{"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3","prev":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=2","next":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=4","last":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=4"},"meta":{"pages":{"current_page":3,"next_page":4,"prev_page":2,"total_pages":4,"limit_value":10,"offset_value":20,"total_count":38,"first_page?":false,"last_page?":false}},"data":[{"id":"m0085-xml","type":"collection","attributes":{"title":"Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0085-xml#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSummary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0085-xml#breadcrumbs","type":"document_value","attributes":{"value":{"id":"m0085-xml","title_ssm":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript"],"title_tesim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript"],"ead_ssi":"m0085.xml","unitdate_ssm":["1850-1851, 1928"],"unitdate_inclusive_ssm":["1850-1851, 1928"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0085"],"text":["M0085","Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928","None.","Lucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming.","Gift of Elizabeth Wilbur.","Summary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English"],"unitid_tesim":["M0085"],"normalized_date_ssm":["1850-1851, 1928"],"normalized_title_ssm":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"collection_title_tesim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"collection_ssim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["1 item(s) 58 pages"],"extent_tesim":["1 item(s) 58 pages"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions:"],"accessrestrict_tesim":["None."],"bioghist_html_tesm":["\u003cp\u003eLucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming.\u003c/p\u003e"],"bioghist_heading_ssm":["BIOGRAPHY"],"bioghist_tesim":["Lucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming."],"custodhist_html_tesm":["\u003cp\u003eGift of Elizabeth Wilbur.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance:"],"custodhist_tesim":["Gift of Elizabeth Wilbur."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, M0085, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, M0085, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eSummary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California.\u003c/p\u003e"],"scopecontent_heading_ssm":["SCOPE AND CONTENT"],"scopecontent_tesim":["Summary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights:"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives"],"corpname_ssim":["Department of Special Collections and University Archives"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0085-xml","timestamp":"2025-02-18T23:07:25.064Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"m0085-xml","title_ssm":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript"],"title_tesim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript"],"ead_ssi":"m0085.xml","unitdate_ssm":["1850-1851, 1928"],"unitdate_inclusive_ssm":["1850-1851, 1928"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0085"],"text":["M0085","Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928","None.","Lucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming.","Gift of Elizabeth Wilbur.","Summary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English"],"unitid_tesim":["M0085"],"normalized_date_ssm":["1850-1851, 1928"],"normalized_title_ssm":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"collection_title_tesim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"collection_ssim":["Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, 1850-1851, 1928"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["1 item(s) 58 pages"],"extent_tesim":["1 item(s) 58 pages"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions:"],"accessrestrict_tesim":["None."],"bioghist_html_tesm":["\u003cp\u003eLucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming.\u003c/p\u003e"],"bioghist_heading_ssm":["BIOGRAPHY"],"bioghist_tesim":["Lucena Parsons was born in August, 1821 in the state of New York. Before marrying George Washington Parsons in March 1850, Lucena was a schoolteacher in Wisconsin. In the spring of 1850, Lucena and her husband started a cross country journey. They arrived in California one year later and settled in Oakland where they took up farming."],"custodhist_html_tesm":["\u003cp\u003eGift of Elizabeth Wilbur.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance:"],"custodhist_tesim":["Gift of Elizabeth Wilbur."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, M0085, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Lucena Pfuffer Parsons journal: The woman in the sunbonnet: typescript, M0085, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eSummary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California.\u003c/p\u003e"],"scopecontent_heading_ssm":["SCOPE AND CONTENT"],"scopecontent_tesim":["Summary: An edited version of the journal kept by Parsons during her trip overland from Wisconsin to California in 1850, edited with an introduction by Elene and Elizabeth Wilbur. The journal is the chronology of a trip undertaken by a young woman and her husband as they travelled from Janesville, Wisconsin to what was to become Oakland, California."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights:"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives"],"corpname_ssim":["Department of Special Collections and University Archives"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0085-xml","timestamp":"2025-02-18T23:07:25.064Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0085-xml"}},{"id":"thompsonmary","type":"collection","attributes":{"title":"Mary McCornack Thompson Diaries, 1887-1962","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/thompsonmary#creator","type":"document_value","attributes":{"value":"Thompson, Mary McCornack","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/thompsonmary#abstract_or_scope","type":"document_value","attributes":{"value":"Mary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/thompsonmary#breadcrumbs","type":"document_value","attributes":{"value":{"id":"thompsonmary","title_ssm":["Mary McCornack Thompson Diaries"],"title_tesim":["Mary McCornack Thompson Diaries"],"ead_ssi":"thompsonmary","unitdate_ssm":["1887-1962"],"unitdate_inclusive_ssm":["1887-1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RL.01292"],"text":["RL.01292","Mary McCornack Thompson Diaries, 1887-1962","Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races","Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries","Collection is open for research.","Missing Title 1858 Mar. 30 Mary Elizabeth McCornack  born Circa 1879 Graduated from Oberlin College, in Ohio 1889 Enlisted in the missionary service, and sent to the mission station at  Esidumbi ,  South Africa  by the American Board of Commissioners for Foreign Missions 1889 June 1 Left New York for first missionary trip to Africa, via London and Portugal 1889 July 12 Arrived in Cape Town,  South Africa 1893 June 14 Married to Dr.  William Lamarcus Thompson  in South Africa 1893 Oct. 19 Traveled by boat and foot for four months to a new mission at  Mount Selinda ,  Rhodesia  (Zimbabwe) 1899 Jan. 9 Left the mission for New York, via Durban 1899-1901 In the United States 1901 Apr.-1910 July Second missionary trip to  Mount Selinda , Rhodesia 1910-1911 Attended church/missionary business meetings in the US (New York, and Cleveland) 1911 Sept. 15 Left from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London 1912 Mar. 17 Arrived at Mount Selinda mission 1917 Apr. Left the mission for the Far East 1917 May Traveled to Hong Kong, Kobe, Kyoto, and Yokohama 1917 June Traveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings 1919 Jan.-1925 June Fourth missionary trip to Mount Selinda, Rhodesia 1926 Sept.-1932 June Fifth (and last) missionary trip to Mount Selinda, Rhodesia 1932 Retired from mission work after 43 years 1936 Mar. 10 Died in Penny Farms, Florida at the age of 77 1947 Jan. 4 William Lamarcus Thompson died in St. Cloud, Florida at the age of 89","Originally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date.","Processed by Loren Crippin","Encoded by Loren Crippin","Completed October 30, 2006","Accessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid.","The Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series:  Diaries  and  Correspondence . The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College."," The  Diaries Series  documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. ","Volumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. ","Volumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..","Volumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.","The  Correspondence Series  contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin.","The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library.","Mary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962.","For current information on the location of these materials, please consult the Library's online catalog.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)","English","Material in English\n\n"],"unitid_tesim":["RL.01292"],"normalized_date_ssm":["1887-1962"],"normalized_title_ssm":["Mary McCornack Thompson Diaries, 1887-1962"],"collection_title_tesim":["Mary McCornack Thompson Diaries, 1887-1962"],"collection_ssim":["Mary McCornack Thompson Diaries, 1887-1962"],"repository_ssm":["David M. Rubenstein Rare Book and Manuscript Library"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"geogname_ssm":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"geogname_ssim":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"creator_ssm":["Thompson, Mary McCornack"],"creator_ssim":["Thompson, Mary McCornack"],"creator_persname_ssim":["Thompson, Mary McCornack"],"creators_ssim":["Thompson, Mary McCornack"],"places_ssim":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library."],"acqinfo_ssim":["The Mary McCornack Thompson Diaries were received by the David M. Rubenstein Rare Book \u0026 Manuscript Library as a gift in 2004."],"access_subjects_ssim":["Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries"],"access_subjects_ssm":["Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries"],"has_online_content_ssim":["true"],"extent_ssm":["2.4 Linear Feet","96 Items"],"extent_tesim":["2.4 Linear Feet","96 Items"],"genreform_ssim":["Diaries"],"date_range_isim":[1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Missing Title 1858 Mar. 30 Mary Elizabeth McCornack  born Circa 1879 Graduated from Oberlin College, in Ohio 1889 Enlisted in the missionary service, and sent to the mission station at  Esidumbi ,  South Africa  by the American Board of Commissioners for Foreign Missions 1889 June 1 Left New York for first missionary trip to Africa, via London and Portugal 1889 July 12 Arrived in Cape Town,  South Africa 1893 June 14 Married to Dr.  William Lamarcus Thompson  in South Africa 1893 Oct. 19 Traveled by boat and foot for four months to a new mission at  Mount Selinda ,  Rhodesia  (Zimbabwe) 1899 Jan. 9 Left the mission for New York, via Durban 1899-1901 In the United States 1901 Apr.-1910 July Second missionary trip to  Mount Selinda , Rhodesia 1910-1911 Attended church/missionary business meetings in the US (New York, and Cleveland) 1911 Sept. 15 Left from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London 1912 Mar. 17 Arrived at Mount Selinda mission 1917 Apr. Left the mission for the Far East 1917 May Traveled to Hong Kong, Kobe, Kyoto, and Yokohama 1917 June Traveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings 1919 Jan.-1925 June Fourth missionary trip to Mount Selinda, Rhodesia 1926 Sept.-1932 June Fifth (and last) missionary trip to Mount Selinda, Rhodesia 1932 Retired from mission work after 43 years 1936 Mar. 10 Died in Penny Farms, Florida at the age of 77 1947 Jan. 4 William Lamarcus Thompson died in St. Cloud, Florida at the age of 89"],"custodhist_html_tesm":["\u003cp\u003eOriginally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Originally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Mary McCornack Thompson Diaries, David M. Rubenstein Rare Book \u0026amp; Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Mary McCornack Thompson Diaries, David M. Rubenstein Rare Book \u0026 Manuscript Library, Duke University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Loren Crippin\u003c/p\u003e","\u003cp\u003eEncoded by Loren Crippin\u003c/p\u003e","\u003cp\u003eCompleted October 30, 2006\u003c/p\u003e","\u003cp\u003eAccessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Loren Crippin","Encoded by Loren Crippin","Completed October 30, 2006","Accessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid."],"scopecontent_html_tesm":["\u003cp\u003eThe Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series: \u003cemph render=\"bold\"\u003eDiaries\u003c/emph\u003e and \u003cemph render=\"bold\"\u003eCorrespondence\u003c/emph\u003e. The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College.\u003c/p\u003e\n","\u003cp\u003e The \u003cemph render=\"bold\"\u003eDiaries Series\u003c/emph\u003e documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. \u003c/p\u003e\n","\u003cp\u003eVolumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. \u003c/p\u003e\n","\u003cp\u003eVolumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..\u003c/p\u003e\n","\u003cp\u003eVolumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.\u003c/p\u003e\n","\u003cp\u003eThe \u003cemph render=\"bold\"\u003eCorrespondence Series\u003c/emph\u003e contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["The Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series:  Diaries  and  Correspondence . The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College."," The  Diaries Series  documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. ","Volumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. ","Volumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..","Volumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.","The  Correspondence Series  contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Notice"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_6c730d9b844f0985a9b35a899eef94e6\"\u003eMary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962.\u003c/abstract\u003e"],"abstract_tesim":["Mary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_9f3bb8f18b3ee346942ac160877b89e3\"\u003eFor current information on the location of these materials, please consult the Library's online catalog.\u003c/physloc\u003e"],"physloc_tesim":["For current information on the location of these materials, please consult the Library's online catalog."],"names_coll_ssim":["Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, William L. (William Lamarcus)","Thompson, Mary McCornack"],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern"],"persname_ssim":["Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)"],"language_ssim":["English","Material in English\n\n"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":94,"online_item_count_is":92,"component_level_isim":[0],"sort_isi":0,"_root_":"thompsonmary","timestamp":"2025-02-18T22:58:47.726Z","bioghist_html_tesm":["\u003cchronlist\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1858 Mar. 30\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003e\u003cpersname\u003eMary Elizabeth McCornack\u003c/persname\u003e born\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003eCirca 1879\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eGraduated from Oberlin College, in Ohio\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eEnlisted in the missionary service, and sent to the mission station at \u003cgeogname\u003eEsidumbi\u003c/geogname\u003e, \u003cgeogname\u003eSouth Africa\u003c/geogname\u003e by the American Board of Commissioners for Foreign Missions\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889 June 1\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft New York for first missionary trip to Africa, via London and Portugal\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889 July 12\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eArrived in Cape Town, \u003cgeogname\u003eSouth Africa\u003c/geogname\u003e\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1893 June 14\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eMarried to Dr. \u003cpersname\u003eWilliam Lamarcus Thompson\u003c/persname\u003e in South Africa\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1893 Oct. 19\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled by boat and foot for four months to a new mission at \u003cgeogname\u003eMount Selinda\u003c/geogname\u003e, \u003cgeogname\u003eRhodesia\u003c/geogname\u003e (Zimbabwe)\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1899 Jan. 9\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft the mission for New York, via Durban\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1899-1901\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eIn the United States\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1901 Apr.-1910 July\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eSecond missionary trip to \u003cgeogname\u003eMount Selinda\u003c/geogname\u003e, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1910-1911\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eAttended church/missionary business meetings in the US (New York, and Cleveland)\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1911 Sept. 15\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1912 Mar. 17\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eArrived at Mount Selinda mission\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 Apr.\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft the mission for the Far East\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 May\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled to Hong Kong, Kobe, Kyoto, and Yokohama\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1919 Jan.-1925 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eFourth missionary trip to Mount Selinda, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1926 Sept.-1932 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eFifth (and last) missionary trip to Mount Selinda, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1932\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eRetired from mission work after 43 years\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1936 Mar. 10\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eDied in Penny Farms, Florida at the age of 77\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1947 Jan. 4\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eWilliam Lamarcus Thompson died in St. Cloud, Florida at the age of 89\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n    \u003c/chronlist\u003e"],"collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"thompsonmary","title_ssm":["Mary McCornack Thompson Diaries"],"title_tesim":["Mary McCornack Thompson Diaries"],"ead_ssi":"thompsonmary","unitdate_ssm":["1887-1962"],"unitdate_inclusive_ssm":["1887-1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RL.01292"],"text":["RL.01292","Mary McCornack Thompson Diaries, 1887-1962","Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races","Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries","Collection is open for research.","Missing Title 1858 Mar. 30 Mary Elizabeth McCornack  born Circa 1879 Graduated from Oberlin College, in Ohio 1889 Enlisted in the missionary service, and sent to the mission station at  Esidumbi ,  South Africa  by the American Board of Commissioners for Foreign Missions 1889 June 1 Left New York for first missionary trip to Africa, via London and Portugal 1889 July 12 Arrived in Cape Town,  South Africa 1893 June 14 Married to Dr.  William Lamarcus Thompson  in South Africa 1893 Oct. 19 Traveled by boat and foot for four months to a new mission at  Mount Selinda ,  Rhodesia  (Zimbabwe) 1899 Jan. 9 Left the mission for New York, via Durban 1899-1901 In the United States 1901 Apr.-1910 July Second missionary trip to  Mount Selinda , Rhodesia 1910-1911 Attended church/missionary business meetings in the US (New York, and Cleveland) 1911 Sept. 15 Left from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London 1912 Mar. 17 Arrived at Mount Selinda mission 1917 Apr. Left the mission for the Far East 1917 May Traveled to Hong Kong, Kobe, Kyoto, and Yokohama 1917 June Traveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings 1919 Jan.-1925 June Fourth missionary trip to Mount Selinda, Rhodesia 1926 Sept.-1932 June Fifth (and last) missionary trip to Mount Selinda, Rhodesia 1932 Retired from mission work after 43 years 1936 Mar. 10 Died in Penny Farms, Florida at the age of 77 1947 Jan. 4 William Lamarcus Thompson died in St. Cloud, Florida at the age of 89","Originally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date.","Processed by Loren Crippin","Encoded by Loren Crippin","Completed October 30, 2006","Accessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid.","The Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series:  Diaries  and  Correspondence . The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College."," The  Diaries Series  documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. ","Volumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. ","Volumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..","Volumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.","The  Correspondence Series  contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin.","The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library.","Mary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962.","For current information on the location of these materials, please consult the Library's online catalog.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)","English","Material in English\n\n"],"unitid_tesim":["RL.01292"],"normalized_date_ssm":["1887-1962"],"normalized_title_ssm":["Mary McCornack Thompson Diaries, 1887-1962"],"collection_title_tesim":["Mary McCornack Thompson Diaries, 1887-1962"],"collection_ssim":["Mary McCornack Thompson Diaries, 1887-1962"],"repository_ssm":["David M. Rubenstein Rare Book and Manuscript Library"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"geogname_ssm":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"geogname_ssim":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"creator_ssm":["Thompson, Mary McCornack"],"creator_ssim":["Thompson, Mary McCornack"],"creator_persname_ssim":["Thompson, Mary McCornack"],"creators_ssim":["Thompson, Mary McCornack"],"places_ssim":["Rhodesia and Nyasaland -- Race relations","Rhodesia and Nyasaland -- Social conditions","Rhodesia and Nyasaland -- Description and travel","Rhodesia and Nyasaland -- History","Zimbabwe -- Missions","Africa -- Description and travel","Africa -- Church history","Melsetter (Zimbabwe) -- History","Africa, Southern -- Languages","Africa -- Religious life and customs","Africa -- Race relations","Africa -- Ethnic relations","Mount Selinda","Rhodesia and Nyasaland -- Native races"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library."],"acqinfo_ssim":["The Mary McCornack Thompson Diaries were received by the David M. Rubenstein Rare Book \u0026 Manuscript Library as a gift in 2004."],"access_subjects_ssim":["Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries"],"access_subjects_ssm":["Women missionaries -- Africa -- Personal narratives","Women missionaries -- South Africa","Missionaries -- Africa -- Diaries","Missionaries -- Africa, Southern -- Biography","Women missionaries -- United States -- Diaries","Missionaries -- South Africa -- 19th century","Missionaries -- South Africa -- Biography","Missionaries -- Zimbabwe -- Biography","Missionary settlements","Missions -- Africa -- 19th century","Missions -- Africa, Southern","Missionaries -- Africa -- Biography","Diaries -- Women authors","Travel -- Diaries -- 18th Century","Missions -- Rhodesia","Missions -- Africa, Sub-Saharan","Missions -- Zimbabwe","Presbyterian Church -- Missions","Diaries"],"has_online_content_ssim":["true"],"extent_ssm":["2.4 Linear Feet","96 Items"],"extent_tesim":["2.4 Linear Feet","96 Items"],"genreform_ssim":["Diaries"],"date_range_isim":[1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Missing Title 1858 Mar. 30 Mary Elizabeth McCornack  born Circa 1879 Graduated from Oberlin College, in Ohio 1889 Enlisted in the missionary service, and sent to the mission station at  Esidumbi ,  South Africa  by the American Board of Commissioners for Foreign Missions 1889 June 1 Left New York for first missionary trip to Africa, via London and Portugal 1889 July 12 Arrived in Cape Town,  South Africa 1893 June 14 Married to Dr.  William Lamarcus Thompson  in South Africa 1893 Oct. 19 Traveled by boat and foot for four months to a new mission at  Mount Selinda ,  Rhodesia  (Zimbabwe) 1899 Jan. 9 Left the mission for New York, via Durban 1899-1901 In the United States 1901 Apr.-1910 July Second missionary trip to  Mount Selinda , Rhodesia 1910-1911 Attended church/missionary business meetings in the US (New York, and Cleveland) 1911 Sept. 15 Left from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London 1912 Mar. 17 Arrived at Mount Selinda mission 1917 Apr. Left the mission for the Far East 1917 May Traveled to Hong Kong, Kobe, Kyoto, and Yokohama 1917 June Traveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings 1919 Jan.-1925 June Fourth missionary trip to Mount Selinda, Rhodesia 1926 Sept.-1932 June Fifth (and last) missionary trip to Mount Selinda, Rhodesia 1932 Retired from mission work after 43 years 1936 Mar. 10 Died in Penny Farms, Florida at the age of 77 1947 Jan. 4 William Lamarcus Thompson died in St. Cloud, Florida at the age of 89"],"custodhist_html_tesm":["\u003cp\u003eOriginally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Originally, the papers of Mary McCornack Thompson were at Oberlin College, but were reacquired by the family at an unknown date."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Mary McCornack Thompson Diaries, David M. Rubenstein Rare Book \u0026amp; Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Mary McCornack Thompson Diaries, David M. Rubenstein Rare Book \u0026 Manuscript Library, Duke University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Loren Crippin\u003c/p\u003e","\u003cp\u003eEncoded by Loren Crippin\u003c/p\u003e","\u003cp\u003eCompleted October 30, 2006\u003c/p\u003e","\u003cp\u003eAccessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Loren Crippin","Encoded by Loren Crippin","Completed October 30, 2006","Accessions 2005-0019, 2005-0020 were merged into one collection, described in this finding aid."],"scopecontent_html_tesm":["\u003cp\u003eThe Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series: \u003cemph render=\"bold\"\u003eDiaries\u003c/emph\u003e and \u003cemph render=\"bold\"\u003eCorrespondence\u003c/emph\u003e. The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College.\u003c/p\u003e\n","\u003cp\u003e The \u003cemph render=\"bold\"\u003eDiaries Series\u003c/emph\u003e documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. \u003c/p\u003e\n","\u003cp\u003eVolumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. \u003c/p\u003e\n","\u003cp\u003eVolumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..\u003c/p\u003e\n","\u003cp\u003eVolumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.\u003c/p\u003e\n","\u003cp\u003eThe \u003cemph render=\"bold\"\u003eCorrespondence Series\u003c/emph\u003e contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["The Mary McCornack Thompson Diaries date from 1887 to 1962 and are arranged into two series:  Diaries  and  Correspondence . The bulk of the collection consists of 90 journals that contain detailed accounts of Mary McCornack Thompson's work as a Presbyterian missionary and teacher with the American Board of Commissioners for Foreign Missions in South Africa. During her 43 years as a missionary Thompson worked briefly at the mission station at Esidumbi in South Africa, but she spent most of her time at the Mount Selinda mission in the Melsetter region of Rhodesia ( Zimbabwe). In the diaries, Thompson wrote of her daily activities as a missionary, including building and expanding the mission, encounters with locals, learning Zulu, wildlife, meeting other missionaries, teaching and praying. These detailed entries offer a glimpse into the social conditions, race relations, and native cultures of various South African regions. Thompson also recounts her many travels throughout Africa, Europe, Asia, the United States, and Canada. Included in the collection is one folder of correspondence, mainly from William L. Thompson (Thompson's husband) regarding the collection and the transfer of Mary's diaries to Oberlin College."," The  Diaries Series  documents Thompson's almost daily activities between the years of 1887-1933, spanning all five of her missionary trips to Africa. Volumes 1-6 describe her first missionary trip (1887-1899), detailing her preparations for travel to Africa, her arrival, and her first encounters with native Africans. During this time Thompson married another missionary, William L. Thompson, and together they traveled for four months, mostly on foot, from South Africa to Rhodesia (Zimbabwe). They settled at Mount Selinda, which would be their home in Africa for the next forty years. Volumes 6-8 describe Mary Thompson's visits to the United States between her missionary trips, including taking cooking and photography classes, and traveling around the U.S. ","Volumes 8-35 detail her second trip to Africa (1901-1910), during which time the mission at Mount Selinda began to expand rapidly. Thompson often writes about elections at the mission, as well as prayer services and sermons. She occasionally mentions world events such as the explosion of Mt. Pelee in Martinique, the Russian Revolution, and the detention of Queen Wilhelmina of Holland. She also describes her experiences with local natives who teach her the Zulu language. Volumes 35-40 cover Thompson's trip back to the United States in 1910. She describes lectures and meetings, and discussions on the outbreak of World War I. Her diary entries become less frequent during her stay in the United States. ","Volumes 40-57 span her third trip to Africa (1911-1917), and entries tend to be bit longer and more descriptive. On this trip volumes 44-49 were written in diary volumes entitled \"Warriors of Africa,\" whose covers depict African natives, and volumes 52-55 in volumes bearing the title \"Empire Exercise,\" portraying historical events. Volumes 57 and 58 describe Thompson's travels during 1916-17 (at the height of World War I) to Hong Kong, Japan, Canada, and the U.S. Volumes 59-60 recount her time back in the United States; much of the content revolves around religious and political meetings on World War I, and the 1918 U.S. midterm elections..","Volumes 61-77 detail her fourth trip to Africa (1919-1925), and volumes 78-89 her fifth and last trip to Africa (1926-1932). Volume 80 does not begin until page 92, and is filled with various writing; some entries appear to be copies of diaries of historical figures. The diary entitled \"Notes on Work at Moody Bible Institute\" contains lecture notes, thoughts, scripture quotations, and observations by Thompson while attending a higher-education Christian organization, Moody Bible Institute, in Chicago in 1918, between her third and fourth missionary trips to Africa.","The  Correspondence Series  contains six letters regarding the collection and transfer of Mary McCornack Thompson's diaries after her death in 1936. The first five letters are from by William L. Thompson (Thompson's husband), to his nieces Margaret and Jay Urice, who are locating and collecting Mary's diaries. The sixth letter is from Jay Urice to Mr. Julian Fowler, a librarian at Oberlin College, about having Mary's diaries sent to Oberlin."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Notice"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_6c730d9b844f0985a9b35a899eef94e6\"\u003eMary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962.\u003c/abstract\u003e"],"abstract_tesim":["Mary McCornack Thompson was an American Presbyterian missionary who spent over forty years (1889-1932) traveling and teaching in South Africa and Rhodesia. The collection contains diaries, and a few letters. Main subjects are missionary life and travel in Africa. Materials range in date between 1887-1962."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_9f3bb8f18b3ee346942ac160877b89e3\"\u003eFor current information on the location of these materials, please consult the Library's online catalog.\u003c/physloc\u003e"],"physloc_tesim":["For current information on the location of these materials, please consult the Library's online catalog."],"names_coll_ssim":["Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, William L. (William Lamarcus)","Thompson, Mary McCornack"],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern","Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Oberlin College -- Alumni and alumnae","Mount Silinda Mission (Zimbabwe)","Moody Bible Institute","American Board of Commissioners for Foreign Missions -- Africa, Southern"],"persname_ssim":["Thompson, Mary McCornack","Mary Elizabeth McCornack","William Lamarcus Thompson","Thompson, William L. (William Lamarcus)"],"language_ssim":["English","Material in English\n\n"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":94,"online_item_count_is":92,"component_level_isim":[0],"sort_isi":0,"_root_":"thompsonmary","timestamp":"2025-02-18T22:58:47.726Z","bioghist_html_tesm":["\u003cchronlist\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1858 Mar. 30\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003e\u003cpersname\u003eMary Elizabeth McCornack\u003c/persname\u003e born\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003eCirca 1879\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eGraduated from Oberlin College, in Ohio\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eEnlisted in the missionary service, and sent to the mission station at \u003cgeogname\u003eEsidumbi\u003c/geogname\u003e, \u003cgeogname\u003eSouth Africa\u003c/geogname\u003e by the American Board of Commissioners for Foreign Missions\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889 June 1\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft New York for first missionary trip to Africa, via London and Portugal\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1889 July 12\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eArrived in Cape Town, \u003cgeogname\u003eSouth Africa\u003c/geogname\u003e\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1893 June 14\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eMarried to Dr. \u003cpersname\u003eWilliam Lamarcus Thompson\u003c/persname\u003e in South Africa\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1893 Oct. 19\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled by boat and foot for four months to a new mission at \u003cgeogname\u003eMount Selinda\u003c/geogname\u003e, \u003cgeogname\u003eRhodesia\u003c/geogname\u003e (Zimbabwe)\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1899 Jan. 9\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft the mission for New York, via Durban\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1899-1901\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eIn the United States\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1901 Apr.-1910 July\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eSecond missionary trip to \u003cgeogname\u003eMount Selinda\u003c/geogname\u003e, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1910-1911\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eAttended church/missionary business meetings in the US (New York, and Cleveland)\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1911 Sept. 15\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft from Boston for third missionary trip to Mount Selinda, Rhodesia via Liverpool, and London\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1912 Mar. 17\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eArrived at Mount Selinda mission\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 Apr.\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eLeft the mission for the Far East\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 May\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled to Hong Kong, Kobe, Kyoto, and Yokohama\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1917 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eTraveled to Victoria, Canada, then south to Seattle, Portland and Chicago attending meetings\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1919 Jan.-1925 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eFourth missionary trip to Mount Selinda, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1926 Sept.-1932 June\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eFifth (and last) missionary trip to Mount Selinda, Rhodesia\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1932\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eRetired from mission work after 43 years\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1936 Mar. 10\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eDied in Penny Farms, Florida at the age of 77\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n      \u003cchronitem\u003e\n        \u003cdate\u003e1947 Jan. 4\u003c/date\u003e\n        \u003ceventgrp\u003e\n          \u003cevent\u003eWilliam Lamarcus Thompson died in St. Cloud, Florida at the age of 89\u003c/event\u003e\n        \u003c/eventgrp\u003e\n      \u003c/chronitem\u003e\n    \u003c/chronlist\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/thompsonmary"}},{"id":"m0299-xml","type":"collection","attributes":{"title":"Medieval fragments study collection, 11th-16th century","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePrimarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml#breadcrumbs","type":"document_value","attributes":{"value":{"id":"m0299-xml","title_ssm":["Medieval fragments study collection"],"title_tesim":["Medieval fragments study collection"],"ead_ssi":"m0299.xml","unitdate_ssm":["11th-16th century"],"unitdate_inclusive_ssm":["11th-16th century"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0299"],"text":["M0299","Medieval fragments study collection, 11th-16th century","None.","Purchased, 1969 and 1978.","Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs:  Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked  oversize  are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English, Middle (1100-1500)"],"unitid_tesim":["M0299"],"normalized_date_ssm":["11th-16th century"],"normalized_title_ssm":["Medieval fragments study collection, 11th-16th century"],"collection_title_tesim":["Medieval fragments study collection, 11th-16th century"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["130 item(s)"],"extent_tesim":["130 item(s)"],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["None."],"custodhist_html_tesm":["\u003cp\u003ePurchased, 1969 and 1978.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased, 1969 and 1978."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003ePrimarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003ePapers and Photographs: \u003c/emph\u003eMany items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.\u003c/p\u003e\n","\u003cp\u003eItems marked \u003cemph render=\"italic\"\u003eoversize \u003c/emph\u003eare stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs:  Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked  oversize  are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives"],"corpname_ssim":["Department of Special Collections and University Archives"],"language_ssim":["English, Middle (1100-1500)"],"total_component_count_is":132,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0299-xml","timestamp":"2025-02-18T23:07:38.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"m0299-xml","title_ssm":["Medieval fragments study collection"],"title_tesim":["Medieval fragments study collection"],"ead_ssi":"m0299.xml","unitdate_ssm":["11th-16th century"],"unitdate_inclusive_ssm":["11th-16th century"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0299"],"text":["M0299","Medieval fragments study collection, 11th-16th century","None.","Purchased, 1969 and 1978.","Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs:  Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked  oversize  are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English, Middle (1100-1500)"],"unitid_tesim":["M0299"],"normalized_date_ssm":["11th-16th century"],"normalized_title_ssm":["Medieval fragments study collection, 11th-16th century"],"collection_title_tesim":["Medieval fragments study collection, 11th-16th century"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["130 item(s)"],"extent_tesim":["130 item(s)"],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["None."],"custodhist_html_tesm":["\u003cp\u003ePurchased, 1969 and 1978.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased, 1969 and 1978."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003ePrimarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003ePapers and Photographs: \u003c/emph\u003eMany items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.\u003c/p\u003e\n","\u003cp\u003eItems marked \u003cemph render=\"italic\"\u003eoversize \u003c/emph\u003eare stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs:  Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked  oversize  are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives"],"corpname_ssim":["Department of Special Collections and University Archives"],"language_ssim":["English, Middle (1100-1500)"],"total_component_count_is":132,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0299-xml","timestamp":"2025-02-18T23:07:38.949Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml"}},{"id":"Cubb00084-xml","type":"collection","attributes":{"title":"Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/Cubb00084-xml#abstract_or_scope","type":"document_value","attributes":{"value":"Located in Flagstaff, Arizona. Founded in 1899 as Northern Arizona Normal School. Changed to Northern Arizona State Teachers College in 1925. Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945. In 1966 renamed Northern Arizona University.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/Cubb00084-xml#breadcrumbs","type":"document_value","attributes":{"value":{"id":"Cubb00084-xml","title_ssm":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff)"],"title_tesim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff)"],"ead_ssi":"Cubb00084.xml","unitdate_ssm":["1901-1977"],"unitdate_inclusive_ssm":["1901-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Cubb.00084"],"text":["Cubb.00084","Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977","Arizona","Teachers colleges","Located in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University.","Cubberley Education Library","English"],"unitid_tesim":["Cubb.00084"],"normalized_date_ssm":["1901-1977"],"normalized_title_ssm":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"collection_title_tesim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"collection_ssim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"repository_ssm":["Stanford University Libraries. Cubberley Education Library"],"repository_ssim":["Stanford University Libraries. Cubberley Education Library"],"geogname_ssm":["Arizona"],"geogname_ssim":["Arizona"],"places_ssim":["Arizona"],"access_subjects_ssim":["Teachers colleges"],"access_subjects_ssm":["Teachers colleges"],"has_online_content_ssim":["false"],"extent_ssm":["71 item(s)"],"extent_tesim":["71 item(s)"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"abstract_html_tesm":["\u003cabstract id=\"aspace_222de2d0236cb695c072c6d21ec9c9c1\"\u003eLocated in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University.\u003c/abstract\u003e"],"abstract_tesim":["Located in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University."],"names_ssim":["Cubberley Education Library"],"corpname_ssim":["Cubberley Education Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"Cubb00084-xml","timestamp":"2025-02-18T23:07:15.416Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"Cubb00084-xml","title_ssm":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff)"],"title_tesim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff)"],"ead_ssi":"Cubb00084.xml","unitdate_ssm":["1901-1977"],"unitdate_inclusive_ssm":["1901-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Cubb.00084"],"text":["Cubb.00084","Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977","Arizona","Teachers colleges","Located in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University.","Cubberley Education Library","English"],"unitid_tesim":["Cubb.00084"],"normalized_date_ssm":["1901-1977"],"normalized_title_ssm":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"collection_title_tesim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"collection_ssim":["Northern Arizona University (formerly Northern Arizona Normal School, formerly Northern Arizona State Teachers College, formerly Arizona State College Flagstaff), 1901-1977"],"repository_ssm":["Stanford University Libraries. Cubberley Education Library"],"repository_ssim":["Stanford University Libraries. Cubberley Education Library"],"geogname_ssm":["Arizona"],"geogname_ssim":["Arizona"],"places_ssim":["Arizona"],"access_subjects_ssim":["Teachers colleges"],"access_subjects_ssm":["Teachers colleges"],"has_online_content_ssim":["false"],"extent_ssm":["71 item(s)"],"extent_tesim":["71 item(s)"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"abstract_html_tesm":["\u003cabstract id=\"aspace_222de2d0236cb695c072c6d21ec9c9c1\"\u003eLocated in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University.\u003c/abstract\u003e"],"abstract_tesim":["Located in Flagstaff, Arizona.  Founded in 1899 as Northern Arizona Normal School.  Changed to Northern Arizona State Teachers College in 1925.  Became Arizona State Teachers College in 1928 and Arizona State College of Flagstaff in 1945.  In 1966 renamed Northern Arizona University."],"names_ssim":["Cubberley Education Library"],"corpname_ssim":["Cubberley Education Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"Cubb00084-xml","timestamp":"2025-02-18T23:07:15.416Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/Cubb00084-xml"}},{"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. 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"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312"}},{"id":"VAB9025","type":"collection","attributes":{"title":"Portia K. Maultsby\n                Collection, 1981-1986","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025#creator","type":"document_value","attributes":{"value":"Maultsby, Portia K.","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025#abstract_or_scope","type":"document_value","attributes":{"value":"Series G, \"Music Industry Interviews,\" consists of transcripts and audiocassettes of interviews primarily conducted by Portia K. Maultsby between 1981-1986 as part of her research on the Black music industry. The remainder of the series in this collection are still in the process of being accessioned and are unavailable for general research and public use.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025#breadcrumbs","type":"document_value","attributes":{"value":{"id":"VAB9025","title_ssm":["Portia K. Maultsby\n                Collection"],"title_tesim":["Portia K. Maultsby\n                Collection"],"ead_ssi":"VAB9025","unitdate_ssm":["1981-1986"],"unitdate_inclusive_ssm":["1981-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n                18G"],"text":["SC\n                18G","Portia K. Maultsby\n                Collection, 1981-1986","African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories","Reference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details.","Currently organized into one series and the following subseries:  Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews.","Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of  African American Music : An Introduction , (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music.","The collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated.","Series G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use."," Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara","Materials are in  English."],"unitid_tesim":["SC\n                18G"],"normalized_date_ssm":["1981-1986"],"normalized_title_ssm":["Portia K. Maultsby\n                Collection, 1981-1986"],"collection_title_tesim":["Portia K. Maultsby\n                Collection, 1981-1986"],"collection_ssim":["Portia K. Maultsby\n                Collection, 1981-1986"],"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":["Maultsby, Portia K."],"creator_ssim":["Maultsby, Portia K."],"creator_persname_ssim":["Maultsby, Portia K."],"creators_ssim":["Maultsby, Portia K."],"acqinfo_ssim":["Donated by Portia K. Maultsby in 2008."],"access_subjects_ssim":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"access_subjects_ssm":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["169 audiocassettes"],"extent_tesim":["169 audiocassettes"],"physfacet_tesim":[" : analog, stereo + 5 document\n                    cases"],"date_range_isim":[1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eReference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eCurrently organized into one series and the following subseries: \u003clist\u003e\n               \u003citem\u003eSubseries 1. Interviews by Maultsby, 1979-1989\u003c/item\u003e\n               \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989\u003c/item\u003e\n            \u003c/list\u003e\n         \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries:  Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of  African American Music : An Introduction , (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use."],"names_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"corpname_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records"],"persname_ssim":["Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"language_ssim":["Materials are in  English."],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9025","title_ssm":["Portia K. Maultsby\n                Collection"],"title_tesim":["Portia K. Maultsby\n                Collection"],"ead_ssi":"VAB9025","unitdate_ssm":["1981-1986"],"unitdate_inclusive_ssm":["1981-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n                18G"],"text":["SC\n                18G","Portia K. Maultsby\n                Collection, 1981-1986","African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories","Reference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details.","Currently organized into one series and the following subseries:  Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews.","Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of  African American Music : An Introduction , (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music.","The collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated.","Series G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use."," Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara","Materials are in  English."],"unitid_tesim":["SC\n                18G"],"normalized_date_ssm":["1981-1986"],"normalized_title_ssm":["Portia K. Maultsby\n                Collection, 1981-1986"],"collection_title_tesim":["Portia K. Maultsby\n                Collection, 1981-1986"],"collection_ssim":["Portia K. Maultsby\n                Collection, 1981-1986"],"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":["Maultsby, Portia K."],"creator_ssim":["Maultsby, Portia K."],"creator_persname_ssim":["Maultsby, Portia K."],"creators_ssim":["Maultsby, Portia K."],"acqinfo_ssim":["Donated by Portia K. Maultsby in 2008."],"access_subjects_ssim":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"access_subjects_ssm":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n                                producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["169 audiocassettes"],"extent_tesim":["169 audiocassettes"],"physfacet_tesim":[" : analog, stereo + 5 document\n                    cases"],"date_range_isim":[1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eReference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n                Series G, \"Music Industry Interviews,\" are available for in-house use at the\n                Archives of African American Music and Culture, Indiana University. Please refer to\n                the information included under each interview for details. If you would like to\n                access an item without a reference copy and/or transcript, please contact our staff\n                well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eCurrently organized into one series and the following subseries: \u003clist\u003e\n               \u003citem\u003eSubseries 1. Interviews by Maultsby, 1979-1989\u003c/item\u003e\n               \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989\u003c/item\u003e\n            \u003c/list\u003e\n         \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries:  Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n                        Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n                the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n                Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n                Ethnomusicology, the former director of the Archives of African American Music and\n                Culture, and a former adjunct professor of African American and African Diaspora\n                Studies at Indiana University. She teaches historical and theoretical courses on\n                African American music and culture in ethnomusicology. Her research topics have\n                centered on Black religious and popular music and she has lectured and conducted\n                workshops throughout the United States, as well as in England, The Netherlands,\n                Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of  African American Music : An Introduction , (Routledge Press, 2006). She\n                also has served as consulting scholar for PBS, BBC, and NPR productions on African\n                American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n                player and the founding director of the IU Soul Revue, a touring ensemble\n                specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n                partial transcripts are available for many. The bulk of the interviews (138\n                cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n                research on the Black music industry. The interviews provide an aural documentation\n                of the history and development of rhythm and blues music through the personal\n                narratives of musicians, composers, producers, deejays, and record company\n                executives. In particular, Maultsby's interviews trace the emergence of Black music\n                divisions and the promotion of Black artists by major record labels. Other\n                significant issues emphasized in the discussions are cultural identity, gender,\n                appropriation, aesthetics, and the racially defined politics and marketing practices\n                of the industry. Of equal importance are the stories told by musicians who\n                profoundly shaped the development of rhythm and blues while redefining the direction\n                of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n                consists of transcripts and audiocassettes of interviews primarily conducted by\n                Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n                industry. The remainder of the series in this collection are still in the process of\n                being accessioned and are unavailable for general research and public\n                use."],"names_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"corpname_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n                                Records"],"persname_ssim":["Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n                            1941-2000","Foster, William P. (William\n                            Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"language_ssim":["Materials are in  English."],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9025"}},{"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. (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. (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"],"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. 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. (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. (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"],"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. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides.","The images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation.","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 .","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 .","Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby","No linguistic content; Not applicable"],"unitid_tesim":["PC0170"],"normalized_date_ssm":["1970-2014"],"normalized_title_ssm":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"collection_title_tesim":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"collection_ssim":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Beyers, Robby"],"creator_ssim":["Beyers, Robby"],"creator_persname_ssim":["Beyers, Robby"],"creators_ssim":["Beyers, Robby"],"access_terms_ssm":["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 ."],"access_subjects_ssim":["Football.","Football -- California.","College students -- California -- Stanford. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides."],"access_subjects_ssm":["Football.","Football -- California.","College students -- California -- Stanford. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides."],"has_online_content_ssim":["false"],"extent_ssm":["4236247.04 megabyte(s)"],"extent_tesim":["4236247.04 megabyte(s)"],"genreform_ssim":["Slides."],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"accessrestrict_html_tesm":["\u003cp\u003eThe images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access to Collection"],"accessrestrict_tesim":["The images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation."],"userestrict_html_tesm":["\u003cp\u003eThese images are made available under the \u003cextref href=\"https://creativecommons.org/licenses/by-nc-nd/3.0/us/\"\u003eCreative Commons Attribution-NonCommercial-NoDerivs 3.0 License\u003c/extref\u003e. 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. \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. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby"],"names_ssim":["Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby"],"corpname_ssim":["Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band"],"persname_ssim":["Beyers, Robby"],"language_ssim":["No linguistic content; Not applicable"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":6,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"pc0170-xml","timestamp":"2025-02-18T23:10:03.887Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"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. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides.","The images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation.","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 .","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 .","Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby","No linguistic content; Not applicable"],"unitid_tesim":["PC0170"],"normalized_date_ssm":["1970-2014"],"normalized_title_ssm":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"collection_title_tesim":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"collection_ssim":["Robby Beyers photographs of the Leland Stanford Junior University Marching Band, 1970-2014"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Beyers, Robby"],"creator_ssim":["Beyers, Robby"],"creator_persname_ssim":["Beyers, Robby"],"creators_ssim":["Beyers, Robby"],"access_terms_ssm":["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 ."],"access_subjects_ssim":["Football.","Football -- California.","College students -- California -- Stanford. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides."],"access_subjects_ssm":["Football.","Football -- California.","College students -- California -- Stanford. ","Marching bands.","College students -- Photograph collections.","Stanford University -- Students.","Slides."],"has_online_content_ssim":["false"],"extent_ssm":["4236247.04 megabyte(s)"],"extent_tesim":["4236247.04 megabyte(s)"],"genreform_ssim":["Slides."],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"accessrestrict_html_tesm":["\u003cp\u003eThe images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access to Collection"],"accessrestrict_tesim":["The images, apart from restricted files in Series 2, are open for research use. Restricted images in Series 2 are restricted 60 years from date of creation."],"userestrict_html_tesm":["\u003cp\u003eThese images are made available under the \u003cextref href=\"https://creativecommons.org/licenses/by-nc-nd/3.0/us/\"\u003eCreative Commons Attribution-NonCommercial-NoDerivs 3.0 License\u003c/extref\u003e. 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. \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. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby"],"names_ssim":["Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band","Beyers, Robby"],"corpname_ssim":["Department of Special Collections and University Archives","Stanford University. Department of Athletics","Leland Stanford Junior University Marching Band"],"persname_ssim":["Beyers, Robby"],"language_ssim":["No linguistic content; Not applicable"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":6,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"pc0170-xml","timestamp":"2025-02-18T23:10:03.887Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/pc0170-xml"}},{"id":"umich-scl-rosenberg","type":"collection","attributes":{"title":"Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946","creator":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-scl-rosenberg#creator","type":"document_value","attributes":{"value":"Rosenberg, Alfred","label":"Creator"}},"abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-scl-rosenberg#abstract_or_scope","type":"document_value","attributes":{"value":"The 105 letters in this collection document the experience of a German Jewish family in the years immediately before, during, and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in August 1938. Most of the letters were written to Alfred by his brothers, his parents, and other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan, and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in Breisach were deported in October 1940. Contains typewritten transcriptions (German) and English translations for most letters. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-scl-rosenberg#breadcrumbs","type":"document_value","attributes":{"value":{"id":"umich-scl-rosenberg","title_filing_ssi":"Rosenberg Family Correspondence","title_ssm":["Rosenberg Family Correspondence"],"title_tesim":["Rosenberg Family Correspondence"],"ead_ssi":"umich-scl-rosenberg","unitdate_ssm":["1938-2010","1938-1946"],"unitdate_bulk_ssim":["1938-1946"],"unitdate_inclusive_ssm":["1938-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["rosenberg"],"text":["rosenberg","Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946","The collection is open for research.","These letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945.","This collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them.","Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s).","The 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. ","Testing import and export","Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy","The collection is mostly in\n          German. There are also materials in English,\n          Hebrew, Yiddish, and\n        French."],"unitid_tesim":["rosenberg"],"normalized_date_ssm":["1938-2010, bulk 1938-1946"],"normalized_title_ssm":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"collection_title_tesim":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"collection_ssim":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"repository_ssm":["University of Michigan. Special Collections Research Center"],"repository_ssim":["University of Michigan. Special Collections Research Center"],"creator_ssm":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creator_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creator_persname_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creators_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"access_terms_ssm":["Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s)."],"acqinfo_ssim":["Gift of Victor Rosenberg, 2009."],"has_online_content_ssim":["true"],"extent_ssm":["1 Linear Feet 2 manuscript boxes"],"extent_tesim":["1 Linear Feet 2 manuscript boxes"],"date_range_isim":[1938,1939,1940,1941,1942,1943,1944,1945,1946],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThese letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["These letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945."],"prefercite_html_tesm":["\u003cp\u003eRosenberg Family Correspondence, University of Michigan Library (Special Collections\n        Research Center)\u003c/p\u003e"],"prefercite_tesim":["Rosenberg Family Correspondence, University of Michigan Library (Special Collections\n        Research Center)"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2a0dde5c38142197e5d859fb9828da6a\"\u003eThe 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. \u003c/abstract\u003e"],"abstract_tesim":["The 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. "],"names_ssim":["Testing import and export","Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"corpname_ssim":["Testing import and export"],"persname_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"language_ssim":["The collection is mostly in\n          German. There are also materials in English,\n          Hebrew, Yiddish, and\n        French."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":113,"online_item_count_is":104,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-scl-rosenberg","timestamp":"2025-02-18T23:24:49.805Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-scl-rosenberg","title_filing_ssi":"Rosenberg Family Correspondence","title_ssm":["Rosenberg Family Correspondence"],"title_tesim":["Rosenberg Family Correspondence"],"ead_ssi":"umich-scl-rosenberg","unitdate_ssm":["1938-2010","1938-1946"],"unitdate_bulk_ssim":["1938-1946"],"unitdate_inclusive_ssm":["1938-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["rosenberg"],"text":["rosenberg","Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946","The collection is open for research.","These letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945.","This collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them.","Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s).","The 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. ","Testing import and export","Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy","The collection is mostly in\n          German. There are also materials in English,\n          Hebrew, Yiddish, and\n        French."],"unitid_tesim":["rosenberg"],"normalized_date_ssm":["1938-2010, bulk 1938-1946"],"normalized_title_ssm":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"collection_title_tesim":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"collection_ssim":["Rosenberg Family Correspondence, 1938-2010, bulk 1938-1946"],"repository_ssm":["University of Michigan. Special Collections Research Center"],"repository_ssim":["University of Michigan. Special Collections Research Center"],"creator_ssm":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creator_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creator_persname_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"creators_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"access_terms_ssm":["Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s)."],"acqinfo_ssim":["Gift of Victor Rosenberg, 2009."],"has_online_content_ssim":["true"],"extent_ssm":["1 Linear Feet 2 manuscript boxes"],"extent_tesim":["1 Linear Feet 2 manuscript boxes"],"date_range_isim":[1938,1939,1940,1941,1942,1943,1944,1945,1946],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThese letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["These letters were written by various members of the Rosenberg family, particularly parents\n        Johanna and Nathan; son Julius, b. 1900 (living in Breisach, Germany, and often writing with\n        his fiancee Emmy); son Eugen, b. 1901 (living in Palestine with his wife Lea and a young\n        son); son Alfred, b. 1911 (living in Brooklyn and later Pennsylvania with his wife, Alise,\n        and her parents). The letters were received and collected by Alfred Rosenberg and donated by\n        his son, Victor Rosenberg. In 1940 Julius, Emmy, Nathan, Johanna, and other extended family\n        members from Breisach were deported to a labor camp in Gurs, France. Johanna died while\n        interned there in 1941. The camp was deported to Auschwitz in August 1942, where Julius was\n        murdered. Further information about Emmy, including her family name, is unknown. Nathan\n        survived the war at a hospice in southern France and died there in December 1945."],"prefercite_html_tesm":["\u003cp\u003eRosenberg Family Correspondence, University of Michigan Library (Special Collections\n        Research Center)\u003c/p\u003e"],"prefercite_tesim":["Rosenberg Family Correspondence, University of Michigan Library (Special Collections\n        Research Center)"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains one linear foot of material and includes 105 letters between\n        Rosenberg family members, friends, and acquaintances. It documents the firsthand experiences\n        of a German Jewish family before, during, and after the Holocaust, and also includes the\n        experiences of family members who emigrated from Germany in the years immediately before the\n        Second World War. The letters were received and collected by Alfred Rosenberg, and as a\n        result most are addressed to him and Alise Rosenberg and few are written by them."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been transferred ot the Regents of the University of Michigan. Permission\n        to publish must be obtained from the copyright holder(s)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2a0dde5c38142197e5d859fb9828da6a\"\u003eThe 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. \u003c/abstract\u003e"],"abstract_tesim":["The 105 letters in this collection\n        document the experience of a German Jewish family in the years immediately before, during,\n        and shortly after World War II. Nathan and Johannna Rosenberg of Breisach, Germany, had\n        three sons: Julius (1900-1942), Eugen (1901-1964), and Alfred (1911-2005). Eugen left for\n        Palestine in 1935. Alfred, with his wife and her parents immigrated to the United States in\n        August 1938. Most of the letters were written to Alfred by his brothers, his parents, and\n        other relatives between 1938 and 1946. Most of the letters are from Julius, Emmy, Nathan,\n        and Johanna; some of these they wrote from the labor camp in Gurs to which many Jews in\n        Breisach were deported in October 1940. Contains typewritten transcriptions (German) and\n        English translations for most letters. "],"names_ssim":["Testing import and export","Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"corpname_ssim":["Testing import and export"],"persname_ssim":["Rosenberg, Alfred","Rosenberg, Alise","Rosenberg, Victor","Rosenberg, Eugen","Rosenberg, Julius","Rosenberg, Johanna","Rosenberg, Nathan","Rosenberg, Emmy"],"language_ssim":["The collection is mostly in\n          German. There are also materials in English,\n          Hebrew, Yiddish, and\n        French."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":113,"online_item_count_is":104,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-scl-rosenberg","timestamp":"2025-02-18T23:24:49.805Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-scl-rosenberg"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Abdeen Jabara papers, 1956-1994, bulk 1968-1993","value":"Abdeen Jabara papers, 1956-1994, bulk 1968-1993","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Abdeen+Jabara+papers%2C+1956-1994%2C+bulk+1968-1993\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Afghan partisan serials collection, 1968-2011","value":"Afghan partisan serials collection, 1968-2011","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Afghan+partisan+serials+collection%2C+1968-2011\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Alexander H. Stephens papers, 1823-1954 (bulk 1823-1883)","value":"Alexander H. Stephens papers, 1823-1954 (bulk 1823-1883)","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Alexander+H.+Stephens+papers%2C+1823-1954+%28bulk+1823-1883%29\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Alpha Omega Alpha Archives, 1894-1992","value":"Alpha Omega Alpha Archives, 1894-1992","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Alpha+Omega+Alpha+Archives%2C+1894-1992\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","value":"Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Audio+tapes+related+to+Robert+Creeley+and+his+personal+and+artistic+circles%2C+1959-1969\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Benjamin and Julia Stockton Rush papers, bulk 1766-1845 and undated","value":"Benjamin and Julia Stockton Rush papers, bulk 1766-1845 and undated","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Benjamin+and+Julia+Stockton+Rush+papers%2C+bulk+1766-1845+and+undated\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Charles W. Lane papers, 1935-1997, bulk 1958-1969","value":"Charles W. Lane papers, 1935-1997, bulk 1958-1969","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Charles+W.+Lane+papers%2C+1935-1997%2C+bulk+1958-1969\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Clarke Family Papers, 1904-1968","value":"Clarke Family Papers, 1904-1968","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Clarke+Family+Papers%2C+1904-1968\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Collection\n1987, 2011, and undated","value":"Collection\n1987, 2011, and undated","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Collection%0A1987%2C+2011%2C+and+undated\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","value":"David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=David+V.+Tinder+Collection+of+Michigan+Photography%2C+County+File%2C+Wayne+County+1865-1985\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Don Wilson Collection\n \n1885-2015, and undated","value":"Don Wilson Collection\n \n1885-2015, and undated","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Don+Wilson+Collection%0A+%0A1885-2015%2C+and+undated\u0026f%5Blevel%5D%5B%5D=Collection"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Stanford University","value":"Stanford University","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Stanford+University\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Alpha Omega Alpha","value":"Alpha Omega Alpha","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Alpha+Omega+Alpha\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Becker, Mary Kay.","value":"Becker, Mary Kay.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Becker%2C+Mary+Kay.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Beyers, Robby","value":"Beyers, Robby","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Beyers%2C+Robby\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Central Michigan University. Multicultural Education Center.","value":"Central Michigan University. Multicultural Education Center.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Central+Michigan+University.+Multicultural+Education+Center.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Clarke family","value":"Clarke family","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Clarke+family\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Creeley, Robert, 1926-2005","value":"Creeley, Robert, 1926-2005","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Creeley%2C+Robert%2C+1926-2005\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Dalrymple, Mark David","value":"Dalrymple, Mark David","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Dalrymple%2C+Mark+David\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Dankert, Roger.","value":"Dankert, Roger.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Dankert%2C+Roger.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Diedrich, D. N. (Duane Norman)","value":"Diedrich, D. N. (Duane Norman)","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Diedrich%2C+D.+N.+%28Duane+Norman%29\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Ellis, Ruth, 1899-2000","value":"Ellis, Ruth, 1899-2000","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcreators%5D%5B%5D=Ellis%2C+Ruth%2C+1899-2000\u0026f%5Blevel%5D%5B%5D=Collection"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/creator_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1968","value":"1968","hits":14},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1968\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1959","value":"1959","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1959\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1960","value":"1960","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1960\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1961","value":"1961","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1961\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1962","value":"1962","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1962\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1965","value":"1965","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1965\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1966","value":"1966","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1966\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1967","value":"1967","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1967\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1969","value":"1969","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1969\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1970","value":"1970","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1970\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1971","value":"1971","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1971\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1972","value":"1972","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1972\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1973","value":"1973","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1974","value":"1974","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1975","value":"1975","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1975\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1976","value":"1976","hits":13},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1976\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1957","value":"1957","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1957\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1958","value":"1958","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1958\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1963","value":"1963","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1963\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1964","value":"1964","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1964\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1977","value":"1977","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1977\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1979","value":"1979","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1979\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1991","value":"1991","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1991\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1992","value":"1992","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1993","value":"1993","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1993\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1994","value":"1994","hits":12},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1994\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1938","value":"1938","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1938\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1939","value":"1939","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1939\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1940","value":"1940","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1940\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1941","value":"1941","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1941\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1942","value":"1942","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1942\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1943","value":"1943","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1943\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1944","value":"1944","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1944\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1945","value":"1945","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1945\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1946","value":"1946","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1946\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1947","value":"1947","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1947\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1948","value":"1948","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1948\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1949","value":"1949","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1949\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1950","value":"1950","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1950\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1951","value":"1951","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1951\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1952","value":"1952","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1952\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1953","value":"1953","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1953\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1954","value":"1954","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1954\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1956","value":"1956","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1956\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1978","value":"1978","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1981","value":"1981","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1981\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1982","value":"1982","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1982\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1983","value":"1983","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1983\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1984","value":"1984","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1984\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1985","value":"1985","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1985\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1986","value":"1986","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1986\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1989","value":"1989","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1989\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1990","value":"1990","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1990\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1995","value":"1995","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1995\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1996","value":"1996","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1996\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1916","value":"1916","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1916\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1917","value":"1917","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1917\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1918","value":"1918","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1918\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1919","value":"1919","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1919\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1935","value":"1935","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1936","value":"1936","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1936\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1937","value":"1937","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1955","value":"1955","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1955\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1980","value":"1980","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1987","value":"1987","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1987\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1988","value":"1988","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1997","value":"1997","hits":10},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1997\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1910","value":"1910","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1910\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1911","value":"1911","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1911\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1912","value":"1912","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1912\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1913","value":"1913","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1913\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1914","value":"1914","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1914\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1915","value":"1915","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1915\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1920","value":"1920","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1920\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1921","value":"1921","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1921\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1922","value":"1922","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1922\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1923","value":"1923","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1924","value":"1924","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1926","value":"1926","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1926\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1927","value":"1927","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1928","value":"1928","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1930","value":"1930","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1930\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1931","value":"1931","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1931\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1932","value":"1932","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1932\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1933","value":"1933","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1934","value":"1934","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1998","value":"1998","hits":9},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1998\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1904","value":"1904","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1904\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1905","value":"1905","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1905\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1906","value":"1906","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1906\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1909","value":"1909","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1909\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1925","value":"1925","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1929","value":"1929","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1929\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1999","value":"1999","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1999\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"2000","value":"2000","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2000\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1902","value":"1902","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1902\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1903","value":"1903","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1903\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1907","value":"1907","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1907\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"1908","value":"1908","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"2001","value":"2001","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bdate_range%5D%5B%5D=2001\u0026f%5Blevel%5D%5B%5D=Collection"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/date_range_isim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Collection","value":"Collection","hits":38},"links":{"remove":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"attributes":{"label":"Record Group","value":"Record Group","hits":7},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Blevel%5D%5B%5D=Record+Group"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Department of Special Collections and University Archives","value":"Department of Special Collections and University Archives","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Department+of+Special+Collections+and+University+Archives"}},{"attributes":{"label":"Bentley Historical Library","value":"Bentley Historical Library","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Bentley+Historical+Library"}},{"attributes":{"label":"Clarke Historical Library , Central Michigan University","value":"Clarke Historical Library , Central Michigan University","hits":4},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Clarke+Historical+Library+%2C+Central+Michigan+University"}},{"attributes":{"label":"David M. Rubenstein Rare Book \u0026 Manuscript Library","value":"David M. Rubenstein Rare Book \u0026 Manuscript Library","hits":4},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=David+M.+Rubenstein+Rare+Book+%26+Manuscript+Library"}},{"attributes":{"label":"Stanford University","value":"Stanford University","hits":3},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Stanford+University"}},{"attributes":{"label":"Cubberley Education Library","value":"Cubberley Education Library","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Cubberley+Education+Library"}},{"attributes":{"label":"Hoover Institution Archives","value":"Hoover Institution Archives","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Hoover+Institution+Archives"}},{"attributes":{"label":"King, Martin Luther, Jr.","value":"King, Martin Luther, Jr.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=King%2C+Martin+Luther%2C+Jr."}},{"attributes":{"label":"Stanford University. Department of Athletics","value":"Stanford University. Department of Athletics","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=Stanford+University.+Department+of+Athletics"}},{"attributes":{"label":"University of Pennsylvania","value":"University of Pennsylvania","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=University+of+Pennsylvania"}},{"attributes":{"label":"William L. Clements Library , University of Michigan","value":"William L. Clements Library , University of Michigan","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bnames%5D%5B%5D=William+L.+Clements+Library+%2C+University+of+Michigan"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/names_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Stanford University Libraries. Special Collections and University Archives","value":"Stanford University Libraries. Special Collections and University Archives","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Stanford+University+Libraries.+Special+Collections+and+University+Archives"}},{"attributes":{"label":"University of Michigan. Bentley Historical Library","value":"University of Michigan. Bentley Historical Library","hits":8},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=University+of+Michigan.+Bentley+Historical+Library"}},{"attributes":{"label":"Central Michigan University Clarke Historical Library","value":"Central Michigan University Clarke Historical Library","hits":4},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Central+Michigan+University+Clarke+Historical+Library"}},{"attributes":{"label":"David M. Rubenstein Rare Book and Manuscript Library","value":"David M. Rubenstein Rare Book and Manuscript Library","hits":4},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=David+M.+Rubenstein+Rare+Book+and+Manuscript+Library"}},{"attributes":{"label":"Hoover Institution Archives","value":"Hoover Institution Archives","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Hoover+Institution+Archives"}},{"attributes":{"label":"Indiana University, Archives of African American Music and Culture (AAAMC)","value":"Indiana University, Archives of African American Music and Culture (AAAMC)","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Indiana+University%2C+Archives+of+African+American+Music+and+Culture+%28AAAMC%29"}},{"attributes":{"label":"Stanford University Libraries. Cubberley Education Library","value":"Stanford University Libraries. Cubberley Education Library","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Stanford+University+Libraries.+Cubberley+Education+Library"}},{"attributes":{"label":"University of Michigan. William L. Clements Library","value":"University of Michigan. William L. Clements Library","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=University+of+Michigan.+William+L.+Clements+Library"}},{"attributes":{"label":"Indiana University, Center for Documentary Research and Practice","value":"Indiana University, Center for Documentary Research and Practice","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Indiana+University%2C+Center+for+Documentary+Research+and+Practice"}},{"attributes":{"label":"National Library of Medicine. History of Medicine Division","value":"National Library of Medicine. History of Medicine Division","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=National+Library+of+Medicine.+History+of+Medicine+Division"}},{"attributes":{"label":"University of Michigan. Special Collections Research Center","value":"University of Michigan. Special Collections Research Center","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=University+of+Michigan.+Special+Collections+Research+Center"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Afghanistan--History.","value":"Afghanistan--History.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Afghanistan--History."}},{"attributes":{"label":"Africa -- Church history","value":"Africa -- Church history","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa+--+Church+history"}},{"attributes":{"label":"Africa -- Description and travel","value":"Africa -- Description and travel","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa+--+Description+and+travel"}},{"attributes":{"label":"Africa -- Ethnic relations","value":"Africa -- Ethnic relations","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa+--+Ethnic+relations"}},{"attributes":{"label":"Africa -- Race relations","value":"Africa -- Race relations","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa+--+Race+relations"}},{"attributes":{"label":"Africa -- Religious life and customs","value":"Africa -- Religious life and customs","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa+--+Religious+life+and+customs"}},{"attributes":{"label":"Africa, Southern -- Languages","value":"Africa, Southern -- Languages","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Africa%2C+Southern+--+Languages"}},{"attributes":{"label":"Ann Arbor (Mich.) -- Buildings, structures, etc.","value":"Ann Arbor (Mich.) -- Buildings, structures, etc.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Ann+Arbor+%28Mich.%29+--+Buildings%2C+structures%2C+etc."}},{"attributes":{"label":"Arizona","value":"Arizona","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Arizona"}},{"attributes":{"label":"California","value":"California","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=California"}},{"attributes":{"label":"Confederate States of America -- Officials and employees","value":"Confederate States of America -- Officials and employees","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026f%5Bplaces%5D%5B%5D=Confederate+States+of+America+--+Officials+and+employees"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/geogname_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"Photographs.","value":"Photographs.","hits":5},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Photographs.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"College students -- Photograph collections.","value":"College students -- Photograph collections.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=College+students+--+Photograph+collections.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Cyanotypes.","value":"Cyanotypes.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Cyanotypes.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Diaries","value":"Diaries","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Diaries\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Stanford University -- Students.","value":"Stanford University -- Students.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Stanford+University+--+Students.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Videotapes.","value":"Videotapes.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Videotapes.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"World War, 1914-1918.","value":"World War, 1914-1918.","hits":2},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=World+War%2C+1914-1918.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Actors--Michigan--1900-1910.","value":"Actors--Michigan--1900-1910.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Actors--Michigan--1900-1910.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Actresses--Michigan--1890-1910.","value":"Actresses--Michigan--1890-1910.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Actresses--Michigan--1890-1910.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"Affirmative action programs.","value":"Affirmative action programs.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Affirmative+action+programs.\u0026f%5Blevel%5D%5B%5D=Collection"}},{"attributes":{"label":"African American Sunday schools--Michigan.","value":"African American Sunday schools--Michigan.","hits":1},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+American+Sunday+schools--Michigan.\u0026f%5Blevel%5D%5B%5D=Collection"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/access_subjects_ssim.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"facet","id":"access","attributes":{"label":"Access","items":[{"attributes":{"label":"Online access","value":"online","hits":11},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Collection"}}]},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/facet/access.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=all_fields"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=keyword"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=name"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=place"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=subject"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=title"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=container"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026search_field=identifier"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=score+desc%2C+title_sort+asc"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=date_sort+asc"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=date_sort+desc"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=creator_sort+asc"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=creator_sort+desc"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=title_sort+asc"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026facet.page=2\u0026page=3\u0026sort=title_sort+desc"}}]}