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Reviews of Steinbeck's work, articles about him, press coverage of his travels, memorabilia, photographs, and artwork complete the collection."],"names_ssim":["Department of Special Collections and University Archives","Steinbeck, John"],"corpname_ssim":["Department of Special Collections and University Archives"],"names_coll_ssim":["Steinbeck, John"],"persname_ssim":["Steinbeck, John"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":341,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0263-xml","timestamp":"2025-02-18T23:07:31.215Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0263-xml_aspace_ref328_s3b"}},{"id":"ehll--HemingwayErnest_al_22240c36d5432f80654a1aab09a046e648608373","type":"File","attributes":{"title":"Theatre Program, includes \"(The) Killers\", 1964","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/ehll--HemingwayErnest_al_22240c36d5432f80654a1aab09a046e648608373#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"al_22240c36d5432f80654a1aab09a046e648608373","ref_ssm":["al_22240c36d5432f80654a1aab09a046e648608373","al_22240c36d5432f80654a1aab09a046e648608373"],"id":"ehll--HemingwayErnest_al_22240c36d5432f80654a1aab09a046e648608373","title_filing_ssi":"Theatre Program, includes \"(The) Killers\", 1964","title_ssm":["Theatre Program, includes \"(The) Killers\", 1964"],"title_tesim":["Theatre Program, includes \"(The) Killers\", 1964"],"normalized_title_ssm":["Theatre Program, includes \"(The) Killers\", 1964"],"text":["Theatre Program, includes \"(The) Killers\", 1964","Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection","Box 3","Folder 16"],"component_level_isim":[2],"parent_ssim":["ehll--HemingwayErnest","al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_ssi":"al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","parent_ids_ssim":["ehll--HemingwayErnest","ehll--HemingwayErnest_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_unittitles_ssm":["Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection"],"parent_unittitles_tesim":["Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection"],"parent_levels_ssm":["collection","Series"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"collection_ssim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":164,"containers_ssim":["Box 3","Folder 16"],"_nest_path_":"/components#0/components#162","_nest_parent_":"ehll--HemingwayErnest_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","_root_":"ehll--HemingwayErnest","timestamp":"2025-02-18T23:25:31.217Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ehll--HemingwayErnest","title_ssm":["\nErnest Hemingway Collection,\n \n1901, 2014, and undated\n"],"title_tesim":["\nErnest Hemingway Collection,\n \n1901, 2014, and undated\n"],"ead_ssi":"ehll--HemingwayErnest","level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["\nMSS.\n"],"text":["\nMSS.\n","Ernest Hemingway Collection\n1901, 2014, and undated","Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans.","The collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society.","Biography:","Ernest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.","After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.","In January 1920, the city editor of the Toronto Star agreed to buy Hemingway’s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.","In September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris’ Latin Quarter.","The Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.","Hemingway’s first son, John Hadley Nicanor, was born in Toronto in October  1923.","Furious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.","Between 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.","Hadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.","Ernest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest’s father, Clarence Hemingway, committed suicide.","Pauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.","In 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline’s trust fund and Ernest’s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest’s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).","During the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called “Letters” for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).","By February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline’s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.","During World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier’s, displacing Martha. By late May 1944 Hemingway’s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.","Between June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier’s.","In 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.","Hemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.","From September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.","In 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.","Grace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.","Life paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.","In June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.","From 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.","In 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.","On July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online).","Materials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) ‘Adventures of a Young Man’, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.","Of particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)","The second manuscript letter is written by Ernest to “Dear Dad”, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter “Rec’d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his “typer” he is leaving Thursday for Petoskey. Ernest also notes that he is working on the “Woppian Way” and has read several books. (Note: This letter is housed separately from the rest of the collection.)","The third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the “wops” and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)","The fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son “Dear Bum,” J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary’s arm is improving with massage and therapy.","Diaries (12), 1938, 1951, of George R. Hemingway, Ernest’s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)","The organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.","While the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.","A later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest’s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.","User Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.","Processing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection.","\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n","Clarke Historical Library , Central Michigan University","Michigan Hemingway Society.","Hemingway family.","Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises.","The material is in  English"],"unitid_tesim":["\nMSS.\n"],"normalized_title_ssm":["Ernest Hemingway Collection\n1901, 2014, and undated"],"collection_title_tesim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"collection_ssim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"repository_ssm":["Central Michigan University Clarke Historical Library"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"creator_ssm":["Hemingway, Ernest, 1899-1961."],"creator_ssim":["Hemingway, Ernest, 1899-1961."],"creator_persname_ssim":["Hemingway, Ernest, 1899-1961."],"creators_ssim":["Hemingway, Ernest, 1899-1961."],"acqinfo_ssim":["\nAcc# many\n"],"access_subjects_ssim":["Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans."],"access_subjects_ssm":["Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans."],"has_online_content_ssim":["false"],"extent_ssm":["6 cubic feet (in 7 boxes, 8 Oversized folders, 4 reels in 4 boxes, and 52 framed items)"],"extent_tesim":["6 cubic feet (in 7 boxes, 8 Oversized folders, 4 reels in 4 boxes, and 52 framed items)"],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society.\u003c/p\u003e"],"arrangement_tesim":["The collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society."],"bioghist_html_tesm":["\u003cp\u003eBiography:\u003c/p\u003e","\u003cp\u003eErnest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.\u003c/p\u003e","\u003cp\u003eAfter Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.\u003c/p\u003e","\u003cp\u003eIn January 1920, the city editor of the Toronto Star agreed to buy Hemingway\u0026#x2019;s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.\u003c/p\u003e","\u003cp\u003eIn September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris\u0026#x2019; Latin Quarter.\u003c/p\u003e","\u003cp\u003eThe Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.\u003c/p\u003e","\u003cp\u003eHemingway\u0026#x2019;s first son, John Hadley Nicanor, was born in Toronto in October  1923.\u003c/p\u003e","\u003cp\u003eFurious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.\u003c/p\u003e","\u003cp\u003eBetween 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.\u003c/p\u003e","\u003cp\u003eHadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.\u003c/p\u003e","\u003cp\u003eErnest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest\u0026#x2019;s father, Clarence Hemingway, committed suicide.\u003c/p\u003e","\u003cp\u003ePauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.\u003c/p\u003e","\u003cp\u003eIn 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline\u0026#x2019;s trust fund and Ernest\u0026#x2019;s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest\u0026#x2019;s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).\u003c/p\u003e","\u003cp\u003eDuring the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called \u0026#x201C;Letters\u0026#x201D; for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).\u003c/p\u003e","\u003cp\u003eBy February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline\u0026#x2019;s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.\u003c/p\u003e","\u003cp\u003eDuring World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier\u0026#x2019;s, displacing Martha. By late May 1944 Hemingway\u0026#x2019;s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.\u003c/p\u003e","\u003cp\u003eBetween June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier\u0026#x2019;s.\u003c/p\u003e","\u003cp\u003eIn 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.\u003c/p\u003e","\u003cp\u003eHemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.\u003c/p\u003e","\u003cp\u003eFrom September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.\u003c/p\u003e","\u003cp\u003eIn 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.\u003c/p\u003e","\u003cp\u003eGrace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.\u003c/p\u003e","\u003cp\u003eLife paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.\u003c/p\u003e","\u003cp\u003eIn June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.\u003c/p\u003e","\u003cp\u003eFrom 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.\u003c/p\u003e","\u003cp\u003eIn 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.\u003c/p\u003e","\u003cp\u003eOn July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online).\u003c/p\u003e"],"bioghist_tesim":["Biography:","Ernest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.","After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.","In January 1920, the city editor of the Toronto Star agreed to buy Hemingway’s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.","In September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris’ Latin Quarter.","The Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.","Hemingway’s first son, John Hadley Nicanor, was born in Toronto in October  1923.","Furious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.","Between 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.","Hadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.","Ernest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest’s father, Clarence Hemingway, committed suicide.","Pauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.","In 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline’s trust fund and Ernest’s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest’s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).","During the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called “Letters” for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).","By February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline’s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.","During World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier’s, displacing Martha. By late May 1944 Hemingway’s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.","Between June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier’s.","In 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.","Hemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.","From September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.","In 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.","Grace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.","Life paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.","In June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.","From 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.","In 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.","On July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online)."],"scopecontent_html_tesm":["\u003cp\u003eMaterials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) \u0026#x2018;Adventures of a Young Man\u0026#x2019;, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.\u003c/p\u003e","\u003cp\u003eOf particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe second manuscript letter is written by Ernest to \u0026#x201C;Dear Dad\u0026#x201D;, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter \u0026#x201C;Rec\u0026#x2019;d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his \u0026#x201C;typer\u0026#x201D; he is leaving Thursday for Petoskey. Ernest also notes that he is working on the \u0026#x201C;Woppian Way\u0026#x201D; and has read several books. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the \u0026#x201C;wops\u0026#x201D; and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son \u0026#x201C;Dear Bum,\u0026#x201D; J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary\u0026#x2019;s arm is improving with massage and therapy.\u003c/p\u003e","\u003cp\u003eDiaries (12), 1938, 1951, of George R. Hemingway, Ernest\u0026#x2019;s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)\u003c/p\u003e","\u003cp\u003eThe organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.\u003c/p\u003e","\u003cp\u003eWhile the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.\u003c/p\u003e","\u003cp\u003eA later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest\u0026#x2019;s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.\u003c/p\u003e","\u003cp\u003eUser Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.\u003c/p\u003e","\u003cp\u003eProcessing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection.\u003c/p\u003e"],"scopecontent_tesim":["Materials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) ‘Adventures of a Young Man’, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.","Of particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)","The second manuscript letter is written by Ernest to “Dear Dad”, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter “Rec’d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his “typer” he is leaving Thursday for Petoskey. Ernest also notes that he is working on the “Woppian Way” and has read several books. (Note: This letter is housed separately from the rest of the collection.)","The third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the “wops” and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)","The fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son “Dear Bum,” J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary’s arm is improving with massage and therapy.","Diaries (12), 1938, 1951, of George R. Hemingway, Ernest’s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)","The organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.","While the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.","A later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest’s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.","User Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.","Processing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection."],"abstract_html_tesm":["\u003cabstract\u003e\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n\u003c/abstract\u003e"],"abstract_tesim":["\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n"],"names_ssim":["Clarke Historical Library , Central Michigan University","Michigan Hemingway Society.","Hemingway family.","Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises."],"corpname_ssim":["Clarke Historical Library , Central Michigan University","Michigan Hemingway Society."],"famname_ssim":["Hemingway family."],"persname_ssim":["Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises."],"language_ssim":["The material is in  English"],"total_component_count_is":303,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"ehll--HemingwayErnest","timestamp":"2025-02-18T23:25:31.217Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/ehll--HemingwayErnest_al_22240c36d5432f80654a1aab09a046e648608373"}},{"id":"media0001-xml_aspace_ref101_qcw","type":"File","attributes":{"title":"The Berkeley Poetry Conference - Charles Olson: lecture, reading.","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref101_qcw#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eReel Housing contains detailed contents listing.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref101_qcw#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref101_qcw","ref_ssm":["aspace_ref101_qcw","aspace_ref101_qcw"],"id":"media0001-xml_aspace_ref101_qcw","title_filing_ssi":"The Berkeley Poetry Conference - Charles Olson: lecture, reading.","title_ssm":["The Berkeley Poetry Conference - Charles Olson: lecture, reading."],"title_tesim":["The Berkeley Poetry Conference - Charles Olson: lecture, reading."],"normalized_title_ssm":["The Berkeley Poetry Conference - Charles Olson: lecture, reading."],"text":["The Berkeley Poetry Conference - Charles Olson: lecture, reading.","Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","folder 46","Reel Housing contains detailed contents listing."],"component_level_isim":[1],"parent_ssim":["media0001-xml"],"parent_ssi":"media0001-xml","parent_ids_ssim":["media0001-xml"],"parent_unittitles_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_unittitles_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_levels_ssm":["collection"],"repository_ssim":["Stanford University Libraries. 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To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"containers_ssim":["folder 46"],"scopecontent_html_tesm":["\u003cp\u003eReel Housing contains detailed contents listing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Reel Housing contains detailed contents listing."],"_nest_path_":"/components#45","_nest_parent_":"media0001-xml","_root_":"media0001-xml","timestamp":"2025-02-18T23:10:01.773Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"media0001-xml","title_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles"],"title_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles"],"ead_ssi":"media0001.xml","unitdate_ssm":["1959-1969"],"unitdate_inclusive_ssm":["1959-1969"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.MEDIA.0001"],"text":["MSS.MEDIA.0001","Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","Collection is open for research; materials must be requested at least 24 hours in advance of intended use.","Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.","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.","Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.","Department of Special Collections and University Archives","Creeley, Robert, 1926-2005","Undetermined"],"unitid_tesim":["MSS.MEDIA.0001"],"normalized_date_ssm":["1959-1969"],"normalized_title_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_title_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_ssim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"repository_ssm":["Stanford University Libraries. 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To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"acqinfo_ssim":["Purchased, 2002"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet"],"extent_tesim":["2 Linear Feet"],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research; materials must be requested at least 24 hours in advance of intended use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Collection is open for research; materials must be requested at least 24 hours in advance of intended use."],"prefercite_html_tesm":["\u003cp\u003eAudio tapes related to Robert Creeley and his personal and artistic circles, MSS MEDIA 0001. 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AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"component_level_isim":[3],"parent_ssim":["VAB9846","VAB9846-00037","VAB9846-00042"],"parent_ssi":"VAB9846-00042","parent_ids_ssim":["VAB9846","VAB9846_VAB9846-00037","VAB9846_VAB9846-00042"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. 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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_VAB9846-00043"}},{"id":"umich-bhl-0312_aspace_f25d06644bbcc3d3f9c6485282dc002a","type":"File","attributes":{"title":"\"The Boy Who Played with Dolls\", 1991","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_f25d06644bbcc3d3f9c6485282dc002a#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_f25d06644bbcc3d3f9c6485282dc002a","ref_ssm":["aspace_f25d06644bbcc3d3f9c6485282dc002a","aspace_f25d06644bbcc3d3f9c6485282dc002a"],"id":"umich-bhl-0312_aspace_f25d06644bbcc3d3f9c6485282dc002a","title_filing_ssi":"\"The Boy Who Played with Dolls\"","title_ssm":["\"The Boy Who Played with Dolls\""],"title_tesim":["\"The Boy Who Played with Dolls\""],"unitdate_inclusive_ssm":["1991"],"normalized_date_ssm":["1991"],"normalized_title_ssm":["\"The Boy Who Played with Dolls\", 1991"],"text":["\"The Boy Who Played with Dolls\", 1991","Peter Sparling papers, 1961-2013, bulk 1970-2000","Photographs, 1972-1999","Sparling Choreography","box 2","Performance; Sparling solo Location: U-M Dance Building Photographer: Nat Ehrlich"],"component_level_isim":[3],"parent_ssim":["umich-bhl-0312","aspace_6834fa8b0a7ad459d153bd6d3789745a","aspace_f4060d7c63145586f9f94fbeef69d196"],"parent_ssi":"aspace_f4060d7c63145586f9f94fbeef69d196","parent_ids_ssim":["umich-bhl-0312","umich-bhl-0312_aspace_6834fa8b0a7ad459d153bd6d3789745a","umich-bhl-0312_aspace_f4060d7c63145586f9f94fbeef69d196"],"parent_unittitles_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Photographs, 1972-1999","Sparling Choreography"],"parent_unittitles_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Photographs, 1972-1999","Sparling Choreography"],"parent_levels_ssm":["collection","Series","Subseries"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"extent_ssm":["1 contact sheets","1 prints"],"extent_tesim":["1 contact sheets","1 prints"],"physfacet_tesim":["see also \"Witness\" for other contact sheet"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":53,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials."],"date_range_isim":[1991],"containers_ssim":["box 2"],"odd_html_tesm":["\u003clist type=\"ordered\"\u003e\n  \u003citem\u003ePerformance; Sparling solo\u003c/item\u003e\n  \u003citem\u003eLocation: U-M Dance Building\u003c/item\u003e\n  \u003citem\u003ePhotographer: Nat Ehrlich\u003c/item\u003e\n\u003c/list\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Performance; Sparling solo Location: U-M Dance Building Photographer: Nat Ehrlich"],"_nest_path_":"/components#6/components#0/components#3","_nest_parent_":"umich-bhl-0312_aspace_f4060d7c63145586f9f94fbeef69d196","_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. 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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. 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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. 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He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan"],"processinfo_html_tesm":["\u003cp\u003e\u003cextptr actuate=\"onload\" href=\"digitalproc\" show=\"embed\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":[""],"scopecontent_html_tesm":["\u003cp\u003eThe Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. 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Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e7ba80ca0d30560d8aa900af8025f1a9\"\u003ePeter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. Papers consist of materials relating to Sparling's dance training, performance, and teaching including background materials; choreography notes and sketches; correspondence; clippings and publicity from dance companies with whom he was associated; programs and reviews; photographs, video and film of performances; and posters.\u003c/abstract\u003e"],"abstract_tesim":["Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. 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