{"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Bnames%5D%5B%5D=Allbrittin%2C+Deanna\u0026view=compact","last":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Bnames%5D%5B%5D=Allbrittin%2C+Deanna\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":1,"first_page?":true,"last_page?":true}},"data":[{"id":"VAB9846","type":"collection","attributes":{"title":"Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846#creator","type":"document_value","attributes":{"value":"Indiana University, Archives of\n African American Music and Culture (AAAMC)","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846#abstract_or_scope","type":"document_value","attributes":{"value":"This collection consists of documentation and one-on-one interviews from the AAAMC's two-day conference on Black rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009. The conference and related activities were open to local and regional musicians, scholars, students, and brought together Black rock musicians from different generations and regions with music critics and scholars to discuss the socio-political history, musical developments, and the future of Black rock. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846#breadcrumbs","type":"document_value","attributes":{"value":{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. 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If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. "],"access_subjects_ssim":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n (circa 21 hours), 1 box documentation, assorted audio, video, and image\n files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . 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