{"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Collection","last":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":7,"first_page?":true,"last_page?":true}},"data":[{"id":"2016C32-xml","type":"collection","attributes":{"title":"Afghan partisan serials collection, 1968-2011","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/2016C32-xml#abstract_or_scope","type":"document_value","attributes":{"value":"Consists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \u003ca href=\"http://aps.eastview.com/browse/udb/2331\" target=\"_blank\" class=\"external-link\"\u003e http://aps.eastview.com/browse/udb/2331/\u003c/a\u003e.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/2016C32-xml#breadcrumbs","type":"document_value","attributes":{"value":{"id":"2016C32-xml","title_filing_ssi":"Afghan partisan serials collection","title_ssm":["Afghan partisan serials collection"],"title_tesim":["Afghan partisan serials collection"],"ead_ssi":"2016C32.xml","unitdate_ssm":["1968-2011"],"unitdate_inclusive_ssm":["1968-2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2016C32"],"text":["2016C32","Afghan partisan serials collection, 1968-2011","Afghanistan--History.","Originals closed; digital use copies available.","The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                  http://aps.eastview.com/browse/udb/2331 .","Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.","The collection of newspapers, journals, and magazines in Dari, Pushto, Arabic, and English represent the viewpoints of diverse groups, including the leftist revolutionary People's Democratic Party of Afghanistan, Zahir Shah-loyalists, various factions of Afghan Mujaheddin and foreign-backed jihadists, the Taliban-led government of the Islamic Emirate of Afghanistan, as well as the Karzai regime, during a tumultuous period in the nation's history in which successive waves of foreign influence and invasion destabilized the region, resulting in more than three decades of armed struggle.","Print material in the collection covers events including the aftermath of the 1978 Saur revolution, the lives of political exiles and refugees in Pakistan, the complex interactions of anti-Soviet insurgency groups and their foreign backers in the U.S. and the Muslim world, the fall of Najibullah and civil war thereafter, the radicalization of foreign fighters in Kunar and Tora Bora, the rise and fall of the Taliban, the events of September 11, 2001, \"Operation Enduring Freedom,\" the establishment of Hamid Karzai as president, and the continuing International Security Assistance Force (ISAF) coalition occupation. Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.","Many of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.","","The Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                 http://aps.eastview.com/browse/udb/2331/ .","In the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.","Discovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format.","For copyright status, please contact the Hoover Institution Archives.","Consists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at   http://aps.eastview.com/browse/udb/2331/ .","Hoover Institution Archives","Hoover Institution Archives","In Dari, Pushto (Pashto), Arabic, and English."],"unitid_tesim":["2016C32"],"normalized_date_ssm":["1968-2011"],"normalized_title_ssm":["Afghan partisan serials collection, 1968-2011"],"collection_title_tesim":["Afghan partisan serials collection, 1968-2011"],"collection_ssim":["Afghan partisan serials collection, 1968-2011"],"repository_ssm":["Hoover Institution Archives"],"repository_ssim":["Hoover Institution Archives"],"geogname_ssm":["Afghanistan--History."],"geogname_ssim":["Afghanistan--History."],"places_ssim":["Afghanistan--History."],"access_terms_ssm":["For copyright status, please contact the Hoover Institution Archives."],"acqinfo_ssim":["Materials were acquired by the Hoover Institution Archives in 2016."],"has_online_content_ssim":["false"],"extent_ssm":["14 manuscript boxes, 24 oversize boxes (53.8 linear feet)"],"extent_tesim":["14 manuscript boxes, 24 oversize boxes (53.8 linear feet)"],"date_range_isim":[1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"accessrestrict_html_tesm":["\u003cp\u003eOriginals closed; digital use copies available.\u003c/p\u003e","\u003cp\u003eThe digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://aps.eastview.com/browse/udb/2331\"\u003e http://aps.eastview.com/browse/udb/2331\u003c/extref\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Originals closed; digital use copies available.","The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                  http://aps.eastview.com/browse/udb/2331 ."],"accruals_html_tesm":["\u003cp\u003eMaterials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://searchworks.stanford.edu/\"\u003ehttp://searchworks.stanford.edu/\u003c/extref\u003e. Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid."],"bioghist_html_tesm":["\u003cp\u003eThe collection of newspapers, journals, and magazines in Dari, Pushto, Arabic, and English represent the viewpoints of diverse groups, including the leftist revolutionary People's Democratic Party of Afghanistan, Zahir Shah-loyalists, various factions of Afghan Mujaheddin and foreign-backed jihadists, the Taliban-led government of the Islamic Emirate of Afghanistan, as well as the Karzai regime, during a tumultuous period in the nation's history in which successive waves of foreign influence and invasion destabilized the region, resulting in more than three decades of armed struggle.\u003c/p\u003e","\u003cp\u003ePrint material in the collection covers events including the aftermath of the 1978 Saur revolution, the lives of political exiles and refugees in Pakistan, the complex interactions of anti-Soviet insurgency groups and their foreign backers in the U.S. and the Muslim world, the fall of Najibullah and civil war thereafter, the radicalization of foreign fighters in Kunar and Tora Bora, the rise and fall of the Taliban, the events of September 11, 2001, \"Operation Enduring Freedom,\" the establishment of Hamid Karzai as president, and the continuing International Security Assistance Force (ISAF) coalition occupation. Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.\u003c/p\u003e","\u003cp\u003eMany of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The collection of newspapers, journals, and magazines in Dari, Pushto, Arabic, and English represent the viewpoints of diverse groups, including the leftist revolutionary People's Democratic Party of Afghanistan, Zahir Shah-loyalists, various factions of Afghan Mujaheddin and foreign-backed jihadists, the Taliban-led government of the Islamic Emirate of Afghanistan, as well as the Karzai regime, during a tumultuous period in the nation's history in which successive waves of foreign influence and invasion destabilized the region, resulting in more than three decades of armed struggle.","Print material in the collection covers events including the aftermath of the 1978 Saur revolution, the lives of political exiles and refugees in Pakistan, the complex interactions of anti-Soviet insurgency groups and their foreign backers in the U.S. and the Muslim world, the fall of Najibullah and civil war thereafter, the radicalization of foreign fighters in Kunar and Tora Bora, the rise and fall of the Taliban, the events of September 11, 2001, \"Operation Enduring Freedom,\" the establishment of Hamid Karzai as president, and the continuing International Security Assistance Force (ISAF) coalition occupation. Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.","Many of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.",""],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Afghan partisan serials collection, [Persistent URL], Hoover Institution Archives\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Afghan partisan serials collection, [Persistent URL], Hoover Institution Archives"],"scopecontent_html_tesm":["\u003cp\u003eThe Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://aps.eastview.com/browse/udb/2331\"\u003ehttp://aps.eastview.com/browse/udb/2331/\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eIn the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.\u003c/p\u003e","\u003cp\u003eDiscovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents of Collection"],"scopecontent_tesim":["The Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                 http://aps.eastview.com/browse/udb/2331/ .","In the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.","Discovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format."],"userestrict_html_tesm":["\u003cp\u003eFor copyright status, please contact the Hoover Institution Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["For copyright status, please contact the Hoover Institution Archives."],"abstract_html_tesm":["\u003cabstract id=\"ref13\" label=\"Abstract\"\u003eConsists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \u003cextref actuate=\"onRequest\" href=\"http://aps.eastview.com/browse/udb/2331\" show=\"new\"\u003e http://aps.eastview.com/browse/udb/2331/\u003c/extref\u003e.\u003c/abstract\u003e"],"abstract_tesim":["Consists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at   http://aps.eastview.com/browse/udb/2331/ ."],"physloc_html_tesm":["\u003cphysloc id=\"ref14\" label=\"Physical Location\"\u003eHoover Institution Archives\u003c/physloc\u003e"],"physloc_tesim":["Hoover Institution Archives"],"names_ssim":["Hoover Institution Archives"],"corpname_ssim":["Hoover Institution Archives"],"language_ssim":["In Dari, Pushto (Pashto), Arabic, and English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":37,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2016C32-xml","timestamp":"2025-02-18T23:00:38.327Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2016C32-xml","title_filing_ssi":"Afghan partisan serials collection","title_ssm":["Afghan partisan serials collection"],"title_tesim":["Afghan partisan serials collection"],"ead_ssi":"2016C32.xml","unitdate_ssm":["1968-2011"],"unitdate_inclusive_ssm":["1968-2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2016C32"],"text":["2016C32","Afghan partisan serials collection, 1968-2011","Afghanistan--History.","Originals closed; digital use copies available.","The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                  http://aps.eastview.com/browse/udb/2331 .","Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.","The collection of newspapers, journals, and magazines in Dari, Pushto, Arabic, and English represent the viewpoints of diverse groups, including the leftist revolutionary People's Democratic Party of Afghanistan, Zahir Shah-loyalists, various factions of Afghan Mujaheddin and foreign-backed jihadists, the Taliban-led government of the Islamic Emirate of Afghanistan, as well as the Karzai regime, during a tumultuous period in the nation's history in which successive waves of foreign influence and invasion destabilized the region, resulting in more than three decades of armed struggle.","Print material in the collection covers events including the aftermath of the 1978 Saur revolution, the lives of political exiles and refugees in Pakistan, the complex interactions of anti-Soviet insurgency groups and their foreign backers in the U.S. and the Muslim world, the fall of Najibullah and civil war thereafter, the radicalization of foreign fighters in Kunar and Tora Bora, the rise and fall of the Taliban, the events of September 11, 2001, \"Operation Enduring Freedom,\" the establishment of Hamid Karzai as president, and the continuing International Security Assistance Force (ISAF) coalition occupation. Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.","Many of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.","","The Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                 http://aps.eastview.com/browse/udb/2331/ .","In the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.","Discovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format.","For copyright status, please contact the Hoover Institution Archives.","Consists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at   http://aps.eastview.com/browse/udb/2331/ .","Hoover Institution Archives","Hoover Institution Archives","In Dari, Pushto (Pashto), Arabic, and English."],"unitid_tesim":["2016C32"],"normalized_date_ssm":["1968-2011"],"normalized_title_ssm":["Afghan partisan serials collection, 1968-2011"],"collection_title_tesim":["Afghan partisan serials collection, 1968-2011"],"collection_ssim":["Afghan partisan serials collection, 1968-2011"],"repository_ssm":["Hoover Institution Archives"],"repository_ssim":["Hoover Institution Archives"],"geogname_ssm":["Afghanistan--History."],"geogname_ssim":["Afghanistan--History."],"places_ssim":["Afghanistan--History."],"access_terms_ssm":["For copyright status, please contact the Hoover Institution Archives."],"acqinfo_ssim":["Materials were acquired by the Hoover Institution Archives in 2016."],"has_online_content_ssim":["false"],"extent_ssm":["14 manuscript boxes, 24 oversize boxes (53.8 linear feet)"],"extent_tesim":["14 manuscript boxes, 24 oversize boxes (53.8 linear feet)"],"date_range_isim":[1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"accessrestrict_html_tesm":["\u003cp\u003eOriginals closed; digital use copies available.\u003c/p\u003e","\u003cp\u003eThe digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://aps.eastview.com/browse/udb/2331\"\u003e http://aps.eastview.com/browse/udb/2331\u003c/extref\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Originals closed; digital use copies available.","The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \n                  http://aps.eastview.com/browse/udb/2331 ."],"accruals_html_tesm":["\u003cp\u003eMaterials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://searchworks.stanford.edu/\"\u003ehttp://searchworks.stanford.edu/\u003c/extref\u003e. Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . 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Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.\u003c/p\u003e","\u003cp\u003eMany of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The collection of newspapers, journals, and magazines in Dari, Pushto, Arabic, and English represent the viewpoints of diverse groups, including the leftist revolutionary People's Democratic Party of Afghanistan, Zahir Shah-loyalists, various factions of Afghan Mujaheddin and foreign-backed jihadists, the Taliban-led government of the Islamic Emirate of Afghanistan, as well as the Karzai regime, during a tumultuous period in the nation's history in which successive waves of foreign influence and invasion destabilized the region, resulting in more than three decades of armed struggle.","Print material in the collection covers events including the aftermath of the 1978 Saur revolution, the lives of political exiles and refugees in Pakistan, the complex interactions of anti-Soviet insurgency groups and their foreign backers in the U.S. and the Muslim world, the fall of Najibullah and civil war thereafter, the radicalization of foreign fighters in Kunar and Tora Bora, the rise and fall of the Taliban, the events of September 11, 2001, \"Operation Enduring Freedom,\" the establishment of Hamid Karzai as president, and the continuing International Security Assistance Force (ISAF) coalition occupation. Ranging from radical Islamists in favor of global jihad to cautious social democrats in support of civil society, the collection demonstrates the extraordinary range of ideologies and voices competing for mindshare in modern Afghanistan.","Many of the serials are vividly illustrated with reproductions of photographic portraits, battlefield scenes, cityscapes, and martyrs fallen to various causes, while others, in accordance with strict interpretation of Sharia law, eschew visual imagery altogether.",""],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Afghan partisan serials collection, [Persistent URL], Hoover Institution Archives\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Afghan partisan serials collection, [Persistent URL], Hoover Institution Archives"],"scopecontent_html_tesm":["\u003cp\u003eThe Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://aps.eastview.com/browse/udb/2331\"\u003ehttp://aps.eastview.com/browse/udb/2331/\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eIn the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.\u003c/p\u003e","\u003cp\u003eDiscovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents of Collection"],"scopecontent_tesim":["The Afghan partisan serials collection consists of serials issued by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. The digital collection contains more than 4,000 individual issues of 29 newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English and is accessible in the Archives' reading room or for Stanford affiliated users at \n                 http://aps.eastview.com/browse/udb/2331/ .","In the digital collection, each publication contains an English-language translation, as well as vernacular text and transliterations of all titles, subtitles and mastheads, and publishers. A holistic transliteration methodology was adopted which was informed through recourse to WorldCat references and other digital holdings, linguistic preference for Dari and Pushto words of Arabic origin (i.e. Hizb rather than Hezb, or Mujaheddin rather than Mojahedin), and finally, popular convention and deference to spellings preferred by the publication itself (Hewad rather than Haywad, for instance). Lastly, true to the intent of the media as a fluid medium that places a premium on communication and absorption of information, diacritical markings that are a mainstay in scholarly publications are largely absent.","Discovery for newspapers is at the issue-page level; discovery for journals is at the article level (with a rich search discovery possible for key words and names in journal article titles and article authors). Presentation is in the form of scanned images in PDF format."],"userestrict_html_tesm":["\u003cp\u003eFor copyright status, please contact the Hoover Institution Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["For copyright status, please contact the Hoover Institution Archives."],"abstract_html_tesm":["\u003cabstract id=\"ref13\" label=\"Abstract\"\u003eConsists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at \u003cextref actuate=\"onRequest\" href=\"http://aps.eastview.com/browse/udb/2331\" show=\"new\"\u003e http://aps.eastview.com/browse/udb/2331/\u003c/extref\u003e.\u003c/abstract\u003e"],"abstract_tesim":["Consists of more than four thousand individual issues of twenty-nine newspapers, journals, and magazines published in Dari, Pushto, Arabic, and English by various Afghan organizations (political and other) relating to political conditions and warfare in Afghanistan. Afghanistan’s social and intellectual landscape is represented by the Taliban and anti-Soviet Mujaheddin groups; the communist People’s Democratic Party; exiled loyalists to the deposed Afghan monarchy; independent humanitarians and intellectuals; and minority political parties that emerged following the post-2001 transition toward democracy. The digital collection is accessible in the Archives' reading room or for Stanford affiliated users at   http://aps.eastview.com/browse/udb/2331/ ."],"physloc_html_tesm":["\u003cphysloc id=\"ref14\" label=\"Physical Location\"\u003eHoover Institution Archives\u003c/physloc\u003e"],"physloc_tesim":["Hoover Institution Archives"],"names_ssim":["Hoover Institution Archives"],"corpname_ssim":["Hoover Institution Archives"],"language_ssim":["In Dari, Pushto (Pashto), Arabic, and English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":37,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2016C32-xml","timestamp":"2025-02-18T23:00:38.327Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/2016C32-xml"}},{"id":"umich-bhl-2014137","type":"collection","attributes":{"title":"League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137#creator","type":"document_value","attributes":{"value":"League of Women Voters of Northwest Wayne County.","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137#abstract_or_scope","type":"document_value","attributes":{"value":"Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137#breadcrumbs","type":"document_value","attributes":{"value":{"id":"umich-bhl-2014137","title_ssm":["League of Women Voters of Northwest Wayne County records"],"title_tesim":["League of Women Voters of Northwest Wayne County records"],"ead_ssi":"umich-bhl-2014137","unitdate_ssm":["1957-2013","1973-1992"],"unitdate_bulk_ssim":["1973-1992"],"unitdate_inclusive_ssm":["1957-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["2014137 Aa 2"],"text":["2014137 Aa 2","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Wayne County (Mich.) -- Politics and government.","Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes.","The collection is open to research.","No further additions to the records are expected.","The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter.","The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.","Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records","The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.","Bentley Historical Library","League of Women Voters of Northwest Wayne County.","English","The material is in  English"],"unitid_tesim":["2014137 Aa 2"],"normalized_date_ssm":["1957-2013, bulk 1973-1992"],"normalized_title_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_title_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Wayne County (Mich.) -- Politics and government."],"geogname_ssim":["Wayne County (Mich.) -- Politics and government."],"creator_ssm":["League of Women Voters of Northwest Wayne County."],"creator_ssim":["League of Women Voters of Northwest Wayne County."],"creator_corpname_ssim":["League of Women Voters of Northwest Wayne County."],"creators_ssim":["League of Women Voters of Northwest Wayne County."],"places_ssim":["Wayne County (Mich.) -- Politics and government."],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group was donated by the League of Women Voters of Northwest Wayne County (donor no.  11100 ) in May 2014."],"access_subjects_ssim":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"access_subjects_ssm":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"has_online_content_ssim":["false"],"extent_ssm":["3 linear feet"],"extent_tesim":["3 linear feet"],"genreform_ssim":["Videotapes."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the records are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the records are expected."],"arrangement_html_tesm":["\u003cp\u003eThe records are divided into three series based on content and type: Issues, Organizational Records, and \u003ctitle render=\"italic\"\u003eVoter\u003c/title\u003e Newsletter.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter."],"bioghist_html_tesm":["\u003cp\u003eThe League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920.\u003c/p\u003e\n","\u003cp\u003e Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students.\u003c/p\u003e\n","\u003cp\u003e Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan"],"relatedmaterial_html_tesm":["\u003cp\u003eResearchers may also wish to consult the following collections:\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Allen Park, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Berrien and Cass Counties, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Dearborn-Dearborn Heights (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Grosse Pointe, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Michigan, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Monroe (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Mount Clemens-Clinton Area, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of the Ann Arbor Area, records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records"],"scopecontent_html_tesm":["\u003cp\u003eThe records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1194f506255c3ab03350e6f4d84d06ca\"\u003eRecords of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.\u003c/abstract\u003e"],"abstract_tesim":["Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups."],"names_coll_ssim":["League of Women Voters of Northwest Wayne County."],"names_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"corpname_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-2014137","title_ssm":["League of Women Voters of Northwest Wayne County records"],"title_tesim":["League of Women Voters of Northwest Wayne County records"],"ead_ssi":"umich-bhl-2014137","unitdate_ssm":["1957-2013","1973-1992"],"unitdate_bulk_ssim":["1973-1992"],"unitdate_inclusive_ssm":["1957-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["2014137 Aa 2"],"text":["2014137 Aa 2","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Wayne County (Mich.) -- Politics and government.","Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes.","The collection is open to research.","No further additions to the records are expected.","The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter.","The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.","Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records","The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.","Bentley Historical Library","League of Women Voters of Northwest Wayne County.","English","The material is in  English"],"unitid_tesim":["2014137 Aa 2"],"normalized_date_ssm":["1957-2013, bulk 1973-1992"],"normalized_title_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_title_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Wayne County (Mich.) -- Politics and government."],"geogname_ssim":["Wayne County (Mich.) -- Politics and government."],"creator_ssm":["League of Women Voters of Northwest Wayne County."],"creator_ssim":["League of Women Voters of Northwest Wayne County."],"creator_corpname_ssim":["League of Women Voters of Northwest Wayne County."],"creators_ssim":["League of Women Voters of Northwest Wayne County."],"places_ssim":["Wayne County (Mich.) -- Politics and government."],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group was donated by the League of Women Voters of Northwest Wayne County (donor no.  11100 ) in May 2014."],"access_subjects_ssim":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"access_subjects_ssm":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"has_online_content_ssim":["false"],"extent_ssm":["3 linear feet"],"extent_tesim":["3 linear feet"],"genreform_ssim":["Videotapes."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the records are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the records are expected."],"arrangement_html_tesm":["\u003cp\u003eThe records are divided into three series based on content and type: Issues, Organizational Records, and \u003ctitle render=\"italic\"\u003eVoter\u003c/title\u003e Newsletter.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter."],"bioghist_html_tesm":["\u003cp\u003eThe League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920.\u003c/p\u003e\n","\u003cp\u003e Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students.\u003c/p\u003e\n","\u003cp\u003e Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan"],"relatedmaterial_html_tesm":["\u003cp\u003eResearchers may also wish to consult the following collections:\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Allen Park, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Berrien and Cass Counties, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Dearborn-Dearborn Heights (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Grosse Pointe, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Michigan, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Monroe (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Mount Clemens-Clinton Area, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of the Ann Arbor Area, records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records"],"scopecontent_html_tesm":["\u003cp\u003eThe records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1194f506255c3ab03350e6f4d84d06ca\"\u003eRecords of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.\u003c/abstract\u003e"],"abstract_tesim":["Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups."],"names_coll_ssim":["League of Women Voters of Northwest Wayne County."],"names_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"corpname_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137"}},{"id":"umich-bhl-0312","type":"collection","attributes":{"title":"Peter Sparling papers, 1961-2013, bulk 1970-2000","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312#creator","type":"document_value","attributes":{"value":"Sparling, Peter.","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312#abstract_or_scope","type":"document_value","attributes":{"value":"Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312#breadcrumbs","type":"document_value","attributes":{"value":{"id":"umich-bhl-0312","title_ssm":["Peter Sparling papers"],"title_tesim":["Peter Sparling papers"],"ead_ssi":"umich-bhl-0312","unitdate_ssm":["1961-2013","1970-2000"],"unitdate_bulk_ssim":["1970-2000"],"unitdate_inclusive_ssm":["1961-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["0312 Aa2"],"text":["0312 Aa2","Peter Sparling papers, 1961-2013, bulk 1970-2000","Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs.","The collection is open to research."," Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes.","Periodic additions to the records expected.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon."," Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org.","","The Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. The papers are divided into eight series: Background Materials, Choreography, Correspondence, Dance Companies, Programs, Reviews, Photographs, Performance, Audition, and Rehearsal Videos, and Posters.","Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.","Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-","English","The material is in  English"],"unitid_tesim":["0312 Aa2"],"normalized_date_ssm":["1961-2013, bulk 1970-2000"],"normalized_title_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"collection_title_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"collection_ssim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"creator_ssm":["Sparling, Peter."],"creator_ssim":["Sparling, Peter."],"creator_persname_ssim":["Sparling, Peter."],"creators_ssim":["Sparling, Peter."],"access_terms_ssm":["Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["Materials were donated by Peter Sparling (donor no. 8992) beginning in 2001."],"access_subjects_ssim":["Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs."],"access_subjects_ssm":["Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs."],"has_online_content_ssim":["true"],"extent_ssm":["6 linear feet","89.5 GB"],"extent_tesim":["6 linear feet","89.5 GB"],"physfacet_tesim":["online"],"genreform_ssim":["Posters.","Videotapes.","Motion pictures.","Photographs."],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e\n","\u003cp\u003e Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."," Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes."],"accruals_html_tesm":["\u003cp\u003ePeriodic additions to the records expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Periodic additions to the records expected."],"bioghist_html_tesm":["\u003cp\u003ePeter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon.\u003c/p\u003e\n","\u003cp\u003e Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years.\u003c/p\u003e\n","\u003cp\u003e In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987.\u003c/p\u003e\n","\u003cp\u003e In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon."," Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan"],"processinfo_html_tesm":["\u003cp\u003e\u003cextptr actuate=\"onload\" href=\"digitalproc\" show=\"embed\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":[""],"scopecontent_html_tesm":["\u003cp\u003eThe Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. The papers are divided into eight series: Background Materials, Choreography, Correspondence, Dance Companies, Programs, Reviews, Photographs, Performance, Audition, and Rehearsal Videos, and Posters.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. The papers are divided into eight series: Background Materials, Choreography, Correspondence, Dance Companies, Programs, Reviews, Photographs, Performance, Audition, and Rehearsal Videos, and Posters."],"userestrict_html_tesm":["\u003cp\u003eCopyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e7ba80ca0d30560d8aa900af8025f1a9\"\u003ePeter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.\u003c/abstract\u003e"],"abstract_tesim":["Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters."],"names_coll_ssim":["University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter, 1951-","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"names_ssim":["Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"corpname_ssim":["Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music."],"persname_ssim":["Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":280,"online_item_count_is":24,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0312","timestamp":"2025-02-18T23:13:20.872Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-0312","title_ssm":["Peter Sparling papers"],"title_tesim":["Peter Sparling papers"],"ead_ssi":"umich-bhl-0312","unitdate_ssm":["1961-2013","1970-2000"],"unitdate_bulk_ssim":["1970-2000"],"unitdate_inclusive_ssm":["1961-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["0312 Aa2"],"text":["0312 Aa2","Peter Sparling papers, 1961-2013, bulk 1970-2000","Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs.","The collection is open to research."," Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes.","Periodic additions to the records expected.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon."," Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org.","","The Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. The papers are divided into eight series: Background Materials, Choreography, Correspondence, Dance Companies, Programs, Reviews, Photographs, Performance, Audition, and Rehearsal Videos, and Posters.","Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.","Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-","English","The material is in  English"],"unitid_tesim":["0312 Aa2"],"normalized_date_ssm":["1961-2013, bulk 1970-2000"],"normalized_title_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"collection_title_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"collection_ssim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"creator_ssm":["Sparling, Peter."],"creator_ssim":["Sparling, Peter."],"creator_persname_ssim":["Sparling, Peter."],"creators_ssim":["Sparling, Peter."],"access_terms_ssm":["Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["Materials were donated by Peter Sparling (donor no. 8992) beginning in 2001."],"access_subjects_ssim":["Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs."],"access_subjects_ssm":["Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs."],"has_online_content_ssim":["true"],"extent_ssm":["6 linear feet","89.5 GB"],"extent_tesim":["6 linear feet","89.5 GB"],"physfacet_tesim":["online"],"genreform_ssim":["Posters.","Videotapes.","Motion pictures.","Photographs."],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e\n","\u003cp\u003e Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."," Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes."],"accruals_html_tesm":["\u003cp\u003ePeriodic additions to the records expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Periodic additions to the records expected."],"bioghist_html_tesm":["\u003cp\u003ePeter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon.\u003c/p\u003e\n","\u003cp\u003e Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years.\u003c/p\u003e\n","\u003cp\u003e In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987.\u003c/p\u003e\n","\u003cp\u003e In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon."," Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan"],"processinfo_html_tesm":["\u003cp\u003e\u003cextptr actuate=\"onload\" href=\"digitalproc\" show=\"embed\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":[""],"scopecontent_html_tesm":["\u003cp\u003eThe Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. 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Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e7ba80ca0d30560d8aa900af8025f1a9\"\u003ePeter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.\u003c/abstract\u003e"],"abstract_tesim":["Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters."],"names_coll_ssim":["University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter, 1951-","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"names_ssim":["Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music.","Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"corpname_ssim":["Bentley Historical Library","University of Michigan. -- Faculty.","University of Michigan. School of Music."],"persname_ssim":["Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":280,"online_item_count_is":24,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0312","timestamp":"2025-02-18T23:13:20.872Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312"}},{"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. "],"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 . "],"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 . "],"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"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846"}},{"id":"reimagining","type":"collection","attributes":{"title":"Re-Imagining Collection, 1993-2016","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/reimagining#abstract_or_scope","type":"document_value","attributes":{"value":"Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse religious communities, and the world. Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as three linear feet of papers documenting Jordon's work with Re-Imagining.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/reimagining#breadcrumbs","type":"document_value","attributes":{"value":{"id":"reimagining","title_ssm":["Re-Imagining Collection"],"title_tesim":["Re-Imagining Collection"],"ead_ssi":"reimagining","unitdate_ssm":["1993-2016"],"unitdate_inclusive_ssm":["1993-2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RL.11352"],"text":["RL.11352","Re-Imagining Collection, 1993-2016","Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)","Collection is open for research.","Oral histories arranged alphabetically, conference materials arranged chronologically.","Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.","Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317","Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.","The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library.","Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois","English","English","Materials in English"],"unitid_tesim":["RL.11352"],"normalized_date_ssm":["1993-2016"],"normalized_title_ssm":["Re-Imagining Collection, 1993-2016"],"collection_title_tesim":["Re-Imagining Collection, 1993-2016"],"collection_ssim":["Re-Imagining Collection, 1993-2016"],"repository_ssm":["David M. Rubenstein Rare Book and Manuscript Library"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"acqinfo_ssim":["The Re-Imagining Collection was received by the David M. Rubenstein Rare Book \u0026\n        Manuscript Library as a gift in 2016."],"access_subjects_ssim":["Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)"],"access_subjects_ssm":["Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)"],"has_online_content_ssim":["true"],"extent_ssm":["3 Linear Feet Two boxes of audio cassettes, one box of papers.","5.7 Gigabytes MP3 audio files, electronic text files"],"extent_tesim":["3 Linear Feet Two boxes of audio cassettes, one box of papers.","5.7 Gigabytes MP3 audio files, electronic text files"],"date_range_isim":[1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eOral histories arranged alphabetically, conference materials arranged chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Oral histories arranged alphabetically, conference materials arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eRe-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.\u003c/p\u003e","\u003cp\u003eDr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical note","Biographical Note"],"bioghist_tesim":["Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026amp;\n        Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026\n        Manuscript Library, Duke University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Craig Breaden, April, 2017\u003c/p\u003e","\u003cp\u003eAccessions described in this collection guide: 2016-0317\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317"],"scopecontent_html_tesm":["\u003cp\u003eRe-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f7f6d2f5ebd091a28e15eeda3b5ef959\"\u003eRe-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.\u003c/abstract\u003e"],"abstract_tesim":["Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining."],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. 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(Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library"],"names_coll_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. 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H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"language_ssim":["English","English","Materials in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":345,"online_item_count_is":65,"component_level_isim":[0],"sort_isi":0,"_root_":"reimagining","timestamp":"2025-02-18T22:58:40.698Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"reimagining","title_ssm":["Re-Imagining Collection"],"title_tesim":["Re-Imagining Collection"],"ead_ssi":"reimagining","unitdate_ssm":["1993-2016"],"unitdate_inclusive_ssm":["1993-2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RL.11352"],"text":["RL.11352","Re-Imagining Collection, 1993-2016","Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)","Collection is open for research.","Oral histories arranged alphabetically, conference materials arranged chronologically.","Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.","Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317","Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.","The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library.","Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. 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H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois","English","English","Materials in English"],"unitid_tesim":["RL.11352"],"normalized_date_ssm":["1993-2016"],"normalized_title_ssm":["Re-Imagining Collection, 1993-2016"],"collection_title_tesim":["Re-Imagining Collection, 1993-2016"],"collection_ssim":["Re-Imagining Collection, 1993-2016"],"repository_ssm":["David M. Rubenstein Rare Book and Manuscript Library"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. 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The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.\u003c/p\u003e","\u003cp\u003eDr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical note","Biographical Note"],"bioghist_tesim":["Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026amp;\n        Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Re-Imagining Collection, David M. 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Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f7f6d2f5ebd091a28e15eeda3b5ef959\"\u003eRe-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.\u003c/abstract\u003e"],"abstract_tesim":["Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining."],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library"],"names_coll_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"persname_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. 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(Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"language_ssim":["English","English","Materials in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":345,"online_item_count_is":65,"component_level_isim":[0],"sort_isi":0,"_root_":"reimagining","timestamp":"2025-02-18T22:58:40.698Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/reimagining"}},{"id":"pc0170-xml","type":"collection","attributes":{"title":"Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/pc0170-xml#creator","type":"document_value","attributes":{"value":"Beyers, Robby","label":"Creator"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/pc0170-xml#breadcrumbs","type":"document_value","attributes":{"value":{"id":"pc0170-xml","title_filing_ssi":"Beyers (Robby) Photographs of the Leland Stanford Junior University Marching Band","title_ssm":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band"],"title_tesim":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band"],"ead_ssi":"pc0170.xml","unitdate_ssm":["1970-2014"],"unitdate_inclusive_ssm":["1970-2014"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PC0170"],"text":["PC0170","Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014","Football.","Football -- California.","College students -- California -- Stanford. 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If you remix, transform, or build upon the material, you may not distribute the modified material. \u003c/p\u003e\n","\u003cp\u003eFor commercial permission requests please contact the \u003cextref href=\"mailto:universityarchives@stanford.edu\"\u003eUniversity Archives\u003c/extref\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["These images are made available under the  Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License . You may copy and redistribute the material in any medium or format but must give appropriate credit, provide a link to the license, and indicate if changes were made. You may not use the images for commercial purposes. If you remix, transform, or build upon the material, you may not distribute the modified material. ","For commercial permission requests please contact the  University Archives ."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_175633b80b034beca7afdc0c0c53280b\"\u003eSpecial Collections and University Archives materials are stored offsite and must be paged 36-48 hours in advance. For more information on paging collections, see the department's website: \u003cextref actuate=\"onRequest\" href=\"http://library.stanford.edu/spc\" show=\"new\" title=\"Homepage\"\u003ehttp://library.stanford.edu/spc\u003c/extref\u003e.\u003c/physloc\u003e"],"physloc_tesim":["Special Collections and University Archives materials are stored offsite and must be paged 36-48 hours in advance. For more information on paging collections, see the department's website:  http://library.stanford.edu/spc ."],"names_coll_ssim":["Stanford University. 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","For commercial permission requests please contact the  University Archives ."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_175633b80b034beca7afdc0c0c53280b\"\u003eSpecial Collections and University Archives materials are stored offsite and must be paged 36-48 hours in advance. For more information on paging collections, see the department's website: \u003cextref actuate=\"onRequest\" href=\"http://library.stanford.edu/spc\" show=\"new\" title=\"Homepage\"\u003ehttp://library.stanford.edu/spc\u003c/extref\u003e.\u003c/physloc\u003e"],"physloc_tesim":["Special Collections and University Archives materials are stored offsite and must be paged 36-48 hours in advance. For more information on paging collections, see the department's website:  http://library.stanford.edu/spc ."],"names_coll_ssim":["Stanford University. 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To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible.","Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.","Born in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.","Song's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955.","The papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past.","For copyright status, please contact the Hoover Institution Archives.","Correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong.","Hoover Institution Archives","Hoover Institution Archives","Oriental Corporation.","Song, Feiqing, 1898-1955.","Chinese  and  English"],"unitid_tesim":["2013C4"],"normalized_date_ssm":["1926-2009"],"normalized_title_ssm":["Song Feiqing (宋棐卿) papers, 1926-2009"],"collection_title_tesim":["Song Feiqing (宋棐卿) papers, 1926-2009"],"collection_ssim":["Song Feiqing (宋棐卿) papers, 1926-2009"],"repository_ssm":["Hoover Institution Archives"],"repository_ssim":["Hoover Institution Archives"],"creator_ssm":["Song, Feiqing, 1898-1955."],"creator_ssim":["Song, Feiqing, 1898-1955."],"creator_persname_ssim":["Song, Feiqing, 1898-1955."],"creators_ssim":["Song, Feiqing, 1898-1955."],"access_terms_ssm":["For copyright status, please contact the Hoover Institution Archives."],"acqinfo_ssim":["Materials were acquired by the Hoover Institution Archives in 2013."],"access_subjects_ssim":["Business enterprises--China--Hong Kong.","Business enterprises--China."],"access_subjects_ssm":["Business enterprises--China--Hong Kong.","Business enterprises--China."],"has_online_content_ssim":["false"],"extent_ssm":["8 manuscript boxes, 1 motion picture film reel (4 linear feet)"],"extent_tesim":["8 manuscript boxes, 1 motion picture film reel (4 linear feet)"],"date_range_isim":[1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eThe Hoover Institution Archives only allows access to \n                \u003cemph render=\"italic\"\u003ecopies\u003c/emph\u003e of audiovisual items. To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","The Hoover Institution Archives only allows access to \n                 copies  of audiovisual items. To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible."],"accruals_html_tesm":["\u003cp\u003eMaterials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://searchworks.stanford.edu/\"\u003ehttp://searchworks.stanford.edu/\u003c/extref\u003e. Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid."],"bioghist_html_tesm":["\u003cp\u003eBorn in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.\u003c/p\u003e","\u003cp\u003eSong's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Born in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.","Song's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Song Feiqing papers, [Box no.], Hoover Institution Archives\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Song Feiqing papers, [Box no.], Hoover Institution Archives"],"scopecontent_html_tesm":["\u003cp\u003eThe papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["The papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past."],"userestrict_html_tesm":["\u003cp\u003eFor copyright status, please contact the Hoover Institution Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["For copyright status, please contact the Hoover Institution Archives."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eCorrespondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong.\u003c/abstract\u003e"],"abstract_tesim":["Correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong."],"physloc_html_tesm":["\u003cphysloc id=\"ref3\" label=\"Physical Location\"\u003eHoover Institution Archives\u003c/physloc\u003e"],"physloc_tesim":["Hoover Institution Archives"],"names_coll_ssim":["Oriental Corporation."],"names_ssim":["Hoover Institution Archives","Oriental Corporation.","Song, Feiqing, 1898-1955."],"corpname_ssim":["Hoover Institution Archives","Oriental Corporation."],"persname_ssim":["Song, Feiqing, 1898-1955."],"language_ssim":["Chinese  and  English"],"total_component_count_is":68,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2013C4-xml","timestamp":"2025-02-18T23:00:35.990Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2013C4-xml","title_filing_ssi":"Song Feiqing papers","title_ssm":["Song Feiqing (宋棐卿) papers"],"title_tesim":["Song Feiqing (宋棐卿) papers"],"ead_ssi":"2013C4.xml","unitdate_ssm":["1926-2009"],"unitdate_inclusive_ssm":["1926-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2013C4"],"text":["2013C4","Song Feiqing (宋棐卿) papers, 1926-2009","Business enterprises--China--Hong Kong.","Business enterprises--China.","The collection is open for research.","The Hoover Institution Archives only allows access to \n                 copies  of audiovisual items. To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible.","Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.","Born in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.","Song's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955.","The papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past.","For copyright status, please contact the Hoover Institution Archives.","Correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong.","Hoover Institution Archives","Hoover Institution Archives","Oriental Corporation.","Song, Feiqing, 1898-1955.","Chinese  and  English"],"unitid_tesim":["2013C4"],"normalized_date_ssm":["1926-2009"],"normalized_title_ssm":["Song Feiqing (宋棐卿) papers, 1926-2009"],"collection_title_tesim":["Song Feiqing (宋棐卿) papers, 1926-2009"],"collection_ssim":["Song Feiqing (宋棐卿) papers, 1926-2009"],"repository_ssm":["Hoover Institution Archives"],"repository_ssim":["Hoover Institution Archives"],"creator_ssm":["Song, Feiqing, 1898-1955."],"creator_ssim":["Song, Feiqing, 1898-1955."],"creator_persname_ssim":["Song, Feiqing, 1898-1955."],"creators_ssim":["Song, Feiqing, 1898-1955."],"access_terms_ssm":["For copyright status, please contact the Hoover Institution Archives."],"acqinfo_ssim":["Materials were acquired by the Hoover Institution Archives in 2013."],"access_subjects_ssim":["Business enterprises--China--Hong Kong.","Business enterprises--China."],"access_subjects_ssm":["Business enterprises--China--Hong Kong.","Business enterprises--China."],"has_online_content_ssim":["false"],"extent_ssm":["8 manuscript boxes, 1 motion picture film reel (4 linear feet)"],"extent_tesim":["8 manuscript boxes, 1 motion picture film reel (4 linear feet)"],"date_range_isim":[1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eThe Hoover Institution Archives only allows access to \n                \u003cemph render=\"italic\"\u003ecopies\u003c/emph\u003e of audiovisual items. To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","The Hoover Institution Archives only allows access to \n                 copies  of audiovisual items. To listen to sound recordings or to view videos or films during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all audiovisual material is immediately accessible."],"accruals_html_tesm":["\u003cp\u003eMaterials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                \u003cextref actuate=\"onRequest\" show=\"new\" href=\"http://searchworks.stanford.edu/\"\u003ehttp://searchworks.stanford.edu/\u003c/extref\u003e. Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at \n                 http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid."],"bioghist_html_tesm":["\u003cp\u003eBorn in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.\u003c/p\u003e","\u003cp\u003eSong's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Born in 1898, the Chinese businessman Song Feiqing is best known for his role in modern China's industrialization and promoting the spirit of entrepreneurship in China. \n                Born into a Christian family in Shandong Province, in the early 1920s Song went to Chicago to study business management at Northwestern University. \n                In 1925, he returned to China and spent the next several years working in his father's business in Tianjin. \n                Seeing that China's industry was lacking entrepreneurship, especially in the textile market where foreign countries were profiting at China's expense, in 1932 Song established the Oriental Corporation (Dongya) in Tianjin. \n                That corporation became China's first textile company to use Chinese wool to produce its yarn and to sell its products both domestically and internationally. \n                By the 1940s, the corporation had become the largest yarn production company in China, having garnered more than 80 percent of the domestic Chinese market.","Song's entrepreneurship transformed the business environment in modern China. \n                In addition, Song brought his religious beliefs into his management style and enterprise culture, as well as forming a social communication network that relied on the Christian spirit to serve his entrepreneurial purposes. \n                After the Chinese Communists won the civil war and established the People's Republic in 1949, Song struggled to keep his enterprises intact but was unable to do so. \n                In 1950, he moved his company to Hong Kong and later immigrated to Argentina. He died in Buenos Aires in 1955."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Song Feiqing papers, [Box no.], Hoover Institution Archives\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Song Feiqing papers, [Box no.], Hoover Institution Archives"],"scopecontent_html_tesm":["\u003cp\u003eThe papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["The papers of Song Feiqing include correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to the operations of the Oriental Corporation in Tianjin, China and then in Hong Kong, including what part Christian beliefs played in Song's management practices. The papers also provide a rare glimpse into the formation of industrialization and entrepreneurship in China’s recent past."],"userestrict_html_tesm":["\u003cp\u003eFor copyright status, please contact the Hoover Institution Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["For copyright status, please contact the Hoover Institution Archives."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eCorrespondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong.\u003c/abstract\u003e"],"abstract_tesim":["Correspondence, writings, legal and financial records, printed matter, motion picture film, and audiovisual material relating to operations of the Oriental Corporation in Tianjin, China and subsequently in Hong Kong."],"physloc_html_tesm":["\u003cphysloc id=\"ref3\" 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