oh, he was highly regarded, you know? | 20:11 |
| Kate Ellis | No, yeah. I believe— Having talked with some other musicians, it just seemed like, especially in the classical music genre, so— | 20:23 |
| Harold Dejan | Some musicians will tell you something different because they never played no high class places and everything. | 20:36 |
| Kate Ellis | I see. | 20:44 |
| Harold Dejan | They played the dumps. | 20:45 |
| Kate Ellis | Uh-huh. | 20:47 |
| Harold Dejan | Yeah. | 20:48 |
| Kate Ellis | Well, tell me about that. What do you mean? I mean, that some musicians in the area— | 20:48 |
| Harold Dejan | Well, I mean, some of them wasn't fit to play in these nice places. | 20:52 |
| Kate Ellis | Where you might play classical music? | 21:01 |
| Harold Dejan | Yeah, yeah. Not even having to play the regular— the music. Like the country club and all them places, you had to play nice music. You know? | 21:02 |
| Kate Ellis | What's nice music? | 21:13 |
| Harold Dejan | I mean nice numbers like waltzes and that. Just you couldn't play no, what do you call it, ratty music. You know? | 21:16 |
| Kate Ellis | What was ratty music? | 21:29 |
| Harold Dejan | Well, I mean, like you go to dance how you want to dance. | 21:31 |
| Kate Ellis | Uh-huh. Uh-huh. Stuff that you might be more likely to hear in the clubs. | 21:33 |
| Harold Dejan | Yeah. Yeah, you let your hair down. | 21:37 |
| Kate Ellis | Uh-huh. | 21:39 |
| Harold Dejan | Yeah. | 21:40 |
| Kate Ellis | That was for other places. | 21:41 |
| Harold Dejan | Yeah. | 21:42 |
| Kate Ellis | But do you get my question as far as whether Black musicians— Say, like in the 1920s, whether they were hired as concert pianists, whether they were hired to play classical music, or if they had to pretty much play jazz or gospel? | 21:44 |
| Harold Dejan | Oh, they pretty much played jazz or gospel. See, some your good band that played these place like Cellar Stand Band, AJ Pierro Band, Banjo Peres Band, people like that, they hired these bands to play for them classical people, you know? Yeah. Like birthday parties and weddings and things like that. Otherwise they wouldn't hire no Black band. They would hire some good White band, because they had good White bands too, you know? | 22:08 |
| Kate Ellis | Uh-huh. But these bands that you just named, AJ— | 22:54 |
| Harold Dejan | AJ Pierro. | 23:06 |
| Kate Ellis | They were White? | 23:06 |
| Harold Dejan | No. Playing at the country club. My little brother used to play trumpet for them. | 23:06 |
| Kate Ellis | Okay. But they played for country clubs and things. | 23:07 |
| Harold Dejan | Yeah. My teacher used to play clarinet with them, Lorenzo Till. | 23:08 |
| Kate Ellis | Okay. | 23:09 |
| Harold Dejan | See, Lorenzo Till had beautiful hair, Mexican color, and he came from Mexico. | 23:10 |
| Kate Ellis | Uh-huh. | 23:21 |
| Harold Dejan | But he never went as a White. | 23:25 |
| Kate Ellis | He didn't go as White? | 23:25 |
| Harold Dejan | No. | 23:25 |
| Kate Ellis | He went as Mexican. | 23:30 |
| Harold Dejan | That's right. And they played with AJ Pierro's band. | 23:30 |
| Kate Ellis | I see. Okay. Huh. | 23:30 |
| Harold Dejan | See, but the first teacher I went, I went to Professor Nickerson first. See, Lorenzo Till was out of town with Pierro's band. And then I went to Albert Nicholas, because he lived close to my house. | 23:37 |
| Kate Ellis | In the Treme? | 23:58 |
| Harold Dejan | No, he was living back on St. Ann between White and Dupre, in that vicinity. Well, when I went to take the second lesson, whatever, he told me, "Man, I'm sorry, but King Oliver sent for me." So just then Lorenzo Till came back. That's who I was really waiting for to take lessons with. | 23:59 |
| Kate Ellis | And so that's who taught you, Lorenzo Till. | 24:41 |
| Harold Dejan | Yeah. | 24:43 |
| Kate Ellis | For most of your of your training. | 24:45 |
| Harold Dejan | Yeah. | 24:48 |
| Kate Ellis | Was from him. | 24:48 |
| Harold Dejan | That's right. | 24:49 |
| Kate Ellis | Okay. Huh. So why did you decide to take lessons? I mean, what interested you in music in the first place? | 24:50 |
| Harold Dejan | Well, my mama, she never sang opera for nobody, but she sang in the house. She'd go to opera house, sit and hear them, people sing. | 25:00 |
| Kate Ellis | She did? | 25:15 |
| Harold Dejan | She'd go anywhere she wanted to go, because she was very fair, beautiful hair. She was a beautiful woman. But she never sang for no money. So my daddy wanted my little brother to play violin, and then me to play the clarinet. He originally wanted my brother to play trumpet, but he was too small, so he bought him a violin. And after he got big enough, he got his trumpet. | 25:16 |
| Kate Ellis | He got that gold trumpet. | 25:53 |
| Harold Dejan | Yeah, yeah. | 25:54 |
| Kate Ellis | But he got you going with the clarinet. | 25:56 |
| Harold Dejan | And he bought me a silver saxophone. | 26:00 |
| Kate Ellis | Oh, a silver saxophone. | 26:04 |
| Harold Dejan | Yeah, that one doesn't work. | 26:05 |
| Kate Ellis | I'm sorry? | 26:05 |
| Harold Dejan | That didn't work. | 26:09 |
| Kate Ellis | That didn't work? | 26:09 |
| Harold Dejan | No. No, because my brother had a gold— | 26:10 |
| Kate Ellis | Right. So you had to have a gold one. | 26:12 |
| Harold Dejan | That's right. So just then I started to work at the My-O-My Club. | 26:20 |
| Kate Ellis | Mm-hmm. | 26:23 |
| Harold Dejan | My daddy said, "If you can't pay for it, I'll pay for it—" So I got the gold horn. I got that right now. | 26:24 |
| Kate Ellis | You got the horn here? | 26:48 |
| Harold Dejan | It's old though, you know? | 26:48 |
| Kate Ellis | Oh, maybe we can look at it. | 26:48 |
| Harold Dejan | Wait, I have to get it out of the locked closet. | 26:48 |
| Kate Ellis | Do you need to get some water? | 26:48 |
| Harold Dejan | Yeah. | 26:48 |
| Kate Ellis | Here, let me— Okay, let's talk about what? | 26:48 |
| Harold Dejan | Well, we'll talk about when I first started with Professor Nickerson and then I went to Earl Fouche. Oh, and in between time, my brother was going to a trumpet player by the name of— Get this name, Chalignee. That was a man's name. | 26:54 |
| Kate Ellis | His name was Chal— | 27:16 |
| Harold Dejan | Chalignee, C-H-A-L-I-G-N-E-E. | 27:20 |
| Kate Ellis | You say those words too fast. Say it— | 27:21 |
| Harold Dejan | Chal— | 27:22 |
| Kate Ellis | Okay, C-H-A— | 27:22 |
| Harold Dejan | Wait. See, it's C-H-I-L-A-G-N-E-E, Chilagnee. | 27:33 |
| Kate Ellis | Geez. | 27:37 |
| Harold Dejan | He used to charge twenty-five cents a lesson. | 27:42 |
| Kate Ellis | Twenty-five cents a lesson. Was that a lot or a little? | 27:46 |
| Harold Dejan | Yeah, long enough. | 27:48 |
| Kate Ellis | That was a lot of money? | 27:51 |
| Harold Dejan | No. A lot of money to people, but he did that because he wanted to have the musicians [indistinct 00:28:01]. But twenty-five cents was a lot of money too. But I paid a dollar for all my lessons. | 27:52 |
| Kate Ellis | You mean, with these other people that you [indistinct 00:28:08] teachers? | 28:07 |
| Harold Dejan | No, no, just with Lorenzo Till. | 28:07 |
| Kate Ellis | That was a dollar a lesson. | 28:08 |
| Harold Dejan | That's right. | 28:08 |
| Kate Ellis | So that was really expensive. | 28:18 |
| Harold Dejan | Yeah. | 28:25 |
| Kate Ellis | I mean, compared to the twenty-five cents a lesson. | 28:25 |
| Harold Dejan | Yeah. Yeah. And Chalignee used to charge twenty-five cents a lesson. Now, I went there a little while, all that in between times, waiting for Lorenzo Till to come back from New York. | 28:28 |
| Kate Ellis | To come back. | 28:38 |
| Harold Dejan | Yeah. | 28:38 |
| Kate Ellis | Tell me again the person, Earl Fouche? | 28:39 |
| Harold Dejan | Earl Fouche is an alto saxophone player. He used to play with the Sam Morgan Band. | 28:44 |
| Kate Ellis | Uh-huh. | 28:49 |
| Harold Dejan | Played alto saxophone and soprano. Lovetta! Let me see if she can— If she can dig and find that old horn. | 28:53 |
| Kate Ellis | Find what? | 29:07 |
| Harold Dejan | That old horn. You say you wanted to see. Lavetta! | 29:07 |
| Lavetta Dejan | Yeah, Daddy. | 29:24 |
| Harold Dejan | She's downstairs now. | 29:24 |
| Lavetta Dejan | Yeah. | 29:24 |
| Harold Dejan | You know where that alto saxophone is, in that locker back right there? | 29:24 |
| Lavetta Dejan | Which one of them, Dad? | 29:29 |
| Harold Dejan | There's only one. Not the clarinets, the saxophone. | 29:29 |
| Lavetta Dejan | Oh. | 29:29 |
| Harold Dejan | Yeah. If there's too much junk in there then forget about it. | 29:45 |
| Lavetta Dejan | This one here? [indistinct 00:29:50] | 29:50 |
| Harold Dejan | Put it there. | 29:50 |
| Lavetta Dejan | [indistinct 00:29:51] | 29:50 |
| Harold Dejan | She wants to see my first horn. | 29:54 |
| Kate Ellis | Okay, this is what you bought with your money when you started playing. | 29:59 |
| Harold Dejan | Yeah. | 30:04 |
| Kate Ellis | How old were you when you had your first paying gig? | 30:05 |
| Harold Dejan | [indistinct 00:30:09] | 30:07 |
| Kate Ellis | How old were you when you first started performing? | 30:09 |
| Harold Dejan | Oh, about twelve years old, I guess. Yeah. | 30:11 |
| Kate Ellis | Oh, look at this. This is beautiful. | 30:12 |
| Harold Dejan | We first started playing out for money about fourteen years old. | 30:19 |
| Kate Ellis | Okay. And how old were you when you started playing? | 30:23 |
| Harold Dejan | Oh, about fourteen years old. | 30:25 |
| Kate Ellis | I mean, I'm sorry, when you started your lessons. | 30:28 |
| Harold Dejan | Oh, about ten years old, I guess. | 30:31 |
| Kate Ellis | So this is your first saxophone? | 30:33 |
| Harold Dejan | Yeah. | 30:35 |
| Kate Ellis | Wow. It's gorgeous. Wait, did you say ten years old? | 30:37 |
| Harold Dejan | About. No, let me see. I was about twelve years old. | 30:47 |
| Kate Ellis | So you didn't take lessons that long before you started playing. | 30:48 |
| Harold Dejan | Yeah. No. Just one lesson on the saxophone. See, Lorenzo Till showed me the difference for the clarinet and the saxophone. | 30:54 |
| Kate Ellis | Yeah. | 31:06 |
| Harold Dejan | And I just took one lesson on the saxophone. Earl Fouche used to show me little breaks on the saxophone. | 31:08 |
| Kate Ellis | Okay. | 31:15 |
| Harold Dejan | Yeah. | 31:16 |
| Kate Ellis | Okay, but when did you start playing clarinet then? | 31:16 |
| Harold Dejan | Oh, Lord, I played clarinet since I was about eight or nine years old, I guess. | 31:19 |
| Kate Ellis | Uh-huh. | 31:37 |
| Harold Dejan | Yeah. | 32:02 |
| Kate Ellis | This is old cards. Uh-huh. Dejan's original [indistinct 00:32:03] brass band. | 32:02 |
| Harold Dejan | Mm-hmm. | 32:02 |
| Kate Ellis | Wow. | 32:02 |
| Harold Dejan | It can't work no more. | 32:02 |
| Kate Ellis | No. Because of your stroke. | 32:02 |
| Harold Dejan | No, I mean I can't play it no more, because it's wore out in a lot of places. | 32:03 |
| Kate Ellis | Water? | 32:04 |
| Harold Dejan | Wore out. Used. | 32:05 |
| Kate Ellis | Oh, okay. | 32:17 |
| Harold Dejan | Yeah. | 32:17 |
| Kate Ellis | Okay. Gotcha. | 32:17 |
| Harold Dejan | Used it so much it ain't no more good. | 32:17 |
| Kate Ellis | But look at all the stickers that you've got on here. | 32:17 |
| Harold Dejan | Yeah. | 32:19 |
| Kate Ellis | It's all stickers where you played? | 32:22 |
| Harold Dejan | Oh yeah, yeah. Oh yeah. | 32:23 |
| Kate Ellis | All over Europe. | 32:23 |
| Harold Dejan | Yeah. There's the horn I had when I first started. | 32:23 |
| Kate Ellis | When you first started? | 32:25 |
| Harold Dejan | Yeah. | 32:26 |
| Kate Ellis | But wait, were you just a teenager when you were playing in those bands? When you played in that band at the lake? | 32:29 |
| Harold Dejan | Yeah, I was about 14 years old. | 32:37 |
| Kate Ellis | Okay. They weren't worried about the— you being out playing. | 32:41 |
| Harold Dejan | No, no. They wouldn't worry about nothing, because, see, I had long pants on, you know? And thought I was a man. | 32:51 |
| Kate Ellis | Really? Mm-hmm. | 33:02 |
| Harold Dejan | I got by. | 33:05 |
| Kate Ellis | Right. | 33:07 |
| Harold Dejan | Yeah. | 33:07 |
| Kate Ellis | Mm-hmm. You grew up in the Treme, you said. Is that right. | 33:10 |
| Harold Dejan | Yeah. Yeah. | 33:13 |
| Kate Ellis | What street did you live on? | 33:18 |
| Harold Dejan | I lived on St. Ann between Miro and Tonti. | 33:28 |
| Kate Ellis | Mm-hmm. Is that where you were born? | 33:33 |
| Harold Dejan | No, I was born on [indistinct 00:33:34] and Miro. | 33:33 |
| Kate Ellis | Okay. | 33:33 |
| Harold Dejan | You call that across the basin. See, the basin— You see Lafitte Street? That was the old basin there. | 33:34 |
| Kate Ellis | Huh. Yeah. Okay. So what was your neighborhood like that you grew up in? You said it was— | 33:50 |
| Harold Dejan | A mixed neighborhood. Yeah. | 33:53 |
| Kate Ellis | Mm-hmm. | 33:53 |
| Harold Dejan | Two doors would be White. Half of the block. | 33:59 |
| Kate Ellis | Was White. | 34:05 |
| Harold Dejan | Yeah. | 34:06 |
| Kate Ellis | And so you had White friends and— | 34:06 |
| Harold Dejan | Yeah. Well, my first little band was a White band. | 34:08 |
| Kate Ellis | Really? | 34:13 |
| Harold Dejan | I don't tell about it. | 34:13 |
| Kate Ellis | You don't what? | 34:13 |
| Harold Dejan | I just don't brag on it, because we played little jobs. | 34:19 |
| Kate Ellis | You did? Like around the city. | 34:24 |
| Harold Dejan | Yeah. People hired us. Yeah. | 34:24 |
| Kate Ellis | Well, and that was— You could be hired out as a mixed band? I mean, they didn't have many mixed bands then? | 34:39 |
| Harold Dejan | No, no, no, they hired us. They knew us. The people that knew us hired us for birthday parties. | 34:42 |
| Kate Ellis | Oh, okay, so you were really young then. | 34:42 |
| Harold Dejan | Yeah. | 34:51 |
| Kate Ellis | Uh-huh. But am I right, that it was hard for people, Whites and Blacks, to be hired together in a band? | 34:52 |
| Harold Dejan | Yeah, yeah, yeah. Some people wouldn't go for it, and some didn't give a damn. You know? | 35:00 |
| Kate Ellis | And some would. Right. And that was sort of the way it was? | 35:11 |
| Harold Dejan | Yeah. See, because when I first got out of the Navy, I played at the opera house about three years. | 35:12 |
| Kate Ellis | Oh. | 35:27 |
| Harold Dejan | Over on Toulouse and Bourbon, on the corner. | 35:27 |
| Kate Ellis | Uh-huh. Mm-hmm. Yeah. | 35:27 |
| Harold Dejan | And I never had no trouble with nobody. | 35:34 |
| Kate Ellis | Mm-hmm. And they knew that you were Black? | 35:38 |
| Harold Dejan | Oh yeah. Sure. | 35:41 |
| Kate Ellis | Yeah. Did it just sort of depend on the situation as far as whether people were going to— | 35:45 |
| Harold Dejan | Yeah. Then it depends on some people's attitude and just stuff like that. You know? | 35:49 |
| Kate Ellis | Mm-hmm. | 35:59 |
| Harold Dejan | See, I never meddled in nobody's business, and never meddled in my business. You know? | 36:00 |
| Kate Ellis | Yeah. Uh-huh. And it sounds like, from what you were saying a few minutes ago, if somebody gave you— I mean, when you saying earlier about with Jim Crow, I mean, if somebody— | 36:03 |
| Harold Dejan | Yeah. I never worry about nothing like that. | 36:18 |
| Kate Ellis | Because you would just— | 36:23 |
| Harold Dejan | Yeah. | 36:23 |
| Kate Ellis | If somebody gave you a hard time, you'd punch them or— | 36:25 |
| Harold Dejan | That's right. | 36:26 |
| Kate Ellis | Mm-hmm. | 36:27 |
| Harold Dejan | And I didn't have to do that too often. | 36:31 |
| Kate Ellis | Because people didn't usually— | 36:33 |
| Harold Dejan | No. | 36:34 |
| Kate Ellis | Mm-hmm. Huh. So it just kind of depended on the situation. | 36:35 |
| Harold Dejan | That's right. | 36:40 |
| Kate Ellis | Huh. Well, let me ask you something about that, if you don't mind dwelling on that. Do you mind if we talk about this for a couple more minutes? | 36:42 |
| Harold Dejan | Say any words you want. | 36:49 |
| Kate Ellis | Everybody that I talk to, when they talk about segregation and Jim Crow, some people I've talked to have had really negative experience with it. I mean, it's really shaped their lives. And other people, it hasn't been as bad. | 36:54 |
| Harold Dejan | Some people make things hard on theirself. You know? Like if the grocer's closed and I want a Coca-Cola, I went in anyway, he give me Coca-Cola, walk out. See, I don't never meddle in nobody, never meddled me. | 37:10 |
| Kate Ellis | And they never refused you service? | 37:37 |
| Harold Dejan | No. Only one place that refused me service in De Queen, Arkansas. | 37:39 |
| Kate Ellis | De Queen? De Queen, Arkansas. | 37:47 |
| Harold Dejan | Yeah. They had hamburgers, it was twenty-five cents and they charged me a dollar for one. | 37:48 |
| Kate Ellis | Really? And what did you do? | 37:57 |
| Harold Dejan | I gave it to them. | 38:00 |
| Kate Ellis | You gave them $1? | 38:01 |
| Harold Dejan | Sure. | 38:01 |
| Kate Ellis | You were hungry. | 38:01 |
| Harold Dejan | No, I paid them a dollar. They wanted a dollar, I paid them a dollar. | 38:01 |
| Kate Ellis | You say anything to them when you— | 38:07 |
| Harold Dejan | No, no. I was with the Joyland Revelers at the time. | 38:11 |
| Kate Ellis | The Jordan— | 38:13 |
| Harold Dejan | Joyland Revelers. | 38:15 |
| Kate Ellis | Oh, uh-huh. | 38:20 |
| Harold Dejan | And the boys [indistinct 00:38:21], "Don't worry now." I said, "Man, I want my hamburger. I'm hungry." | 38:20 |
| Kate Ellis | You said that you want— uh-huh. | 38:25 |
| Harold Dejan | And so I went there, it was twenty-five cents, so they charged me a dollar. I gave it to them. And didn't tell them, "I thought this was twenty-five cents" either. I gave them the dollar. | 38:25 |
| Kate Ellis | You didn't even say, "Excuse me, this is—" They just— | 38:42 |
| Harold Dejan | Yeah. | 38:45 |
| Kate Ellis | So when you went back outside with your hamburger, what did your friends say? | 38:46 |
| Harold Dejan | "See you got it, huh?" Said, "Yeah, I got it." | 38:53 |
| Kate Ellis | Did they go in next, or did they— | 38:56 |
| Harold Dejan | No. | 38:58 |
| Kate Ellis | I see. But it doesn't sound like you gave it a whole lot of thought. | 39:02 |
| Harold Dejan | No, I didn't. I didn't give it a thought. Just went and asked them for a hamburger, I got it. Nobody told me nothing. I walked out with it, so— | 39:05 |
| Kate Ellis | Well, let me ask you this, because— And again, I'm just interested in your perspective, because— Well, I've talked to some musicians who have talked with bitterness about traveling through the South and having to stay in lousy hotels, and being refused service, but just even from the look on your face— What is that look on your face? | 39:16 |
| Harold Dejan | I stayed in a lot— mostly rooming houses. And most of them rooming houses I stayed, they delighted me. I didn't have to worry about nothing. But the Negro houses had rooming houses. They could've stayed in some rooming house if they wanted, I guess. But the band I traveled with, we used to stay— very seldom we stayed in a hotel room. | 39:44 |
| Kate Ellis | Very seldom you couldn't stay? | 40:18 |
| Harold Dejan | No, very seldom we stayed in a hotel. | 40:18 |
| Kate Ellis | You stayed in rooming houses. | 40:19 |
| Harold Dejan | Yeah, in the rooming houses. | 40:19 |
| Kate Ellis | For Black people. | 40:21 |
| Harold Dejan | Yeah. | 40:22 |
| Kate Ellis | Uh-huh. And they were comfortable? | 40:23 |
| Harold Dejan | I don't care if it was for Black or White, but some of them I stayed in, I guess, there was a mix of them, some of them I stayed in, but I was very, very comfortable, me. | 40:24 |
| Kate Ellis | Oh. Huh. So it was not— | 40:36 |
| Harold Dejan | No, as I said, some of the fellas, I don't know, maybe— I traveled with all good bands in my life, some like that. And I had some fellas talk about different things happened to them. You know? | 40:44 |
| Kate Ellis | Mm-hmm. | 41:01 |
| Harold Dejan | Oh yeah, something happened to me once in Lafayette, Louisiana. | 41:04 |
| Kate Ellis | What happened? | 41:14 |
| Harold Dejan | A fella, some White fellas coming, and they pushed me off the sidewalk. And I went, I fell right on the half of a brick. And I was about fit to bust them, bust them on their heads with that brick. And a boy come around the [indistinct 00:41:32], said, "Man, don't do that. Don't, or you'll get killed." I said, "I betcha one of them gets killed with me." And so he said, "Man, when people come from court like that, they lose the case, man, they get mad. We get out their way." I said, "Well, I didn't know that." I said, "But I was walking on the sidewalk, he pushed me off the sidewalk." Sure that's the only thing that ever happened to me. If the boy wouldn't have came out there and grabbed me, guess what, I'd have been dead now. | 41:14 |
| Kate Ellis | Because you would've fought them. | 41:54 |
| Harold Dejan | Sure. | 41:54 |
| Kate Ellis | So he pushed you. Did you say that you fell on a brick. You threw the— | 41:54 |
| Harold Dejan | No, I fell in the street where they had some bricks there. I got me a nice beautiful one. | 42:22 |
| Kate Ellis | And you were going to launch that brick. | 42:27 |
| Harold Dejan | Yes, I— | 42:29 |
| Kate Ellis | You didn't. | 42:30 |
| Harold Dejan | No. | 42:30 |
| Kate Ellis | Because that guy said, "Don't mess with them." | 42:31 |
| Harold Dejan | That's right. Yeah. | 42:33 |
| Kate Ellis | Uh-huh. I see. Wow. Huh. | 42:44 |
| Harold Dejan | But that was nothing. But I just said it was a little incident. I laughed about it after. | 42:46 |
| Kate Ellis | Huh. | 42:50 |
| Harold Dejan | And once, I was in— Hot dog, [indistinct 00:43:09]. What's the name of that place? Somewhere in Mississippi. And a man told me, "You want a drink?" I said, "No, I don't drink." He bought a gallon of whiskey for the band. | 43:01 |
| Kate Ellis | He bought a gallon of whiskey? | 43:38 |
| Harold Dejan | I said, "I don't drink." He said, "Where you from?" I said, "New York." "I'll kill him then." So the band leader, went in his case and he got his pistol out, and the bartender seen that incident, and he come out the bar with his pistol and said, "What's the matter?" I say, "That man told me I got to take a drink because I'm from New York." So he took the gallon of whiskey away from the man and told him, "Don't put his lights out, because I'll be behind you." | 43:39 |
| Kate Ellis | Say that again, the don't— | 44:30 |
| Harold Dejan | "Don't put his lights out." Said he'd be behind him. Yeah. | 44:34 |
| Kate Ellis | Huh. | 44:40 |
| Harold Dejan | He said that every time they have a Negro band there, they get in trouble with him. | 44:41 |
| Kate Ellis | Who gets in— | 44:51 |
| Harold Dejan | The man. The man that— | 44:52 |
| Kate Ellis | Oh. That tried to get you to drink something. | 44:54 |
| Harold Dejan | Yeah. | 44:55 |
| Kate Ellis | So he would mess with the— | 44:56 |
| Harold Dejan | Would mess with anybody. So I mean, I didn't never have no trouble at no rooming house or hotel. Never. | 45:09 |
| Kate Ellis | It just wasn't— | 45:14 |
| Harold Dejan | No. No. | 45:18 |
| Kate Ellis | Huh. | 45:18 |
| Harold Dejan | [indistinct 00:45:20] pay as you go and you'll never owe. So I paid everywhere I went and I never owed nothing. | 45:20 |
| Kate Ellis | Say it again. | 45:26 |
| Harold Dejan | Pay as you go and you'll never owe. | 45:31 |
| Kate Ellis | Mm-hmm. Huh. Well, what do you mean by that? I mean, just to— | 45:33 |
| Harold Dejan | I mean, if you pay your bill as you go, you'll never owe nothing, so I don't get in no trouble with nobody. | 45:40 |
| Kate Ellis | Mm-hmm. Mm-hmm. | 46:03 |
| Harold Dejan | Is this thing on? | 46:03 |
| Kate Ellis | Yeah. | 46:03 |
| Harold Dejan | Can I say something? Everything is lovely. And you want to know different places I play at? | 46:05 |
| Kate Ellis | Yes, I do. | 46:16 |
| Harold Dejan | All right. | 46:17 |
| Kate Ellis | But wait one second. I want to turn— I see this is about to run out. Let me turn the tape over. | 46:18 |
| Harold Dejan | Oh, sure, yeah. | 0:00 |
| Kate Ellis | It sounds like you had a lot of fun. | 0:07 |
| Harold Dejan | Yeah. | 0:07 |
| Kate Ellis | So tell me about your musical career. I want to hear about that. | 0:07 |
| Harold Dejan | Well, man, when I got out the Navy, I took over the Tree Almond Band under the direction of Melvin C. Bright. | 0:12 |
| Kate Ellis | Tell me again? | 0:24 |
| Harold Dejan | Under the direction of Melvin C. Bright. I got some of the fellas then that played in the Almond Band with me. I got it in that big book you had. | 0:26 |
| Kate Ellis | Which big book? Well, we'll find it after we— | 0:40 |
| Harold Dejan | Yeah. | 0:45 |
| Kate Ellis | Okay, good. I'll have to remember that, to get the names, okay. | 0:53 |
| Harold Dejan | I always like to play with brass bands all my life. I made a trip when I was a little boy with the Holy Ghost Brass Band in New Orleans, and we played in Opelousas, and then start liking the brass bands. I just played the Eureka Brass Band, I played with John Academy Brass Band and I played with the George Williams Brass Band. I played with Manuel Perez Brass Band. I played Kit Harbor's Brass Band. I played in most all of the brass bands. | 0:54 |
| Kate Ellis | What did you like about it? | 1:33 |
| Harold Dejan | Well, I liked to play— Some of them had music. Most of it, I managed because I read the music. | 1:34 |
| Kate Ellis | Oh. You can use it. | 1:47 |
| Harold Dejan | Yeah. | 1:49 |
| Kate Ellis | That was really an advantage, wasn't it? To be able to read music? | 1:50 |
| Harold Dejan | Yeah, of course. Sure, because so many fellas couldn't read and then they'd deny them, you see? I liked to play with the brass bands. I was sitting on my step and this fella comes, Louie Warner, he said, "Dejan, do you want to play with the Eureka Brass Band?" I said, "Man, I don't know." He said, "Man, we got plenty of music and everything," I said, "I don't have no cap or nothing." He said, he went in his house and got me a cap, and he says, "Now, you're a member of the Eureka." By playing with the Eureka Brass Band, I really got enthused. That's what made me make that Olympia Brass Band. | 1:55 |
| Kate Ellis | Oh. | 2:50 |
| Harold Dejan | See? | 2:50 |
| Kate Ellis | Uh-huh. Tell me again, you had said this off tape, but you formed the Olympia Brass Band in the 1950s? | 2:51 |
| Harold Dejan | In 1955, and I named it in 1956. | 2:59 |
| Kate Ellis | And you named it the Olympia Brass Band because— ? | 3:05 |
| Harold Dejan | Because I found out Louis Catrell told me that the Olympia Brass Band was the oldest standing brass band, so I named it. I said, "That's good." I used to play with the Olympia Serenaders when I was a kid. | 3:10 |
| Kate Ellis | Oh yeah. | 3:27 |
| Harold Dejan | That was one of the bands I used to play with, the Olympia Serenaders. I named it Dejan's Olympia Brass Band. | 3:27 |
| Kate Ellis | Mm-hmm, and you've been playing ever since? Well, until your stroke. | 3:33 |
| Harold Dejan | Ever since, yeah. | 3:39 |
| Kate Ellis | But the band is still playing. | 3:41 |
| Harold Dejan | Yeah, yeah. One day, when I was waiting for Lykes Brothers, the steamship company, just brought Milton Batiste— See his picture in there? | 3:41 |
| Kate Ellis | Mm-hmm. | 3:53 |
| Harold Dejan | Kay said, "Man, you want to go to London?" I said, "Do I want to go to London?" I said, "Sure." I said, "I've been to London last year." I said, "Yeah, I want to go." We went there with the Sutton Travel Directors Concert promoting business for the South to the North. I went and asked the Vice President of Lykes Brothers, could I get off, and he said, "Yeah, you can go." He said, "We got an office everywhere you go." Yeah. He said, "You'll be our outside man for the company," he said, "You'll be our ambassador," he said. | 3:54 |
| Kate Ellis | Wait. Ambassador for who? | 5:03 |
| Harold Dejan | For Lykes Brothers. He said, "You'll be our ambassador." Everywhere I went, they had an office, the Lykes Brothers, all the European countries I went. | 5:04 |
| Kate Ellis | And it's called Lykes Brothers? | 5:19 |
| Harold Dejan | Yeah. | 5:20 |
| Kate Ellis | Tell me about that. What's Lykes Brothers? Do you need more water? | 5:20 |
| Harold Dejan | Cut that. | 5:21 |
| Kate Ellis | The Lykes Brothers were the steamship company, and that's when you were playing— I saw a picture of you on that boat, which would go from New Orleans to New York. That was the Lykes Brothers? | 5:27 |
| Harold Dejan | No. | 5:36 |
| Kate Ellis | That was something different? | 5:37 |
| Harold Dejan | That was— What steam company that was? That wasn't Lykes Brothers. | 5:39 |
| Kate Ellis | It was a different steamship company. | 5:46 |
| Harold Dejan | Yeah. | 5:53 |
| Kate Ellis | When you would take those boats, you'd play on those boats, right? You performed for passengers on the boats? | 5:54 |
| Harold Dejan | Oh yeah, we were playing at night. We would play for a dance and in the daytime, we might play during lunchtime. Oh, yeah, that was fun. | 5:59 |
| Kate Ellis | I bet it was fun. | 6:12 |
| Harold Dejan | Yeah. Then when we'd to New York, we didn't have nothing to do. | 6:13 |
| Kate Ellis | Well, you didn't play in New York when you got up there? | 6:19 |
| Harold Dejan | No. All I played on the East side, West side, the boat would be landing in New York. Way down in New Orleans, they'd be coming in. | 6:24 |
| Kate Ellis | Wait, say that again. In New York, you'd get to New York and you didn't have any kind of— What? I don't understand why you didn't play in New York. | 6:35 |
| Harold Dejan | No, no. They were loading passengers on and then loading freight on and unloading the freight. The boat just carried freight and passengers. | 6:41 |
| Kate Ellis | Oh, okay. So in other words, you just didn't have time to stay in New York. | 6:54 |
| Harold Dejan | Yeah, I stayed in New York three days, and had nothing to do. | 6:55 |
| Kate Ellis | So what did you do? | 7:10 |
| Harold Dejan | See New York. | 7:10 |
| Kate Ellis | Okay. What else did you do? | 7:10 |
| Harold Dejan | Then a fella, he used to play banjo with me here, by the name of Danny Barker, he was in New York. He was in New York and he used to take us around. | 7:10 |
| Kate Ellis | Show you around the city? | 7:26 |
| Harold Dejan | Yeah, yeah. Then after a couple of times, I was a New Yorker. | 7:27 |
| Kate Ellis | Oh really? You knew the territory. | 7:29 |
| Harold Dejan | Yeah, yeah. | 7:29 |
| Kate Ellis | So when you went over to London, you'd take the ship over. | 7:39 |
| Harold Dejan | No, I flew. | 7:43 |
| Kate Ellis | Okay, but with the Lykes Steamship Company— | 7:45 |
| Harold Dejan | Yeah, yeah, no, no. No, they had an office everywhere I went in Europe. | 7:48 |
| Kate Ellis | Okay. | 7:51 |
| Harold Dejan | They told me I was an ambassador and that if I needed anything, just go to the office and tell them who I am. So I never go to the office, I didn't need them. | 7:57 |
| Kate Ellis | You didn't need them? | 8:07 |
| Harold Dejan | No. One time, one of the Vice-Presidents came there and said, "I'll take you to dinner, give you anything you want," I said, "But I don't have enough time, man. I got things to do." I wanted to be with my friends. I had a lot of friends I made in Europe. | 8:09 |
| Kate Ellis | How many times have you traveled to Europe? | 8:36 |
| Harold Dejan | I've been on 32 European trips when I was with the band. The band already made 36. | 8:38 |
| Kate Ellis | I see. | 8:44 |
| Harold Dejan | I made 32 with the band. | 8:47 |
| Kate Ellis | With the band, with your band, huh. | 8:51 |
| Harold Dejan | You see, the first band I made up, I had Emanuel Paul, Kenny Letty, Kid Sheik Colar, Louis Nelson playing trombone. I had a bass player by the name of Minor and Allan Jaffe. Then my trumpet player, Ernie Kendrick, he laid on a bed, and he can't play the parades no more. Just then, I played with a band called Minor's Brass Band. I played with them and I'd seen Milton Batiste, I said, "Damn, that's who I need." | 8:54 |
| Kate Ellis | You liked Milton Batiste? | 9:52 |
| Harold Dejan | Yeah, I said, "That's who I need." I told him, I said, "Do you want to come in my band?" "Man, you're joking." I said, "You think I'm joking? Come on." He said, "When do we got our first job?" It was a Sunday." I said, "First job is Tuesday, Carnival day." | 9:56 |
| Kate Ellis | Carnival day? | 10:21 |
| Harold Dejan | I broke him good. | 10:23 |
| Kate Ellis | I guess you did. Then you made him assistant director. | 10:28 |
| Harold Dejan | Assistant, yeah. He was a pretty good boy, a fella, you know what I mean? He was full of business, I said, "Well," so he started learning, he started writing contracts out there, Batiste. | 10:29 |
| Kate Ellis | He did? | 10:46 |
| Harold Dejan | Yeah, less that I had to worry about. | 10:47 |
| Kate Ellis | Uh-huh. | 10:48 |
| Harold Dejan | Yeah. | 10:48 |
| Kate Ellis | He could handle the business side of things. | 10:50 |
| Harold Dejan | Yeah. | 10:52 |
| Kate Ellis | How was it dealing with— It sounds like you've had a lot of fun, that you have played all over the place and people love your music, of course. | 10:53 |
| Harold Dejan | Yes. | 11:03 |
| Kate Ellis | How's the business? How was the business side of all of it? | 11:04 |
| Harold Dejan | The business side of it was lovely, beautiful. The business side, that was everything, we made good money. | 11:08 |
| Kate Ellis | Did you? | 11:18 |
| Harold Dejan | Sure. | 11:19 |
| Kate Ellis | Uh-huh, mm-hmm. So you were paid well throughout your— | 11:20 |
| Harold Dejan | Oh yeah. | 11:28 |
| Kate Ellis | Mm-hmm. | 11:28 |
| Harold Dejan | Oh yeah. | 11:29 |
| Kate Ellis | Did you belong to the Musicians Union? | 11:32 |
| Harold Dejan | Oh yeah, all my life. | 11:41 |
| Kate Ellis | Yeah. How'd they help you? | 11:47 |
| Harold Dejan | I got my gold card in there. | 11:47 |
| Kate Ellis | Your gold card— | 11:48 |
| Harold Dejan | Yeah, from Musicians. You see, after being there a certain length of time, you get a gold card, so I don't have to pay no more dues. | 11:48 |
| Kate Ellis | Oh. | 11:48 |
| Harold Dejan | But now, they started, and now you have to pay it, like half of the dues. | 11:55 |
| Kate Ellis | Really? | 11:57 |
| Harold Dejan | Yeah. | 11:57 |
| Kate Ellis | So now you've got to. What was good— This was the Black Musicians Union, obviously. | 11:59 |
| Harold Dejan | Yeah, yeah, at first. | 12:09 |
| Kate Ellis | And then later on, it merged with the White one. | 12:09 |
| Harold Dejan | They merged, yeah. | 12:12 |
| Kate Ellis | What did the Musicians Union have to offer you? | 12:12 |
| Harold Dejan | Well, the Musicians had to offer me— Just, they give me plenty of jobs, me. | 12:16 |
| Kate Ellis | I'm sorry? | 12:24 |
| Harold Dejan | They used to give me plenty of jobs. | 12:27 |
| Kate Ellis | Oh. | 12:29 |
| Harold Dejan | They had good benefits, so much when you die, abou ten thousand dollars I guess, something like that. | 12:30 |
| Kate Ellis | Ten thousand dollars? | 12:37 |
| Harold Dejan | Yeah, something like that. | 12:41 |
| Kate Ellis | When you die? | 12:41 |
| Harold Dejan | Yeah. | 12:41 |
| Kate Ellis | Wow. | 12:41 |
| Harold Dejan | Well, I mean, it costs about that much to make a funeral. | 12:41 |
| Kate Ellis | Well, it sure does, but that's still— For a union to provide that. | 12:48 |
| Harold Dejan | Yeah, I've been in the union since— Oh, Jesus Christ, since Hex was a puppy. | 12:56 |
| Kate Ellis | Since what? Since what was a—? | 13:06 |
| Harold Dejan | Since Hex was a puppy. | 13:11 |
| Kate Ellis | I never heard that. | 13:17 |
| Harold Dejan | Yeah. I mean, I don't know if the benefit is that much. I just figured it was like that. | 13:18 |
| Kate Ellis | Right, you were just, and as a musician, you just knew. It just made sense. | 13:29 |
| Harold Dejan | Yeah. And they got something going on right now, like if somebody wants to hire a band, and they can't afford to pay for a band, some cover, some people for a benefit or something like that. They give them a band and they pay them. | 13:33 |
| Kate Ellis | Oh, is that called The Project? | 13:56 |
| Harold Dejan | The Project. | 13:57 |
| Kate Ellis | The Project, okay. | 13:57 |
| Harold Dejan | That's right, that's right. | 13:57 |
| Kate Ellis | Okay. All right. I've got to ask you something and I know that it's not what you want to talk about a whole lot, but let me just ask you this— | 14:04 |
| Harold Dejan | I'll talk about anything. Don't worry about talking about it. | 14:10 |
| Kate Ellis | I know. I know, but obviously I'm interested in some of the racial aspects of the music business in New Orleans, how things were shaped. Did you think the Black musicians got paid as much as White musicians did? | 14:14 |
| Harold Dejan | The charges, yeah. | 14:33 |
| Kate Ellis | I'm sorry? | 14:34 |
| Harold Dejan | If they charged them, I'm sure. | 14:35 |
| Kate Ellis | If the Black musicians charged them the same as the White musicians. | 14:37 |
| Harold Dejan | That's right, that's right. In fact, I charged more than all of them, me. | 14:40 |
| Kate Ellis | Really? More than the White musicians? | 14:43 |
| Harold Dejan | Sure. You can't say that because you don't know what people charged. | 14:43 |
| Kate Ellis | Right, yeah. | 14:43 |
| Harold Dejan | But I mean, I always charged over the scale, I can tell you that. | 14:44 |
| Kate Ellis | Okay, right. | 14:56 |
| Harold Dejan | And I know if some White musician would charge over the scale, they'd die. | 14:58 |
| Kate Ellis | You said, "A scale," but before the musicians unions merged together, was there a different Black musicians pay scale from the White musicians pay scale? | 15:05 |
| Harold Dejan | No, no, no. | 15:16 |
| Kate Ellis | It was the same scale, it was a standard scale before they merged? | 15:18 |
| Harold Dejan | Like a lady commented on there, she asked how much it cost to play for one hour or an hour or a half, I told her, a thousand dollars. Then she said, "Well, suppose I want you for three hours?" I said, "Well, about eighteen hundred or two thousand," like that. She said, "All right. I'm going to call you a week ahead of time." I said, "All right." But she called, she paid, if she don't call, she don't pay it. | 15:21 |
| Kate Ellis | Mm-hmm. | 16:01 |
| Harold Dejan | You see? It's like that, but I overcharged her. | 16:04 |
| Kate Ellis | You— ? | 16:09 |
| Harold Dejan | Sure, I overcharged her. The scale for about an hour is about seventy dollars a man or something like that. | 16:10 |
| Kate Ellis | So you overcharged her? Why did you overcharge her? | 16:19 |
| Harold Dejan | No, that's my price. | 16:21 |
| Kate Ellis | Okay. Right. Well, especially because you've got a big band there. | 16:27 |
| Harold Dejan | Well, I wouldn't bring but seven pieces. | 16:31 |
| Kate Ellis | Mm-hmm. | 16:33 |
| Harold Dejan | She would talk right, "I can't afford this," "I can't afford that," well, I'll have to cooperate with her. | 16:44 |
| Kate Ellis | So you'll work with her, you'd work with her. | 16:53 |
| Harold Dejan | Yeah. | 16:54 |
| Kate Ellis | If somebody said, "I can't pay you that much money for a band— | 16:55 |
| Harold Dejan | But I'm going to still charge them the scale. | 16:58 |
| Kate Ellis | Uh-huh, you would not go below scale. | 17:02 |
| Harold Dejan | No. | 17:04 |
| Kate Ellis | But you might not go as much over the scale. | 17:05 |
| Harold Dejan | That's right. | 17:06 |
| Kate Ellis | I see, I see, yeah. | 17:07 |
| Harold Dejan | I mean, that's the way it go. I mean, I never asked another band how much you're getting? I don't care what they're getting. I bet you, I'm getting mine. | 17:10 |
| Kate Ellis | Uh-huh. That's what important, that's what you need. | 17:26 |
| Harold Dejan | Yeah, because I'm going to satisfy them. They want to be satisfied. | 17:26 |
| Kate Ellis | Yeah, yeah. | 17:32 |
| Harold Dejan | I know I'm going to satisfy them. | 17:33 |
| Kate Ellis | Well, you were talking about earlier when you said that you played at Carnegie Hall in New York, you said, I don't know, ten, fifteen years ago. I said, "How'd it go?" And you said, "We tore it up." | 17:36 |
| Harold Dejan | Yeah. That's right. Half the people are out of their seats, jumping out of their seats. We made a last— We came off the stage and paraded around. | 17:54 |
| Kate Ellis | In Carnegie Hall? | 18:03 |
| Harold Dejan | That's right. | 18:03 |
| Kate Ellis | You paraded around the audience? | 18:03 |
| Harold Dejan | That's right. Everybody jumped up. | 18:04 |
| Kate Ellis | I bet. | 18:09 |
| Harold Dejan | They had to two elderly artists from New Orleans, "Oh child, let's get up here." Yeah. | 18:12 |
| Kate Ellis | They knew what to do. | 18:22 |
| Harold Dejan | Yeah, then we played Carnegie Hall. We played that show that Jaffe put on. What's the name of the show? All That Jazz, we put that on at Carnegie Hall and we made a few Army choruses and everything, but they wouldn't pay the price. Kenny Booker wanted that show and take a man, take them there, but they wouldn't pay the price. | 18:23 |
| Kate Ellis | Wait, who wouldn't pay the price? | 19:16 |
| Harold Dejan | The booking agent that wanted to take the show over. | 19:19 |
| Kate Ellis | Oh, I see. | 19:24 |
| Harold Dejan | So we just played where the government sent us for Carnegie Hall and a couple of Army forces they would send us. | 19:29 |
| Kate Ellis | When was this? | 19:45 |
| Harold Dejan | Well, about twelve or fifteen years ago. | 19:45 |
| Kate Ellis | Uh-huh. Huh. So tell me a little bit more just to hear about your coming up time; you came up in the Treme, and you were playing music. What schools did you attend when you were coming up? | 19:54 |
| Harold Dejan | Well, I went to Joseph A. Craig School. | 20:05 |
| Kate Ellis | Uh-huh, that was elementary? | 20:08 |
| Harold Dejan | Yeah, then I also went to— I went to St. Mary's Academy. | 20:10 |
| Kate Ellis | After that? For high school? | 20:22 |
| Harold Dejan | Before that. | 20:24 |
| Kate Ellis | Before that? | 20:25 |
| Harold Dejan | I went to St. Mary's and then I finished at Veneral School out on Durbin and Veneral. | 20:26 |
| Kate Ellis | Mm-hmm. | 20:33 |
| Harold Dejan | But the Joseph A. Craig School, it was named Bayou Road School. They changed it to Joseph A. Craig. | 20:38 |
| Kate Ellis | It was named, what was the name? | 20:43 |
| Harold Dejan | It was named Bayou Road. | 20:43 |
| Kate Ellis | That's the first one it was called? | 20:43 |
| Harold Dejan | Yeah. | 20:43 |
| Kate Ellis | Bayou Road School. | 20:43 |
| Harold Dejan | Yeah, Bayou Road. | 20:43 |
| Kate Ellis | Oh, okay. And so the Vendiel School was the high school? | 20:57 |
| Harold Dejan | Yeah. | 20:59 |
| Kate Ellis | Did you finish high school? | 21:00 |
| Harold Dejan | Yeah, no. No. I went to 10th grade and that was it. I was making too much money. | 21:04 |
| Kate Ellis | I was going to say, you were popping. That's when your musical career took off, huh? | 21:06 |
| Harold Dejan | That's right. I'm glad I had a chance to go to 10th because I'd have been sad news. | 21:11 |
| Kate Ellis | Yeah. You learned to read and write and do all that. | 21:22 |
| Harold Dejan | Yeah, yeah. I did everything I wanted to do. | 21:29 |
| Kate Ellis | Uh-huh. | 21:29 |
| Harold Dejan | I kept a good job and everything. | 21:29 |
| Kate Ellis | Who taught you how to read music? | 21:36 |
| Harold Dejan | Lorenzo Teal. | 21:39 |
| Kate Ellis | He did? Okay. | 21:40 |
| Harold Dejan | He and Shalani. | 21:48 |
| Kate Ellis | Uh-huh. | 21:48 |
| Harold Dejan | Yeah. Shalani was a man, he wrote his own theory book. | 21:49 |
| Kate Ellis | His own theory book? | 21:53 |
| Harold Dejan | Yeah, twenty-five cents he charged for it. He wrote a whole theory book, like you buy them in the store right now. | 21:54 |
| Kate Ellis | Yeah. And he charged twenty-five cents for it? | 22:02 |
| Harold Dejan | That's right. | 22:04 |
| Kate Ellis | Wow, was it a good book? | 22:06 |
| Harold Dejan | Oh yeah. I had one around here before my daughter and my granddaughter moved here. They moved so many things and displaced them, I wanted to keep that book to show people. | 22:07 |
| Kate Ellis | Yeah, I wish. I'd love to see it. She doesn't know where it is now? | 22:23 |
| Harold Dejan | Oh god, no. | 22:28 |
| Kate Ellis | Oh, no. Huh. There was something I was going to ask you about that. You had mentioned earlier, I think it was off tape, that you actually did work for your father for a while. | 22:31 |
| Harold Dejan | Yeah. | 22:45 |
| Kate Ellis | When was that? | 22:46 |
| Harold Dejan | Oh, when I was a kid. I was between twelve and fifteen, sixteen years old, like that. | 22:47 |
| Kate Ellis | What would you do for him? | 22:58 |
| Harold Dejan | Well, first I would bring the bulls around, and then he find out I could drive. | 23:02 |
| Kate Ellis | Do you mean drive the bulls, you mean? | 23:09 |
| Harold Dejan | Yeah, I was driving the double-team wagon. | 23:11 |
| Kate Ellis | Right. | 23:14 |
| Harold Dejan | Then he found out I could drive them trucks when he got them trucks. I didn't tell him I could drive though. | 23:15 |
| Kate Ellis | You didn't tell your father you could drive? | 23:23 |
| Harold Dejan | No, but he bought us a car one time, and I checked myself there. I told him I could drive better than him. | 23:28 |
| Kate Ellis | Better than he could? | 23:40 |
| Harold Dejan | I could. He let me drive and let my little brother drive, and then one of the drivers told him, "You didn't know Harold can drive? Harold can drive all these trucks." | 23:44 |
| Kate Ellis | So what? He put you to work? | 23:56 |
| Harold Dejan | Yeah. | 23:57 |
| Kate Ellis | Is that right? | 23:57 |
| Harold Dejan | Yeah. | 23:59 |
| Kate Ellis | He said, "Son—" | 23:59 |
| Harold Dejan | Yeah. | 24:01 |
| Kate Ellis | "I've got a little work for you." | 24:02 |
| Harold Dejan | Yeah, yeah. I didn't mind, I didn't mind. When I told him I could drive the trucks, and the big trailer, you know the big trailer? | 24:06 |
| Kate Ellis | Yeah. | 24:16 |
| Harold Dejan | He had one of them big trailers and then one day, one of the drivers, I'd seen one of the drivers was in a bar, stagging like that— | 24:16 |
| Kate Ellis | Staggering? | 24:25 |
| Harold Dejan | Yeah. | 24:25 |
| Kate Ellis | Like he was drunk or something? | 24:25 |
| Harold Dejan | Yeah. Yeah, he was drunk. | 24:25 |
| Kate Ellis | Okay. | 24:25 |
| Harold Dejan | So I got the keys from him and didn't say nothing, so I got in the big trailer and brought that trailer home, and I backed into the yard, into the place where it belonged. My stepbrother saw, "You riding, coming in here, driving this big trailer." [indistinct 00:25:01] So anytime, he needed somebody, I had to go. | 24:37 |
| Kate Ellis | You had to go and do it for him because you knew how to do it. | 25:05 |
| Harold Dejan | Yeah. I didn't care. | 25:07 |
| Kate Ellis | Mm-hmm. | 25:08 |
| Harold Dejan | But I lived a beautiful life all my life. I have very few people that have made me mad, and if they made me mad, they didn't know about it. Yeah. | 25:08 |
| Kate Ellis | Tell me about your wife, where did you meet her? | 25:34 |
| Harold Dejan | Oh, we used to go to school together. | 25:37 |
| Kate Ellis | Which school? | 25:38 |
| Harold Dejan | Bayou Road. | 25:42 |
| Kate Ellis | Oh, uh-huh. | 25:44 |
| Harold Dejan | She had nice long plaits, I used to pull them. | 25:45 |
| Kate Ellis | Did you really? | 25:48 |
| Harold Dejan | Sure. She had beautiful hair. I pulled her hair, and she'd, "Ow." The teacher would put me— Sit me in another seat. So I used to take her home. I couldn't take her home every day because daddy might be— See us. You leave her off at the corner and I'd say, "See you tomorrow." | 25:49 |
| Kate Ellis | Wow, and you were kind of young then, when you met her. | 26:23 |
| Harold Dejan | Yeah. | 26:26 |
| Kate Ellis | You must have been— ? | 26:38 |
| Harold Dejan | Oh, I was maybe ten, twelve years old, something like that. | 26:38 |
| Kate Ellis | Wow. | 26:38 |
| Harold Dejan | But when she got grown, she went away with the Bandanna Girls Show. | 26:38 |
| Kate Ellis | She was in a show? It was the Bandanna Girls? | 26:47 |
| Harold Dejan | Yeah. So when she came back, I said, "Mm-hmm," I went to the entertainers one night and I met her. I said, "How long have you been in town?" "I just got in town today." I said, "Why are you happening to keep me at bay?" "I've been writing you." I said, "That's all right. Nobody didn't tell me." I guess my mama got the letters and throw them away. | 26:49 |
| Kate Ellis | Oh really? She wrote you letters that you never saw, huh? | 27:23 |
| Harold Dejan | Yeah, yeah. I married her. | 27:23 |
| Kate Ellis | You married her. | 27:23 |
| Harold Dejan | Sure. That's my girl. I was married before though, but when she came back, I got a divorce right away. | 27:36 |
| Kate Ellis | Oh, you mean when your second wife? | 27:44 |
| Harold Dejan | Yeah. | 27:48 |
| Kate Ellis | When she came back from the show, you divorced your first wife. | 27:49 |
| Harold Dejan | Fast. | 27:53 |
| Kate Ellis | Fast? Why? What was wrong with the first wife? | 27:54 |
| Harold Dejan | She was all right. She was all right, but nobody couldn't take Rose's place. | 27:57 |
| Kate Ellis | Really? | 28:03 |
| Harold Dejan | That's right. She died right in this room, where I sleep at. She was walking out the kitchen to the room, and she got an attack and she fell. So I called him right away, Dr. Miniar. | 28:04 |
| Kate Ellis | The guy in that picture with you? | 28:27 |
| Harold Dejan | Yeah, yeah. | 28:28 |
| Kate Ellis | Dr. Miniar? | 28:28 |
| Harold Dejan | Yeah. I called him and he said, "She got a heart attack." She died just that fast. | 28:33 |
| Kate Ellis | That was it. She basically just dropped out, huh? | 28:41 |
| Harold Dejan | That's it. | 28:41 |
| Kate Ellis | That was about six years ago? | 28:42 |
| Harold Dejan | Yeah, about. | 28:43 |
| Kate Ellis | That must have been rough. | 28:44 |
| Harold Dejan | Yeah, it was rough because that was my right hand. | 28:47 |
| Kate Ellis | Yeah. | 28:54 |
| Harold Dejan | I mean, I did anything I wanted to do, she never fussed with me. I bought her anything she wanted. She had that television as soon as it come out, I bought her one. | 28:54 |
| Kate Ellis | You bought that one. | 29:12 |
| Harold Dejan | I know four other people that had one. | 29:12 |
| Kate Ellis | So you had a— That's a big old television. | 29:17 |
| Harold Dejan | Yeah, yeah. | 29:20 |
| Kate Ellis | You bought that for her? | 29:21 |
| Harold Dejan | Yeah. | 29:22 |
| Kate Ellis | And she let you do what you wanted as far as— | 29:23 |
| Harold Dejan | Yeah. Well, I played music and if I had to make a little creep, I'd take my saxophone. | 29:27 |
| Kate Ellis | Say it again? If you— ? | 29:33 |
| Harold Dejan | Don't put that. | 29:33 |
| Kate Ellis | What? | 29:33 |
| Harold Dejan | I don't want to say that. | 29:35 |
| Kate Ellis | Oh. | 29:40 |
| Harold Dejan | Well, since we were going to school, I'd steal a kiss from her, and even, when we'd go home. I couldn't go around the house, her big ugly father would come to the door. He looks a little mean. He'd come to door. | 29:41 |
| Kate Ellis | Oh, when you couldn't go to her house. She had a brother? | 30:00 |
| Harold Dejan | No, her daddy. | 30:02 |
| Kate Ellis | Oh, her dad? | 30:04 |
| Harold Dejan | I wasn't worried about her brother. | 30:05 |
| Kate Ellis | Huh. So you couldn't take her home. | 30:07 |
| Harold Dejan | No. But I would say that I loved her. Yeah, she was all right. | 30:10 |
| Kate Ellis | Wow. | 30:17 |
| Harold Dejan | When I bought this house, I didn't have no money. We came to look at the house, I was figuring on buying one one day, get a few dollars. She saw the man and she said, "How much do you take if we put a down on this house?" He said, "How much you got?" She said, "FIve dollars." So I put five dollars down on this house, but I finished paying for it about a year, ahead. | 30:21 |
| Kate Ellis | Oh, a year later you finished paying? | 30:58 |
| Harold Dejan | No, I finished paying for it a year sooner than I was supposed to. | 31:01 |
| Kate Ellis | Oh, okay. I see. | 31:05 |
| Harold Dejan | I didn't have no money in my pocket then. | 31:10 |
| Kate Ellis | Right. When did you buy this? When was that? Around what year? | 31:12 |
| Harold Dejan | Thirty-seven years ago. | 31:17 |
| Kate Ellis | Thirty-seven years ago. | 31:17 |
| Harold Dejan | That's right. | 31:18 |
| Kate Ellis | Wow, huh. | 31:19 |
| Harold Dejan | I bought a house on St. Anthony's Street before this. | 31:28 |
| Kate Ellis | St. Anthony? | 31:32 |
| Harold Dejan | Yeah. | 31:33 |
| Kate Ellis | Uh-huh. | 31:33 |
| Harold Dejan | Then when I came out here, I'll never forget that, she told the man, "I got $5 in my pocket," and he said, "Give me that." He took it, yeah. | 31:33 |
| Kate Ellis | The money, and that was it. | 31:49 |
| Harold Dejan | We put a deposit on the house. | 31:49 |
| Kate Ellis | Wow. | 31:49 |
| Harold Dejan | Yeah. | 31:49 |
| Kate Ellis | That's great. You can't do that these days. | 31:57 |
| Harold Dejan | No. | 31:59 |
| Kate Ellis | Yeah, wow. | 32:07 |
| Harold Dejan | He was an agent, him. He was selling houses and everything, and he knew the score. | 32:08 |
| Kate Ellis | He knew the score? | 32:13 |
| Harold Dejan | Yeah, he knew what to do. He went for the ones that he bought himself, because I told him I'd bring the money to him the next day. I brought it to him. | 32:14 |
| Kate Ellis | Did he know who you were? | 32:27 |
| Harold Dejan | Yeah, yeah. | 32:28 |
| Kate Ellis | He knew your reputation? | 32:29 |
| Harold Dejan | Yeah, yeah. | 32:30 |
| Kate Ellis | So he might not have done that with a stranger. | 32:32 |
| Harold Dejan | No. You see that television right there? | 32:35 |
| Kate Ellis | Yeah. | 32:36 |
| Harold Dejan | One day that television went bad, and my wife said, "Oh jeez, I got to see my shows." She called Culture, and told him, "Bring me a television right away." He said, "Well, wait, wait, wait. You're talking about right away, Miss. Why do you want to tell me right away?" I guess she gave him the name and address and said, "As soon as my husband comes home, he'll come pay for it." When I come home, she had her television and I went by Culture and made arrangements to pay for it. They gave it to her too. | 32:38 |
| Kate Ellis | Uh-huh, because they knew who you were? | 33:18 |
| Harold Dejan | Yeah, I guess so. | 33:20 |
| Kate Ellis | Yeah, huh. Wow. | 33:25 |
| Harold Dejan | I told them, I said, "You did something I've never seen people do." | 33:25 |
| Kate Ellis | Huh. So tell me, when did you go into the Air Force? | 33:28 |
| Harold Dejan | Huh? | 33:35 |
| Kate Ellis | When did you go— Didn't you say you were in the Air Force? | 33:35 |
| Harold Dejan | In the Navy. | 33:37 |
| Kate Ellis | I mean, in the Navy, that's right. | 33:37 |
| Harold Dejan | 1942. | 33:37 |
| Kate Ellis | Were you drafted? | 33:37 |
| Harold Dejan | I was going to be drafted, because my brother went in the Navy, see? | 33:45 |
| Kate Ellis | Your brother did? | 33:50 |
| Harold Dejan | Yeah. | 33:50 |
| Kate Ellis | Mm-hmm. | 33:50 |
| Harold Dejan | He went with the band on the Lakefront, and they was making another band to go Algiers. | 33:54 |
| Kate Ellis | I'm sorry, say that again? | 34:01 |
| Harold Dejan | My brother was in a band at the Lakefront. | 34:06 |
| Kate Ellis | Yeah. | 34:09 |
| Harold Dejan | But they was making another band to go to Algiers. | 34:09 |
| Kate Ellis | Yeah. | 34:12 |
| Harold Dejan | So I said, "You know what," I told my wife, I said, "It's time. There ain't nothing wrong with me." I said, "Before the Army drafts me, I'm going to get in the Navy." So I went and got in the Navy. I stayed in the training station 16 weeks. | 34:15 |
| Kate Ellis | Training station, 16 weeks. | 34:34 |
| Harold Dejan | Yeah, every time we're supposed to come to Algiers, they tell us, the Chief, he had to recruit another band, so we just had to stay there all that while. | 34:38 |
| Kate Ellis | You mean, Algiers, right across the river? | 34:57 |
| Harold Dejan | Yeah, that's where they sent us after we left the Great Lakes. He was in the Great Lakes before. | 35:01 |
| Kate Ellis | That's where you were before? | 35:11 |
| Harold Dejan | Yeah, the Great Lakes, they sent us to the Great Lakes before. | 35:13 |
| Kate Ellis | For the training? | 35:15 |
| Harold Dejan | The training, yeah. | 35:16 |
| Kate Ellis | But then to Algiers. | 35:16 |
| Harold Dejan | I've been to Algiers for the whole duration. | 35:19 |
| Kate Ellis | For the two years? | 35:24 |
| Harold Dejan | Yeah, for 1946. | 35:25 |
| Kate Ellis | For four years then? | 35:29 |
| Harold Dejan | Yeah, then '42, '43, '44, '45. It was '46, I got out. Yeah. | 35:30 |
| Kate Ellis | And you're playing in the band the whole time that you were stationed there? | 35:39 |
| Harold Dejan | Yeah, yeah. | 35:40 |
| Kate Ellis | I mean, I don't understand, what did you do during that four years you were stationed in Algiers? | 35:43 |
| Harold Dejan | Yeah. | 35:48 |
| Kate Ellis | Never sent overseas. I mean, you just— | 35:48 |
| Harold Dejan | Yeah. I was stationed in Algiers. | 35:52 |
| Kate Ellis | And you played in the band? | 35:52 |
| Harold Dejan | Yeah, we played music, played concerts for the Admiral every day that people come to the Admiral's house. Truthfully, the Admiral's house was way about the next corner. | 35:52 |
| Kate Ellis | So the Admiral's house was nearby? | 36:13 |
| Harold Dejan | Nearby the end of the park back there, you could barely could see his house, but he wanted that band to play while his guests come to his house. I guess, somebody probably heard the music. I thought was funny to me. | 36:15 |
| Kate Ellis | Yeah. | 36:33 |
| Harold Dejan | But then we played an hour for an Admiral, while the guests was coming to his house. | 36:34 |
| Kate Ellis | And that's what you did for four years was play. | 36:42 |
| Harold Dejan | I didn't do all of that. We commissioned every ship coming in. | 36:46 |
| Kate Ellis | You'd commission? | 36:51 |
| Harold Dejan | Well, I mean, we played for the christening of a ship. | 36:52 |
| Kate Ellis | Oh. | 36:56 |
| Harold Dejan | They christened it. See, we was right down on the river. | 36:57 |
| Kate Ellis | Yeah. | 37:08 |
| Harold Dejan | We could christen every ship that they brought in there. One day, one of the Chiefs heard a little tapping. So right before we had to go commission a ship, we caught three German prisoners setting dynamite. We brought them, put handcuffs on them and brought them to trial. We tried to get them something to eat and everything. We couldn't say that until we come out of the service. | 37:08 |
| Kate Ellis | You couldn't tell anybody. | 37:59 |
| Harold Dejan | No, no. They asked us, no. We were playing maybe the National Anthem, (singing). | 37:59 |
| Kate Ellis | You mean, that's would have happened? | 38:06 |
| Harold Dejan | Yeah. | 38:06 |
| Kate Ellis | Was that a running joke with you all? | 38:10 |
| Harold Dejan | No. That was no joke, shucks. Because we did that to go to the waters, we could have gotten killed right here. | 38:12 |
| Kate Ellis | By these three Germans. | 38:22 |
| Harold Dejan | Sure, sure. | 38:23 |
| Kate Ellis | Wow, huh. | 38:24 |
| Harold Dejan | I never told nobody that story. | 38:24 |
| Kate Ellis | Wow. You were the band that would play for folks coming for the Navy people. | 38:28 |
| Harold Dejan | Yeah, and then we played parades. | 38:35 |
| Kate Ellis | Oh, the Navy parades. | 38:42 |
| Harold Dejan | Every day, not every day, but once a month or something like that, they have a celebration for the Navy, parade on Canal Street, something like that. | 38:43 |
| Kate Ellis | Was this a segregated band? | 38:53 |
| Harold Dejan | Sure, it was a mixed band. | 38:55 |
| Kate Ellis | It was a mixed band? | 38:58 |
| Harold Dejan | Well, of course. | 39:00 |
| Kate Ellis | Well, but you know that in the Army, some of the soldiers were segregated. | 39:00 |
| Harold Dejan | The bugler, right now, of the band, his name is Andy Mill, I got a call on my table that he sent me and asked me how I'm doing, tell me what he's doing. | 39:05 |
| Kate Ellis | And he was the bugler in the band? | 39:21 |
| Harold Dejan | He's a White boy, yeah. | 39:22 |
| Kate Ellis | Uh-huh. But I only ask because the soldiers were segregated. | 39:25 |
| Harold Dejan | Oh, we were segregated in a way, but there was that White bugler. We had a White Chief. Listen to this; when President Roosevelt was coming over there, I told my boss, I said, "Sit anywhere you want to sit in the show." They never told the band nothing. I told them cooks in the kitchen, all them boys, I said, "Sit anywhere you want to sit in the show." I said, "The President's coming here today," but I said, "There'll be no segregation today." Man, I seen them get the signs off, just, "For Colored Only, Colored Only." | 39:30 |
| Kate Ellis | They took all the signs down? | 40:24 |
| Harold Dejan | Sure. | 40:24 |
| Kate Ellis | Because Roosevelt didn't want you to be segregated? | 40:26 |
| Harold Dejan | That's right. From then on, they sat anywhere they want to sit. | 40:29 |
| Kate Ellis | Ever since, after that? | 40:34 |
| Harold Dejan | Yeah. | 40:35 |
| Kate Ellis | That's so funny. So this was the Chief. Who was the Chief? This was a Chief who said this to you? | 40:35 |
| Harold Dejan | Yeah. Chief Fulks. | 40:45 |
| Kate Ellis | Chief— | 40:47 |
| Harold Dejan | No wait. No, no, Chief Cooper. | 40:48 |
| Kate Ellis | Chief Cooper, who obviously was White. | 40:50 |
| Harold Dejan | Yeah, born in Vancouver. | 40:56 |
| Kate Ellis | He said, "Roosevelt's coming." | 40:56 |
| Harold Dejan | Yeah. | 40:56 |
| Kate Ellis | So when he said, "Sit anywhere you want," for the cooks and stuff— | 40:56 |
| Harold Dejan | The cooks, they had a little sign about four seats in the back of the show. | 40:59 |
| Kate Ellis | Where cooks could sit? | 41:04 |
| Harold Dejan | Not cooks, just Colored Only. | 41:04 |
| Kate Ellis | Okay, I see. They took that out. | 41:04 |
| Harold Dejan | Yeah, it went for me too if I sat there, but I went and sat in the front row all the time. | 41:10 |
| Kate Ellis | You always sat— You ignored those signs. | 41:17 |
| Harold Dejan | They never told us nothing. | 41:18 |
| Kate Ellis | You mean, those people in the band? | 41:19 |
| Harold Dejan | Yeah. | 41:19 |
| Kate Ellis | The band always got to sit where they wanted. | 41:21 |
| Harold Dejan | Yeah, they never told us nothing. | 41:23 |
| Kate Ellis | But as far as the Navy personnel were concerned, the Blacks sat in the back, had to sit in the back when there was any kind of entertainment? | 41:24 |
| Harold Dejan | Yeah. | 41:34 |
| Kate Ellis | And the cooks and everything. I mean, the cooks were Black. That's so— | 41:35 |
| Harold Dejan | Well, they had White cooks too, but I said the cooks, but that was mostly the ones that would come to the show. | 41:40 |
| Kate Ellis | The Black cooks would? | 41:51 |
| Harold Dejan | Yeah, yeah. | 41:52 |
| Kate Ellis | Oh, huh. That must have been a sight to see, them taking the signs down for Roosevelt. | 41:57 |
| Harold Dejan | I laughed at them. | 42:03 |
| Kate Ellis | You laughed at them. | 42:05 |
| Harold Dejan | I mean, because I never go to sit back there. | 42:08 |
| Kate Ellis | Right. | 42:09 |
| Harold Dejan | In other words, that's where we stayed all day. We rehearsed on the stage there, and the dressing room, we stayed there. I never did go out of my barracks, I mean, when I was in the Navy, because I stayed at my house. | 42:13 |
| Kate Ellis | Oh, on St. Anne? | 42:29 |
| Harold Dejan | The band was with my brother at the Lakefront, my brother was in charge of the band, but he wasn't the Chief. He was an assistant to the Chief. Well, they was getting ninety dollars a month more than we was getting. | 42:31 |
| Kate Ellis | To play for the— | 42:47 |
| Harold Dejan | No, because they didn't have no place for them to stay at the Lakefront. | 42:48 |
| Kate Ellis | So they got ninety dollars extra because they needed a place to stay. | 42:56 |
| Harold Dejan | Yeah, they went home every night. I went home every night too. I never slept in the Navy barracks one time. | 42:58 |
| Kate Ellis | Uh-huh. I was going to ask you about that, if you had to stay at the barracks or if you could go home every night. | 43:08 |
| Harold Dejan | Yeah, I went home every night. | 43:13 |
| Kate Ellis | So this was just kind of a permanent job that you had for three or four years— | 43:16 |
| Harold Dejan | Yeah, yeah. | 43:22 |
| Kate Ellis | — while you were enlisted. | 43:22 |
| Harold Dejan | That's right. | 43:27 |
| Kate Ellis | It could have been worse, that's not so— Huh. Wow. | 43:27 |
| Harold Dejan | Yeah, but it was all right. It was all right. I never did keep my pass. I know some fellas got their pass to go to the Navy base and buy shoes and clothes. | 43:31 |
| Kate Ellis | You never bothered with that? | 43:50 |
| Harold Dejan | I was glad to get out. | 43:52 |
| Kate Ellis | You were what? Glad to— ? | 43:53 |
| Harold Dejan | Yeah, I was got to get out. | 43:53 |
| Kate Ellis | Yeah. So that was— Uh-huh. | 43:55 |
| Harold Dejan | They asked me to stay. The Chief said, "Why don't you stay and distribute the instruments whenever they come here. You know where the instruments, and everything." "I'm going, Chief." | 43:57 |
| Kate Ellis | You were like, your time was up? | 44:23 |
| Harold Dejan | Yeah. | 44:23 |
| Kate Ellis | Huh, wow. | 44:23 |
| Harold Dejan | They were trying to transfer us somewhere in Angola somewhere. | 44:23 |
| Kate Ellis | So you thought you better get out while the getting was good. | 44:34 |
| Harold Dejan | Yeah, yeah. Then I come out, I got the treat to the Army Band in the Army, so I just got out there before the music playing. | 44:34 |
| Kate Ellis | Wow. | 44:43 |
| Harold Dejan | We used to play parades and everything. | 44:48 |
| Kate Ellis | Wow. | 44:54 |
| Harold Dejan | Anything else you want to ask me? | 44:54 |
| Kate Ellis | Let me ask you a couple more questions from these forms and then we can wrap it up, unless there are other things that you want to tell me that I haven't asked you about? | 44:57 |
| Harold Dejan | Yeah, well, you ask me and anything you ask me, I'm going to say it, I'm going to tell you. | 45:13 |
| Kate Ellis | Okay. Well, let me just ask you some basic stuff here. I'll turn the tape off for part of this. Your brothers and sisters are named Lopez? | 45:14 |
| Harold Dejan | Yeah. | 45:22 |
| Kate Ellis | L-O-P-E-Z? | 45:23 |
| Harold Dejan | L-L-O-P-I-S. | 45:24 |
| Kate Ellis | L-L-O-P-I-S? | 45:26 |
| Harold Dejan | Yeah. | 45:28 |
| Kate Ellis | Let's see, your father, your mother was married—? | 45:31 |
| Harold Dejan | A second time. | 45:34 |
| Kate Ellis | Oh, I see. Okay. So of all of these 10 brothers and sisters, what number are you? If your brother is the oldest one? | 45:40 |
| Harold Dejan | Well, I'm mid, I come after, me, Leo, and then Aurora. | 45:51 |
| Kate Ellis | Okay. So you're the third. | 46:07 |
| Harold Dejan | Yeah. | 46:07 |
| Kate Ellis | You're number three, okay. And everybody was born in New Orleans? | 46:08 |
| Harold Dejan | Yeah. | 46:09 |
| Kate Ellis | All right. | 46:10 |
| Harold Dejan | I'm the third Dejan. | 46:12 |
| Kate Ellis | Okay. | 46:13 |
| Harold Dejan | Yeah. | 46:13 |
| Kate Ellis | Okay. | 46:13 |
| Harold Dejan | It's them two. | 46:20 |
| Kate Ellis | You've had two— | 46:21 |
| Kate Ellis | Okay. They're both born in New Orleans. Do you remember when they were born? | 0:01 |
| Harold Dejan | No. | 0:06 |
| Kate Ellis | Loretta and Lavetta. | 0:13 |
| Harold Dejan | I can find out. | 0:14 |
| Kate Ellis | Oh. | 0:14 |
| Harold Dejan | Loretta! | 0:14 |
| Kate Ellis | How many grandchildren do you have? | 0:16 |
| Harold Dejan | Oh, Jesus Christ, a gang of them. | 0:18 |
| Kate Ellis | A bunch? | 0:21 |
| Harold Dejan | How old Loretta is, your sister? | 0:24 |
| Loretta | My sister, she'll be sixty-six. | 0:29 |
| Harold Dejan | What? And how old you is? | 0:29 |
| Loretta | I'll be sixty-five. | 0:31 |
| Harold Dejan | Oh Lord. | 0:36 |
| Kate Ellis | When were you born, in '29? | 0:38 |
| Loretta | No, she'll be sixty-five. I mean, she's sixty-six. She'll be sixty-six, and I'll be sixty-five. | 0:42 |
| Kate Ellis | So you were born— | 0:46 |
| Loretta | In '30. | 0:48 |
| Kate Ellis | Oh, okay. | 0:48 |
| Loretta | And she was born in '29. She was born March the twenty-fourth, 1929. | 0:49 |
| Kate Ellis | Is she still living? | 0:56 |
| Loretta | No, she's dead. | 0:57 |
| Kate Ellis | When did she die? | 0:58 |
| Loretta | Oh, God. | 1:12 |
| Harold Dejan | About six or seven years ago. | 1:12 |
| Loretta | She died about twelve years ago. | 1:13 |
| Harold Dejan | That long? | 1:17 |
| Loretta | Uh-huh. | 1:17 |
| Harold Dejan | What? | 1:17 |
| Loretta | She was about fifty-five when she died, something like that. | 1:17 |
| Kate Ellis | Wow, that's [indistinct 00:01:20]. How many grandchildren does he have? Do you think? | 1:18 |
| Harold Dejan | She got them all. | 1:23 |
| Loretta | He's got four grandchildren. Eight great-grandchildren. | 1:23 |
| Harold Dejan | Oh, all right. | 1:26 |
| Loretta | And eighteen great-great-grandchildren. | 1:32 |
| Kate Ellis | You have eighteen great-great grandchildren. | 1:35 |
| Harold Dejan | Whatever she said. | 1:38 |
| Loretta | I have four children, eight grandchildren, and eighteen great-grandchildren. | 1:42 |
| Kate Ellis | Wow. That's amazing. That's a big family. Now, you lived in New Orleans all your life, even though you've traveled— | 1:46 |
| Harold Dejan | All my life, yeah, all my life. | 2:09 |
| Kate Ellis | And then you told me this a minute ago. As far as your school, you first went to St. Mary's Academy. | 2:15 |
| Harold Dejan | Yeah. | 2:24 |
| Kate Ellis | St. Mary's Academy. And then you went to Joseph A. Craig, which was the Bayou School. | 2:24 |
| Harold Dejan | Yeah. | 2:33 |
| Kate Ellis | And then finally to the Bienville school? | 2:46 |
| Harold Dejan | Yeah. | 2:48 |
| Kate Ellis | Until tenth grade. And then as far as your work history, you've been a musician all your life? | 2:54 |
| Harold Dejan | Yeah. And I went to Louisiana State College of Mortuary Science. | 3:04 |
| Kate Ellis | Of what? | 3:09 |
| Harold Dejan | Louisiana State College of Mortuary Science, studying embalming. | 3:12 |
| Kate Ellis | Oh, you studied embalming? | 3:19 |
| Harold Dejan | Sure. | 3:21 |
| Kate Ellis | Louisiana College. | 3:23 |
| Harold Dejan | I think I got that. They flew them up there somewhere. | 3:25 |
| Kate Ellis | Why did you study embalming? | 3:29 |
| Harold Dejan | Well, because I like to do it. | 3:31 |
| Kate Ellis | You like embalming bodies, so you've done that? | 3:34 |
| Harold Dejan | Sure. | 3:37 |
| Kate Ellis | Dead bodies? | 3:37 |
| Harold Dejan | Yeah. | 3:37 |
| Kate Ellis | What made you interested in that? | 3:37 |
| Harold Dejan | Well, some of my family have been doing it for many years. So I'd be around them, so I just wanted do it. That's all. | 3:45 |
| Kate Ellis | I see. So some of your families were morticians? | 4:01 |
| Harold Dejan | Yeah. | 4:04 |
| Kate Ellis | Oh, okay. Did you ever work as a mortician? | 4:06 |
| Harold Dejan | No. | 4:09 |
| Kate Ellis | But it was just something that you learned how to do? | 4:09 |
| Harold Dejan | Yeah, I learned how to do it. I did it, but I never worked at it. | 4:11 |
| Kate Ellis | I see. When was this? | 4:14 |
| Harold Dejan | Oh, in the '50s somewhere there. Sometimes was [indistinct 00:04:32]. | 4:27 |
| Kate Ellis | So you went to the Louisiana College of Mortuary Science in the '50s? | 4:31 |
| Harold Dejan | Yeah. | 4:35 |
| Kate Ellis | And you got a diploma? | 4:37 |
| Harold Dejan | Yeah. | 4:40 |
| Kate Ellis | As a mortician? | 4:40 |
| Harold Dejan | Yeah. | 4:41 |
| Kate Ellis | But let me just get something straight. You didn't need to have a high school diploma to get your morticians training? | 4:42 |
| Harold Dejan | No, no, no. I got it from being in the Navy. I got it because I was in the Navy, I guess. | 4:51 |
| Kate Ellis | Oh, you got like a high school diploma from the Navy? | 5:07 |
| Harold Dejan | Yeah. No, I got that mortician degree because I was in the Navy. | 5:12 |
| Kate Ellis | Oh. Did you go to the College of Mortuary Science in the '40s or in the '50s? | 5:26 |
| Harold Dejan | '50s. | 5:29 |
| Kate Ellis | Okay. | 5:29 |
| Harold Dejan | Nine months, I think. | 5:35 |
| Kate Ellis | Nine months of training? Wow. | 5:37 |
| Harold Dejan | We used to go to Tulane University and get one on the floor, kick him out the way, give them another one. | 5:40 |
| Kate Ellis | Kick the body out the way? | 5:48 |
| Harold Dejan | Sure. Side them out the way. Get another one. | 5:51 |
| Kate Ellis | And embalm that body. Where'd you get the bodies from? | 5:53 |
| Harold Dejan | At the vault. Take them out the vault and high them up and put them on the floor. Whether it was a woman or man and whoever it might be. And then we used to go to the man that had the college. He had a place. And we used to go by his place and do the embalming sometime. | 5:57 |
| Kate Ellis | You'd go by— Wait, the man who had the mortuary college, you'd go to his house? | 6:31 |
| Harold Dejan | No, his place of business. | 6:34 |
| Kate Ellis | His place of business. And you would do embalming at his business. Who was the guy? Who was that? | 6:36 |
| Harold Dejan | Willie. | 6:43 |
| Kate Ellis | Willie. | 6:43 |
| Harold Dejan | Yeah. He got an undertaker parlor on Jackson Avenue. I think he is dead now. | 6:43 |
| Kate Ellis | What was Willie's last name? | 6:55 |
| Harold Dejan | I don't know. All I see down the sign Willie's Mortuary. | 6:57 |
| Kate Ellis | It was Willie's mortuary. Black or White? | 7:04 |
| Harold Dejan | Black. | 7:09 |
| Kate Ellis | Oh, interesting. So that was kind of a side interest that you had. | 7:14 |
| Harold Dejan | What? | 7:24 |
| Kate Ellis | It was sort of an interest in addition to [indistinct 00:07:29]. | 7:24 |
| Harold Dejan | Yeah, yeah. Yeah. I want to take it up because I said someday I might open me a place. | 7:28 |
| Kate Ellis | You might what? | 7:35 |
| Harold Dejan | Someday I might open me a please. | 7:36 |
| Kate Ellis | Oh, I see. | 7:36 |
| Harold Dejan | But it's too late now, but I had that in my mind. | 7:36 |
| Kate Ellis | Wow. So it was called Willie's Mortuary. | 7:49 |
| Harold Dejan | Yeah. | 7:51 |
| Kate Ellis | On Jackson. | 7:52 |
| Harold Dejan | You see my cousins and my step uncles and all that had an undertaker parlor. | 7:54 |
| Kate Ellis | I see. Where were their undertaker parlor? | 8:03 |
| Harold Dejan | Cardinal Peace was on St. Phillip and Liberty. And then they opened a big place on Du Main and Claiborne. | 8:11 |
| Kate Ellis | Du Main and Claiborne? | 8:22 |
| Harold Dejan | Yeah. But— | 8:36 |
| Kate Ellis | What was the name of the place they opened on Du Main and Claiborne? | 8:37 |
| Harold Dejan | Carl and Llopis. | 8:39 |
| Kate Ellis | Cool. | 8:39 |
| Harold Dejan | C-A-L-R. There's two of them that owned the place. | 8:39 |
| Kate Ellis | Oh, and that L-L-O-P-I-S. | 8:40 |
| Harold Dejan | Yeah. | 8:42 |
| Kate Ellis | I see. Wow. Huh. When I write here that you are a musician, I'll say self-employed. Should I write that? | 8:44 |
| Harold Dejan | Yeah. | 8:53 |
| Kate Ellis | Okay. From about 1920 until now. | 8:54 |
| Harold Dejan | Yeah. | 9:04 |
| Kate Ellis | Because that's right around the time that you started. | 9:05 |
| Harold Dejan | Yeah, that's right. | 9:06 |
| Kate Ellis | So now, you told me this earlier that you're singing on Sunday nights at Preservation Hall because you can't play saxophone right now. | 9:13 |
| Harold Dejan | That's right. Not until I get better. | 9:25 |
| Kate Ellis | Yeah. Now, this next question is going to be the most difficult to answer in a way. The question is, have you ever received any awards or honors? And this whole house is full of awards and honors. | 9:26 |
| Harold Dejan | That's right. | 9:45 |
| Kate Ellis | So I'm not sure which ones I should write down. | 9:45 |
| Harold Dejan | You see that big trophy? | 9:50 |
| Kate Ellis | Yeah. | 9:53 |
| Harold Dejan | I got that from the Budweiser people. | 9:53 |
| Kate Ellis | It was a trophy from Budweiser. | 9:57 |
| Harold Dejan | Yeah. | 9:59 |
| Kate Ellis | For— | 10:00 |
| Harold Dejan | And the Tambourine and Fan Club. | 10:04 |
| Kate Ellis | Okay. | 10:09 |
| Harold Dejan | You can put that down. | 10:09 |
| Kate Ellis | Budweiser. | 10:10 |
| Harold Dejan | And the city gave me an award of that. | 10:10 |
| Kate Ellis | It was a City of New Orleans— | 10:17 |
| Harold Dejan | That's right. | 10:18 |
| Kate Ellis | Hey, while I'm thinking about it, well, actually, I'll ask it in a second. City of the Orleans Award. Let me see what this is. Well, it's a beautiful award. It's huge. Huh? | 10:23 |
| Harold Dejan | You very seldom see anybody else with an award like that. | 10:43 |
| Kate Ellis | Yeah. It's incredible. And it was given to you in 1988? | 10:46 |
| Harold Dejan | That's right. | 10:48 |
| Kate Ellis | So the trophy from Budweiser, tell me the the Tambourine and what? | 10:53 |
| Harold Dejan | Tambourine and Fan gave me one of them trophies. And then, what's the name of? Whatever, when I was king. | 10:57 |
| Kate Ellis | When you were king. | 11:13 |
| Harold Dejan | King for the— What's the name of that? | 11:21 |
| Kate Ellis | Oh. The— | 11:21 |
| Harold Dejan | Money Wasters. | 11:21 |
| Kate Ellis | Oh, king of the Money Wasters. | 11:21 |
| Harold Dejan | Yes. They gave me one. He gave me a award too, the Money Wasters. | 11:22 |
| Kate Ellis | Tell me about the Money Wasters Award again. | 11:30 |
| Harold Dejan | They gave me one, and the Calendar Girls gave me a award. | 11:31 |
| Kate Ellis | Who? | 11:34 |
| Harold Dejan | Calendar Girls. | 11:35 |
| Kate Ellis | Calendar Girls. | 11:39 |
| Harold Dejan | Yeah. | 11:46 |
| Kate Ellis | Who are the Calendar Girls? | 11:46 |
| Harold Dejan | Well, they got one of them trophies up there from them. The girls had got a club, and then they have a parade and things. It's like the money Wasters. | 11:47 |
| Kate Ellis | Tell me what the Money Wasters Club was. | 11:57 |
| Harold Dejan | Well, they just call themself the Money Wasters because— I don't know. I really don't know what reason. | 12:00 |
| Kate Ellis | But it was a social club? | 12:13 |
| Harold Dejan | A social place. | 12:14 |
| Kate Ellis | So you'd get together and you'd have a parade? | 12:15 |
| Harold Dejan | Yeah. Every year they'd have the annual parade. So I was king twice. See my— How they call them in there? | 12:18 |
| Kate Ellis | Your what? Want me to unhook you? | 12:26 |
| Harold Dejan | Yeah. What do they call that, where the king have the wand? | 12:32 |
| Kate Ellis | Oh, I'm much sure. | 12:33 |
| Harold Dejan | You see sticking between them trophies up there. | 12:36 |
| Kate Ellis | Oh, I see that. That baton? | 12:40 |
| Harold Dejan | Yeah. | 12:41 |
| Kate Ellis | That's what that was? | 12:42 |
| Harold Dejan | Yeah. | 12:49 |
| Kate Ellis | Okay. Oh, so there just— | 12:49 |
| Harold Dejan | And several schools gave me awards too. | 12:51 |
| Kate Ellis | Yeah. | 13:04 |
| Harold Dejan | And I got that big mug from Berlin, Germany. And I got that medal that you see, that's from Africa. | 13:05 |
| Kate Ellis | So a medal from Africa. | 13:18 |
| Harold Dejan | Yeah. | 13:19 |
| Kate Ellis | Can you tell me any organizations that you belong to? Organizations or social clubs that you've belonged to? | 13:34 |
| Harold Dejan | Well, I was at the Young Man Olympia, but I'm not in it now. | 13:40 |
| Kate Ellis | What was it? | 13:45 |
| Harold Dejan | Young Man Olympia. | 13:46 |
| Kate Ellis | What's that? | 13:47 |
| Harold Dejan | That's an organization that parades every year, and yeah. | 13:48 |
| Kate Ellis | So parades every year. | 13:49 |
| Harold Dejan | Yeah. And the Money Wasters. | 13:55 |
| Kate Ellis | Which was another kind of similar organization? | 14:01 |
| Harold Dejan | Yeah. | 14:03 |
| Kate Ellis | Were these all Black organization? Were these Black clubs? | 14:06 |
| Harold Dejan | Yeah. Well, you don't want know the Masonic Lodge I belonged to, do you? | 14:09 |
| Kate Ellis | Yeah, sure. | 14:22 |
| Harold Dejan | Yeah. Prince Hall. | 14:25 |
| Kate Ellis | What? | 14:26 |
| Harold Dejan | Prince Hall Masonic Lodge. That's it. | 14:26 |
| Kate Ellis | Okay. Young Man Olympia, the Money Wasters, Prince Hall Masonic Lodge. Oh, and then you belong to the Musicians Union? | 14:38 |
| Harold Dejan | Oh, yeah, yeah. | 14:49 |
| Kate Ellis | Which is— | 14:49 |
| Harold Dejan | 496 and 174. | 14:52 |
| Kate Ellis | 496. | 14:53 |
| Harold Dejan | And 174. I think it's 174. That's the White part. | 15:01 |
| Kate Ellis | The 174 was the White part? | 15:09 |
| Harold Dejan | I think so. | 15:10 |
| Kate Ellis | Yeah. Any other? Let's see, you were in the US Navy. I got to write that in here. | 15:12 |
| Harold Dejan | Yeah. | 15:19 |
| Kate Ellis | 1942 to '46. Any other hobbies? | 15:24 |
| Harold Dejan | And in the Three 33rd Army Band. | 15:25 |
| Kate Ellis | It was called Three 33rd? | 15:30 |
| Harold Dejan | Army Band. | 15:32 |
| Kate Ellis | Three— | 15:32 |
| Harold Dejan | That's after I come out the Navy. | 15:34 |
| Kate Ellis | Three 33rd Army Band. Uh-huh. Let's see. Any other hobbies or interests or anything like that? | 15:40 |
| Harold Dejan | I better not say it. | 15:55 |
| Kate Ellis | Better not say it. Go on, say it. | 15:59 |
| Harold Dejan | No, I'm joking. | 16:02 |
| Kate Ellis | Oh. All right. Let me ask you— Were you going to say something? | 16:03 |
| Harold Dejan | No. | 16:08 |
| Kate Ellis | But you were thinking it. Uh-huh. | 16:08 |
| Harold Dejan | Yeah, I was thinking something. | 16:08 |
| Kate Ellis | What were you thinking? | 16:09 |
| Harold Dejan | Nothing worthwhile. | 16:14 |
| Kate Ellis | Nothing worthwhile. All right. Let me get one more thing from you. It sounds like you've really enjoyed your life. Tell me what you've enjoyed about performing. | 16:23 |
| Harold Dejan | I enjoyed the people. Everywhere I played that the peoples enjoyed it so much. In other words, everywhere I went, I could go back. There'd been a whole lot. | 16:37 |
| Kate Ellis | Yeah. | 16:56 |
| Harold Dejan | Because some people play some places, and they swear that they didn't want to see him no more. Yeah. | 16:57 |
| Kate Ellis | But they always wanted you to come back? | 17:07 |
| Harold Dejan | All over. See, Europe, Italy, everything, everywhere. We played in Italy and the Pope cup out his wind and clap his hand. | 17:11 |
| Kate Ellis | Really? | 17:21 |
| Harold Dejan | Yeah. Him now, I got his picture. And when he came here, we played for him where he was at. They got his thing up there. Right [indistinct 00:17:40]. They took it all down at the lake. Well, when he got ready to leave, he made the security guard get out of the way so he could shake my hand. | 17:22 |
| Kate Ellis | The Pope did. | 17:51 |
| Harold Dejan | That's right. | 17:51 |
| Kate Ellis | You're kidding. | 17:51 |
| Harold Dejan | That's right. | 17:51 |
| Kate Ellis | That must have been quite a moment for you. | 17:51 |
| Harold Dejan | That's right. | 17:51 |
| Kate Ellis | Considering you're a Catholic. | 17:51 |
| Harold Dejan | That's right. Yeah. He get out of the way and they shake my hand and a couple of other boys in the band. | 17:51 |
| Kate Ellis | Wow. Huh. That's amazing, Huh. Well— | 18:28 |
| Harold Dejan | Well, I can't say [indistinct 00:18:30], all I can say is I played for Kings and Queens. And you mentioned it I played for— | 18:30 |
| Kate Ellis | You played in the White House. | 18:40 |
| Harold Dejan | Yeah, I played for White House Correspondent dinner, but they have it at a hotel. I never played at the White House. I had a chance to, but I didn't do it. | 18:41 |
| Kate Ellis | Well, that's all the questions I have. Again, unless there's something I haven't asked you about that you think is important that I haven't— | 19:00 |
| Harold Dejan | No, no. I think it was about to cover everything probably. I played, I took lesson [indistinct 00:19:26] like that. And God knows I had a good time everywhere I went. | 19:14 |
| Kate Ellis | Really? | 19:35 |
| Harold Dejan | When the people is happy, you happy. | 19:39 |
| Kate Ellis | Yeah. | 19:42 |
| Harold Dejan | It's like that lady called the other day. She heard the band at the presentation hall, wanted me to play for her Daughter's wedding and all that, things like that. That was nice. | 19:44 |
| Kate Ellis | Yeah. | 19:58 |
| Harold Dejan | Because the only one she had [indistinct 00:20:04]. Only time she catch my band is on Sunday nights. And when my band is out of town, I'd be there with another band. I make sure they'd be a good band. | 20:02 |
| Kate Ellis | Yeah. Right. | 20:18 |
| Harold Dejan | I used to sing pretty good years ago, but I lost my voice. But I'm hollering. I'm making the money. | 20:21 |
| Kate Ellis | You're saying you're what? | 20:31 |
| Harold Dejan | I said I used to sing pretty good one time. I can't say I sing pretty good now, I'd be lying. | 20:34 |
| Kate Ellis | Oh, but you're still singing. | 20:42 |
| Harold Dejan | But then they enjoy it. It's hard. | 20:43 |
| Kate Ellis | They still want you there. | 20:47 |
| Harold Dejan | Yeah. That's right. | 20:48 |
| Kate Ellis | Yeah. Well, all right. On that note, we can finish this. | 20:49 |
| Harold Dejan | If you think anything else, just let know. | 20:49 |
| Kate Ellis | Okay. I will. | 20:49 |
| Harold Dejan | Call up. | 20:49 |
| Kate Ellis | Okay. Thank you. | 20:49 |
| Harold Dejan | Say "Oh, I forgot, sir." | 20:49 |
| Kate Ellis | I probably will. | 20:49 |
| Harold Dejan | Yeah, I'll said, "All right. What is it?" | 21:07 |
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