This narration is about the songs of praise sung for someone who has achieved wealth and prosperity, or someone who has done great deeds.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.

This narration is about the importance and role songs played for communication in the traditional life of the Liangmai. Songs were employed in various situations, and they are expressions of different kinds of emotions. Liangmai ancestors used songs to express and convey their feelings and thought. It is a medium to express pleasure and pain, sorrow and joy, spiritual and moral values, and traditional and cultural knowledge. It is a rich form of cultural heritage that contributes towards maintaining the history of the people and plays vital role in connecting generations, establishing cultural identity and helps transmit cultural values, beliefs, knowledge, etc. When one is not happy or angry with another person, songs were used to express the feelings instead of talking and using explicit words. Angry facial countenance was not used; rather, a person used a song as a means to express his feelings or wishes. Then the other person would understand that the one singing the song is not happy or sad or angry. One would listen to the lyric of the song and understand the intended meaning.

Phiangaobo is the coming together of friends or peers to celebrate after a season of hard agricultural work. This group of friends, usually younger people, would gather at one house where they sing, drink, and eat the whole night.

When evening sets in, but parents have not yet returned from the field and children are crying, a babysitter carries a child on her back and soothe them in the front yard. Gazing to the direction from where the mother will come, the babysitter pacifies the child by singing these songs.

This narration is about songs that are sung while working on field. Some of the first songs sang while going to the field and while working on it are recorded here. Such songs are usually short, and their themes are numerous.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

When a village girl is to get married, her peers and friends will gather at her house and spend a day singing and dancing with her. This narration is about the songs and dances performed during such gatherings.

The narration is about the songs of the village youth. Back in the days, on some auspicious occasions the youth will gather at a place, sing songs teasing each other, drink rice beer, and celebrate the whole day. The speaker narrates what kind of songs were sung on this day.

These are songs commonly sung by children. The narrator recollects some songs he used to sing as a kid.

Guarding of village is one of the most important duties of able-bodied young men. While on duty, young men usually sing songs to assure the villagers that they are in good hands.

When festive time comes, elderly women will sleep over in their dormitory. They will spend their time together drinking, singing, and celebrating. This narration is about songs sung by old women when they come together to have fun.

This narration is about the practice of house visitation and songs sung while visiting houses of the village. A group of singers will walk through the village and stop at certain places in intervals and sing songs.

When a traditional grand house is built, old men will stand beneath the house and perform a ritual. This narration is about ritual songs sung during construction of kakuki 'the grand house'.

Phenlakbou Marenmai briefly describes and performs the songs sung while building traditional grand house and common houses in the village.

A description of village administration. Smooth functioning of a village life requires certain people to execute certain roles. The two oldest men in the village, known as singko and tingko, provide the mechanism of the social and religious systems. It was their duty to declare prohibitions, taboos, and so on. Kamu, the village shaman, performs funeral for the dead and attend to sick. He would perform all the rituals in the village. Apai, the village council, comprising old men from every clan in the village, look after the village administration.

Richard Hererra discusses high school and growing up on the west side of San Antonio. Diana Hererra discusses why she didn't participate in the Edgewood High School walkout in 1968 in San Antonio.

Wide ranging interview with TC Calvert. He talks about growing up in San Antonio; his membership in SNCC;

Jaime Martinez was a Civil rights activist and farm worker advocate from San Antonio. Martinez served as the Chairman of the Cesar E. Chavez Legacy and Educational Foundation board and was a lifetime advocate for civil rights. Martinez grew up on the West side San Antonio and attended Lanier High School. In his interview, he talked about his life as a labor organizer, having a street named after him, and what it takes to be an organizer. He died in July of 2017.

In the first part of his interview, Mr. Bernal talks about his experiences growing up in the west side of San Antonio. He talks about living conditions and the different jobs he had as a young man to help his household. He also discussed the conditions in the area schools, and the way Mexican American youth were steered toward trades instead of going to college. He also talks about his experience in the military; he was sent to the Philippines and Japan. Upon returning to the U.S., Mr. Bernal attended Trinity U., and later became a school teacher. Two part interview.

Daniel Bustamante was born in Corpus Christi in 1948 and was raised in both Mathis and Corpus Christi. He grew up in a farm worker family and attended the "Mexican" School in Mathis. His activist consciousness began in 1965, when he left to California to work in the fields--the discrimination he faced changed him. In addition, he became a conscious objector during the Vietnam War. He attended Del Mar College from 1967-1969, where he became involved in the Anti-War Movement, the Young Democrats, and supported the UFW Grape Boycott. He moved to Houston in 1969 to attend the University of Houston. At UH, he became involved in MAYO efforts. In 1975, he hosted a party that ended in an incident of police brutality. Bustamante, along with 2 other activists (Eddie Canales and Elliot ?) sued HPD in Federal Court and won in 1979. In 1977-1978, in the aftermath of the Joe Campos Torres death and the Moody Park Rebellion, Bustamante led several marches and pickets to demonstrate against police brutality in Houston. In the late 1970s, he worked at Casa de Amigos in the Northside, an institution geared to address health care isses and drug abuse in the community. In …

Vernice Moore discussed her early life in a segregated Port Arthur, her parents' struggles (social and economic), and her fight against segregation. Hosea Gabriel discussed his lifetime of work to end segregation, to bring about social and economic change to his hometown, and to maintain his family's dignity amid severe obstacles.

Ms. Miranda was born in Grand Prairie but spent the majority of her childhood in the Rio Grande Valley, where she experienced segregation and poor schooling. Determined to be a teacher, she eventually obtained her degree in education and began working as a special education teacher in Lufkin, the first Mexican-American teacher at LISD. Her husband was born and raised in Diboll, where he worked for Temple Industries. In their interview, Ms. Miranda describes the discrimination she faced in the Valley, her path to becoming a teacher, and her education career. Mr. Miranda describes life in Diboll and working for Temple.