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Conference Sessions, 2009 November 13 and 14","title_ssm":["1. Conference Sessions, 2009 November 13 and 14"],"title_tesim":["1. Conference Sessions, 2009 November 13 and 14"],"normalized_title_ssm":["1. Conference Sessions, 2009 November 13 and 14"],"text":["1. Conference Sessions, 2009 November 13 and 14","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU\n log in credentials. Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below. Medium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Low resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz) Video discs (DVD) Copies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed,\n redundant, etc."],"component_level_isim":[1],"parent_ssim":["VAB9846"],"parent_ssi":"VAB9846","parent_ids_ssim":["VAB9846"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_levels_ssm":["collection"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["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."],"corpname_ssim":["Indiana University, Radio and Television\n Services","Indiana University, Radio and Television\n Services","Indiana University, Radio and Television\n Services","Indiana University, Radio and Television\n Services"],"persname_ssim":["Hollinden, Andy","Crazy Horse, Kandia","Stew","Willis, Ike","McAlpin, Michael","Batcheller, Anna","Garofalo, Reebee","Mitchell, Moe","Tamar-kali","Tate, Greg","Tillery, Linda","Sewald, Ronda L.","Mahon, Maureen","Fields, Rob","Netic","Thomas, Kamara","Thomas, Suzanne","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]"],"note_html_tesm":["\u003cnote label=\"Alternate formats available\"\u003e\n \u003cp\u003eAll HD QuickTime files have the following derivative copies: \u003clist type=\"marked\"\u003e\n \u003citem\u003eOnline streaming access is available for some items with IU\n log in credentials. Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below.\u003c/item\u003e\n \u003citem\u003eMedium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz)\u003c/item\u003e\n \u003citem\u003eLow resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz)\u003c/item\u003e\n \u003citem\u003eVideo discs (DVD)\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e\n \u003cp\u003eCopies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed,\n redundant, etc.\u003c/p\u003e\n \u003c/note\u003e"],"note_tesim":["All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU\n log in credentials. Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below. Medium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Low resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz) Video discs (DVD) Copies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed,\n redundant, etc."],"_nest_path_":"/components#0","_nest_parent_":"VAB9846","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. "],"access_subjects_ssim":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n (circa 21 hours), 1 box documentation, assorted audio, video, and image\n files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . 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One-on-One Interviews, 2009 November 12-14","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU\n log in credentials. Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below. Medium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Low resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz) Video discs (DVD) File DVF 1019 contains a test pattern/calibration screen for the\n panel."],"component_level_isim":[1],"parent_ssim":["VAB9846"],"parent_ssi":"VAB9846","parent_ids_ssim":["VAB9846"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_levels_ssm":["collection"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":12,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":6,"parent_access_restrict_tesm":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. 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Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below.\u003c/item\u003e\n \u003citem\u003eMedium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz)\u003c/item\u003e\n \u003citem\u003eLow resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz)\u003c/item\u003e\n \u003citem\u003eVideo discs (DVD)\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e\n \u003cp\u003eFile DVF 1019 contains a test pattern/calibration screen for the\n panel.\u003c/p\u003e\n \u003c/note\u003e"],"note_tesim":["All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU\n log in credentials. Researchers in need of streaming access can\n contact the AAAMC to request an IU guest account. Links to\n streaming content, when available, are included in each item's\n description below. Medium resolution QuickTime files (video: 960 x 540,\n deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Low resolution QuickTime files w/embedded timecode windows\n (video: 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio:\n linear PCM, stereo, 16-bit/48 kHz) Video discs (DVD) File DVF 1019 contains a test pattern/calibration screen for the\n panel."],"_nest_path_":"/components#1","_nest_parent_":"VAB9846","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. "],"access_subjects_ssim":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n (circa 21 hours), 1 box documentation, assorted audio, video, and image\n files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00006"}},{"id":"VAB9846_VAB9846-00019","type":"Series","attributes":{"title":"3. Conference-Related Events, 2009 October 19-November\n 20","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00019#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00019","ref_ssm":["VAB9846-00019","VAB9846-00019"],"id":"VAB9846_VAB9846-00019","title_filing_ssi":"3. Conference-Related Events, 2009 October 19-November\n 20","title_ssm":["3. Conference-Related Events, 2009 October 19-November\n 20"],"title_tesim":["3. Conference-Related Events, 2009 October 19-November\n 20"],"normalized_title_ssm":["3. Conference-Related Events, 2009 October 19-November\n 20"],"text":["3. Conference-Related Events, 2009 October 19-November\n 20","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU log in\n credentials. Researchers in need of streaming access can contact the\n AAAMC to request an IU guest account. Links to streaming content,\n when available, are included in each item's description\n below. Medium resolution QuickTime files (video: 960 x 540, deinterlaced,\n 29.97 fps, codec h.264 ; audio: linear PCM, stereo, 16-bit/48\n kHz) Low resolution QuickTime files w/embedded timecode windows (video:\n 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Video discs (DVD)","Copies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed, redundant,\n etc."],"component_level_isim":[1],"parent_ssim":["VAB9846"],"parent_ssi":"VAB9846","parent_ids_ssim":["VAB9846"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_levels_ssm":["collection"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":11,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":19,"parent_access_restrict_tesm":["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."],"corpname_ssim":["IU Soul Revue","IU Soul Revue","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","Monroe County Public Library, Community\n Access Television Services"],"persname_ssim":["Wilkins, Langston","Nelson-Strauss, Brenda","Batcheller, Anna","Stew","Estrada, Zilia C.","Estrada, Zilia C.","Willis, Ike","Estrada, Zilia C.","Estrada, Zilia C.","Walter, Rich","Estrada, Zilia C.","Thomas, Suzanne","Kreiger, Meryl","McAlpin, Michael","Crazy Horse, Kandia","Thomas, Kamara","Estrada, Zilia C.","Tillery, Linda","Unidentified student from Paul Mahern's\n \"Audio production\" course","Estrada, Zilia C.","Willis, Ike","Wallner, Jessie","McAlpin, Michael","Walter, Rich","Ozdegirmenci, Izlem","Thomas, Suzanne","Cooper, Kailee","Ozdegirmenci, Izlem","Thomas, Suzanne","Fales, Cornelia","Lee, Mike","Lee, Mike","Spooner, James","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Lee, Mike","Thomas, Suzanne","Tamar-kali","Guest-Scott, Anthony","Wallner, Jessie","Hatlen, Merrill","Hsu, Hsin-Wen","Batcheller, Anna","Lee, Mike"],"note_html_tesm":["\u003cp\u003eAll HD QuickTime files have the following derivative copies: \u003clist type=\"marked\"\u003e\n \u003citem\u003eOnline streaming access is available for some items with IU log in\n credentials. Researchers in need of streaming access can contact the\n AAAMC to request an IU guest account. Links to streaming content,\n when available, are included in each item's description\n below.\u003c/item\u003e\n \u003citem\u003eMedium resolution QuickTime files (video: 960 x 540, deinterlaced,\n 29.97 fps, codec h.264 ; audio: linear PCM, stereo, 16-bit/48\n kHz)\u003c/item\u003e\n \u003citem\u003eLow resolution QuickTime files w/embedded timecode windows (video:\n 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz)\u003c/item\u003e\n \u003citem\u003eVideo discs (DVD)\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e","\u003cp\u003eCopies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed, redundant,\n etc.\u003c/p\u003e"],"note_tesim":["All HD QuickTime files have the following derivative copies: Online streaming access is available for some items with IU log in\n credentials. Researchers in need of streaming access can contact the\n AAAMC to request an IU guest account. Links to streaming content,\n when available, are included in each item's description\n below. Medium resolution QuickTime files (video: 960 x 540, deinterlaced,\n 29.97 fps, codec h.264 ; audio: linear PCM, stereo, 16-bit/48\n kHz) Low resolution QuickTime files w/embedded timecode windows (video:\n 480 x 270, deinterlaced, 29.97 fps, codec h.264 ; audio: linear PCM,\n stereo, 16-bit/48 kHz) Video discs (DVD)","Copies of the digital image files are available on DVDR 15 and include\n deaccessioned items (e.g., photos that were blurry, underexposed, redundant,\n etc."],"_nest_path_":"/components#2","_nest_parent_":"VAB9846","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. "],"access_subjects_ssim":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n (circa 21 hours), 1 box documentation, assorted audio, video, and image\n files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00019"}},{"id":"VAB9846_VAB9846-00031","type":"Series","attributes":{"title":"4. Miscellaneous Audiovisual Materials, 2009\n November-December","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00031#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00031","ref_ssm":["VAB9846-00031","VAB9846-00031"],"id":"VAB9846_VAB9846-00031","title_filing_ssi":"4. Miscellaneous Audiovisual Materials, 2009\n November-December","title_ssm":["4. Miscellaneous Audiovisual Materials, 2009\n November-December"],"title_tesim":["4. Miscellaneous Audiovisual Materials, 2009\n November-December"],"normalized_title_ssm":["4. Miscellaneous Audiovisual Materials, 2009\n November-December"],"text":["4. Miscellaneous Audiovisual Materials, 2009\n November-December","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"component_level_isim":[1],"parent_ssim":["VAB9846"],"parent_ssi":"VAB9846","parent_ids_ssim":["VAB9846"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_levels_ssm":["collection"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":31,"parent_access_restrict_tesm":["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."],"corpname_ssim":["Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Lee, Mike","Thomas, Suzanne","Teo, Bertrand","Teo, Bertrand","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth"],"_nest_path_":"/components#3","_nest_parent_":"VAB9846","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. 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If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00031"}},{"id":"VAB9846_VAB9846-00037","type":"Series","attributes":{"title":"5. AAAMC Production Materials, 2009 March-2010 January","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00037#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00037","ref_ssm":["VAB9846-00037","VAB9846-00037"],"id":"VAB9846_VAB9846-00037","title_filing_ssi":"5. AAAMC Production Materials, 2009 March-2010 January","title_ssm":["5. AAAMC Production Materials, 2009 March-2010 January"],"title_tesim":["5. AAAMC Production Materials, 2009 March-2010 January"],"normalized_title_ssm":["5. AAAMC Production Materials, 2009 March-2010 January"],"text":["5. AAAMC Production Materials, 2009 March-2010 January","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"component_level_isim":[1],"parent_ssim":["VAB9846"],"parent_ssi":"VAB9846","parent_ids_ssim":["VAB9846"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"parent_levels_ssm":["collection"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":37,"parent_access_restrict_tesm":["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."],"persname_ssim":["Cooper, Tyron","Tillery, Linda","Cooper, Tyron","Mahon, Maureen"],"_nest_path_":"/components#4","_nest_parent_":"VAB9846","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. "],"access_subjects_ssim":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n (circa 21 hours), 1 box documentation, assorted audio, video, and image\n files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00037"}},{"id":"sc0066-xml_aspace_ref261_qi1","type":"Series","attributes":{"title":"Addenda, 1972 Nov","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/sc0066-xml_aspace_ref261_qi1#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref261_qi1","ref_ssm":["aspace_ref261_qi1","aspace_ref261_qi1"],"id":"sc0066-xml_aspace_ref261_qi1","title_filing_ssi":"Addenda","title_ssm":["Addenda"],"title_tesim":["Addenda"],"unitdate_inclusive_ssm":["1972 Nov"],"normalized_date_ssm":["1972 Nov"],"normalized_title_ssm":["Addenda, 1972 Nov"],"text":["Addenda, 1972 Nov","KZSU Project South interviews, 1965-1976"],"component_level_isim":[1],"parent_ssim":["sc0066-xml"],"parent_ssi":"sc0066-xml","parent_ids_ssim":["sc0066-xml"],"parent_unittitles_ssm":["KZSU Project South interviews, 1965-1976"],"parent_unittitles_tesim":["KZSU Project South interviews, 1965-1976"],"parent_levels_ssm":["collection"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["KZSU Project South interviews, 1965-1976"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":255,"parent_access_restrict_tesm":["The materials are open for research use."],"parent_access_terms_tesm":["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 and University Archives."],"date_range_isim":[1972],"_nest_path_":"/components#1","_nest_parent_":"sc0066-xml","_root_":"sc0066-xml","timestamp":"2025-02-18T23:10:35.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"sc0066-xml","title_filing_ssi":"KZSU Project South Interviews","title_ssm":["KZSU Project South interviews"],"title_tesim":["KZSU Project South interviews"],"ead_ssi":"sc0066.xml","unitdate_ssm":["1965-1976"],"unitdate_inclusive_ssm":["1965-1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC0066"],"text":["SC0066","KZSU Project South interviews, 1965-1976","Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews.","The materials are open for research use.","The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.","During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969","Gift of Richard Gillam and KZSU, 1969.","Alabama - Southern Christian Leadership Conference Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference Columbia Orangeburg","Original audiotapes are held in the Stanford Archive of Recorded Sound.","This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.","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 and University Archives.","Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan","Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E.","English"],"unitid_tesim":["SC0066"],"normalized_date_ssm":["1965-1976"],"normalized_title_ssm":["KZSU Project South interviews, 1965-1976"],"collection_title_tesim":["KZSU Project South interviews, 1965-1976"],"collection_ssim":["KZSU Project South interviews, 1965-1976"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_persname_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope."],"creator_corpname_ssim":["Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"creators_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"access_subjects_ssim":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"access_subjects_ssm":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"has_online_content_ssim":["true"],"extent_ssm":["7 Linear Feet"],"extent_tesim":["7 Linear Feet"],"genreform_ssim":["Audiotapes.","Interviews."],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThe materials are open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Information about Access"],"accessrestrict_tesim":["The materials are open for research use."],"altformavail_html_tesm":["\u003cp\u003eThe transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview."],"bioghist_html_tesm":["\u003cp\u003eDuring the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.\u003c/p\u003e\n","\u003cp\u003eSeveral of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.\u003c/p\u003e\n","\u003cp\u003eThe following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.\u003c/p\u003e\n","\u003cp\u003eMany of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.\u003c/p\u003e\n","\u003cp\u003eIn closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.\u003c/p\u003e\n","\u003cp\u003eRichard Gillam\u003c/p\u003e\n","\u003cp\u003eJames D. McRae\u003c/p\u003e\n","\u003cp\u003ePalo Alto\u003c/p\u003e\n","\u003cp\u003eJanuary 1969\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969"],"custodhist_html_tesm":["\u003cp\u003eGift of Richard Gillam and KZSU, 1969.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Gift of Richard Gillam and KZSU, 1969."],"odd_html_tesm":["\u003cp\u003eAlabama - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eDemopolis\u003c/item\u003e\u003citem\u003eGreensboro\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eLuverne\u003c/item\u003e\u003citem\u003eMarion\u003c/item\u003e\u003citem\u003eMidway\u003c/item\u003e\u003citem\u003eMontgomery\u003c/item\u003e\u003citem\u003eSelma (also the SNCC project located there)\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eArkansas - Student Nonviolent Coordinating Committee \u003clist type=\"simple\"\u003e\u003citem\u003eLittle Rock - state headquarters\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eGeorgia - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eAtlanta - Southern headquarters of SCLC \u0026amp; SNCC\u003c/item\u003e\u003citem\u003eCrawfordville\u003c/item\u003e\u003citem\u003eMacon\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eLouisiana - Congress of Racial Equality \u003clist type=\"simple\"\u003e\u003citem\u003eBaton Rouge - state headquarters\u003c/item\u003e\u003citem\u003eBogalusa\u003c/item\u003e\u003citem\u003eClinton\u003c/item\u003e\u003citem\u003eFerriday\u003c/item\u003e\u003citem\u003eGreensburg\u003c/item\u003e\u003citem\u003eHomer\u003c/item\u003e\u003citem\u003eJonesboro\u003c/item\u003e\u003citem\u003eMinden\u003c/item\u003e\u003citem\u003eMonroe\u003c/item\u003e\u003citem\u003eNew Orleans project\u003c/item\u003e\u003citem\u003eNew Roads\u003c/item\u003e\u003citem\u003ePlaquemine - evaluation session\u003c/item\u003e\u003citem\u003eShreveport\u003c/item\u003e\u003citem\u003eSouthern Regional CORE office\u003c/item\u003e\u003citem\u003eSt. Francisville\u003c/item\u003e\u003citem\u003eTallulah\u003c/item\u003e\u003citem\u003eWaveland, Miss. - orientation\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eMississippi - Mississippi Freedom Democratic Party \u003clist type=\"simple\"\u003e\u003citem\u003eBatesville\u003c/item\u003e\u003citem\u003eBeasley\u003c/item\u003e\u003citem\u003eBelzoni\u003c/item\u003e\u003citem\u003eBiloxi\u003c/item\u003e\u003citem\u003eCanton\u003c/item\u003e\u003citem\u003eClarksdale\u003c/item\u003e\u003citem\u003eCleveland\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eGreenwood\u003c/item\u003e\u003citem\u003eHattiesburg - orientation\u003c/item\u003e\u003citem\u003eHolly Springs\u003c/item\u003e\u003citem\u003eIndianola\u003c/item\u003e\u003citem\u003eJackson - state headquarters\u003c/item\u003e\u003citem\u003eLaurel\u003c/item\u003e\u003citem\u003eMcComb\u003c/item\u003e\u003citem\u003eMileston\u003c/item\u003e\u003citem\u003eMt. Beulah\u003c/item\u003e\u003citem\u003eNatchez\u003c/item\u003e\u003citem\u003ePhela\u003c/item\u003e\u003citem\u003ePhiladelphia\u003c/item\u003e\u003citem\u003eQuitman\u003c/item\u003e\u003citem\u003eRuleville\u003c/item\u003e\u003citem\u003eShaw\u003c/item\u003e\u003citem\u003eVicksburg\u003c/item\u003e\u003citem\u003eWest Point\u003c/item\u003e\u003citem\u003eWhites\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eSouth Carolina - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eColumbia\u003c/item\u003e\u003citem\u003eOrangeburg\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e"],"odd_heading_ssm":["Appendix: Projects Visited"],"odd_tesim":["Alabama - Southern Christian Leadership Conference Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference Columbia Orangeburg"],"originalsloc_html_tesm":["\u003cp\u003eOriginal audiotapes are held in the Stanford Archive of Recorded Sound.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Original audiotapes are held in the Stanford Archive of Recorded Sound."],"prefercite_html_tesm":["\u003cp\u003eKZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["KZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Ownership \u0026 Copyright"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"names_coll_ssim":["Ku Klux Klan (1915- )","KZSU (Radio station : Stanford)","Congress of Racial Equality.","Stanford University. Institute of American History","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","KZSU (Radio station : Stanford)","Southern Christian Leadership Conference.","Evers, Charles","Abernathy, Ralph David, 1926-1990","Becker, Mary Kay.","King, Martin Luther, Jr.","Dalrymple, Mark David","Dankert, Roger.","Williams, Hosea.","Shelton, Robert M.","Wells, Judith Lee.","McDaniel, Edward L.","McRae, James Dean.","Farmer, James.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope."],"names_ssim":["Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan","Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E."],"corpname_ssim":["Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan"],"persname_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":259,"online_item_count_is":741,"component_level_isim":[0],"sort_isi":0,"_root_":"sc0066-xml","timestamp":"2025-02-18T23:10:35.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/sc0066-xml_aspace_ref261_qi1"}},{"id":"sc0066-xml_aspace_ref264_kka","type":"Series","attributes":{"title":"Addenda, 1976 Apr","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/sc0066-xml_aspace_ref264_kka#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref264_kka","ref_ssm":["aspace_ref264_kka","aspace_ref264_kka"],"id":"sc0066-xml_aspace_ref264_kka","title_filing_ssi":"Addenda","title_ssm":["Addenda"],"title_tesim":["Addenda"],"unitdate_inclusive_ssm":["1976 Apr"],"normalized_date_ssm":["1976 Apr"],"normalized_title_ssm":["Addenda, 1976 Apr"],"text":["Addenda, 1976 Apr","KZSU Project South interviews, 1965-1976"],"component_level_isim":[1],"parent_ssim":["sc0066-xml"],"parent_ssi":"sc0066-xml","parent_ids_ssim":["sc0066-xml"],"parent_unittitles_ssm":["KZSU Project South interviews, 1965-1976"],"parent_unittitles_tesim":["KZSU Project South interviews, 1965-1976"],"parent_levels_ssm":["collection"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["KZSU Project South interviews, 1965-1976"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":258,"parent_access_restrict_tesm":["The materials are open for research use."],"parent_access_terms_tesm":["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 and University Archives."],"date_range_isim":[1976],"_nest_path_":"/components#2","_nest_parent_":"sc0066-xml","_root_":"sc0066-xml","timestamp":"2025-02-18T23:10:35.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"sc0066-xml","title_filing_ssi":"KZSU Project South Interviews","title_ssm":["KZSU Project South interviews"],"title_tesim":["KZSU Project South interviews"],"ead_ssi":"sc0066.xml","unitdate_ssm":["1965-1976"],"unitdate_inclusive_ssm":["1965-1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC0066"],"text":["SC0066","KZSU Project South interviews, 1965-1976","Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews.","The materials are open for research use.","The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.","During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969","Gift of Richard Gillam and KZSU, 1969.","Alabama - Southern Christian Leadership Conference Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference Columbia Orangeburg","Original audiotapes are held in the Stanford Archive of Recorded Sound.","This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.","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 and University Archives.","Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan","Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E.","English"],"unitid_tesim":["SC0066"],"normalized_date_ssm":["1965-1976"],"normalized_title_ssm":["KZSU Project South interviews, 1965-1976"],"collection_title_tesim":["KZSU Project South interviews, 1965-1976"],"collection_ssim":["KZSU Project South interviews, 1965-1976"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_persname_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope."],"creator_corpname_ssim":["Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"creators_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"access_subjects_ssim":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"access_subjects_ssm":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"has_online_content_ssim":["true"],"extent_ssm":["7 Linear Feet"],"extent_tesim":["7 Linear Feet"],"genreform_ssim":["Audiotapes.","Interviews."],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThe materials are open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Information about Access"],"accessrestrict_tesim":["The materials are open for research use."],"altformavail_html_tesm":["\u003cp\u003eThe transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview."],"bioghist_html_tesm":["\u003cp\u003eDuring the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.\u003c/p\u003e\n","\u003cp\u003eSeveral of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.\u003c/p\u003e\n","\u003cp\u003eThe following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.\u003c/p\u003e\n","\u003cp\u003eMany of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.\u003c/p\u003e\n","\u003cp\u003eIn closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.\u003c/p\u003e\n","\u003cp\u003eRichard Gillam\u003c/p\u003e\n","\u003cp\u003eJames D. McRae\u003c/p\u003e\n","\u003cp\u003ePalo Alto\u003c/p\u003e\n","\u003cp\u003eJanuary 1969\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969"],"custodhist_html_tesm":["\u003cp\u003eGift of Richard Gillam and KZSU, 1969.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Gift of Richard Gillam and KZSU, 1969."],"odd_html_tesm":["\u003cp\u003eAlabama - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eDemopolis\u003c/item\u003e\u003citem\u003eGreensboro\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eLuverne\u003c/item\u003e\u003citem\u003eMarion\u003c/item\u003e\u003citem\u003eMidway\u003c/item\u003e\u003citem\u003eMontgomery\u003c/item\u003e\u003citem\u003eSelma (also the SNCC project located there)\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eArkansas - Student Nonviolent Coordinating Committee \u003clist type=\"simple\"\u003e\u003citem\u003eLittle Rock - state headquarters\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eGeorgia - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eAtlanta - Southern headquarters of SCLC \u0026amp; SNCC\u003c/item\u003e\u003citem\u003eCrawfordville\u003c/item\u003e\u003citem\u003eMacon\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eLouisiana - Congress of Racial Equality \u003clist type=\"simple\"\u003e\u003citem\u003eBaton Rouge - state headquarters\u003c/item\u003e\u003citem\u003eBogalusa\u003c/item\u003e\u003citem\u003eClinton\u003c/item\u003e\u003citem\u003eFerriday\u003c/item\u003e\u003citem\u003eGreensburg\u003c/item\u003e\u003citem\u003eHomer\u003c/item\u003e\u003citem\u003eJonesboro\u003c/item\u003e\u003citem\u003eMinden\u003c/item\u003e\u003citem\u003eMonroe\u003c/item\u003e\u003citem\u003eNew Orleans project\u003c/item\u003e\u003citem\u003eNew Roads\u003c/item\u003e\u003citem\u003ePlaquemine - evaluation session\u003c/item\u003e\u003citem\u003eShreveport\u003c/item\u003e\u003citem\u003eSouthern Regional CORE office\u003c/item\u003e\u003citem\u003eSt. Francisville\u003c/item\u003e\u003citem\u003eTallulah\u003c/item\u003e\u003citem\u003eWaveland, Miss. - orientation\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eMississippi - Mississippi Freedom Democratic Party \u003clist type=\"simple\"\u003e\u003citem\u003eBatesville\u003c/item\u003e\u003citem\u003eBeasley\u003c/item\u003e\u003citem\u003eBelzoni\u003c/item\u003e\u003citem\u003eBiloxi\u003c/item\u003e\u003citem\u003eCanton\u003c/item\u003e\u003citem\u003eClarksdale\u003c/item\u003e\u003citem\u003eCleveland\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eGreenwood\u003c/item\u003e\u003citem\u003eHattiesburg - orientation\u003c/item\u003e\u003citem\u003eHolly Springs\u003c/item\u003e\u003citem\u003eIndianola\u003c/item\u003e\u003citem\u003eJackson - state headquarters\u003c/item\u003e\u003citem\u003eLaurel\u003c/item\u003e\u003citem\u003eMcComb\u003c/item\u003e\u003citem\u003eMileston\u003c/item\u003e\u003citem\u003eMt. Beulah\u003c/item\u003e\u003citem\u003eNatchez\u003c/item\u003e\u003citem\u003ePhela\u003c/item\u003e\u003citem\u003ePhiladelphia\u003c/item\u003e\u003citem\u003eQuitman\u003c/item\u003e\u003citem\u003eRuleville\u003c/item\u003e\u003citem\u003eShaw\u003c/item\u003e\u003citem\u003eVicksburg\u003c/item\u003e\u003citem\u003eWest Point\u003c/item\u003e\u003citem\u003eWhites\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eSouth Carolina - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eColumbia\u003c/item\u003e\u003citem\u003eOrangeburg\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e"],"odd_heading_ssm":["Appendix: Projects Visited"],"odd_tesim":["Alabama - Southern Christian Leadership Conference Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference Columbia Orangeburg"],"originalsloc_html_tesm":["\u003cp\u003eOriginal audiotapes are held in the Stanford Archive of Recorded Sound.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Original audiotapes are held in the Stanford Archive of Recorded Sound."],"prefercite_html_tesm":["\u003cp\u003eKZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["KZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Ownership \u0026 Copyright"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"names_coll_ssim":["Ku Klux Klan (1915- )","KZSU (Radio station : Stanford)","Congress of Racial Equality.","Stanford University. Institute of American History","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","KZSU (Radio station : Stanford)","Southern Christian Leadership Conference.","Evers, Charles","Abernathy, Ralph David, 1926-1990","Becker, Mary Kay.","King, Martin Luther, Jr.","Dalrymple, Mark David","Dankert, Roger.","Williams, Hosea.","Shelton, Robert M.","Wells, Judith Lee.","McDaniel, Edward L.","McRae, James Dean.","Farmer, James.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope."],"names_ssim":["Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan","Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E."],"corpname_ssim":["Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan"],"persname_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":259,"online_item_count_is":741,"component_level_isim":[0],"sort_isi":0,"_root_":"sc0066-xml","timestamp":"2025-02-18T23:10:35.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/sc0066-xml_aspace_ref264_kka"}},{"id":"umich-bhl-0047_aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf","type":"Series","attributes":{"title":"Audio Recording","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0047_aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf","ref_ssm":["aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf","aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf"],"id":"umich-bhl-0047_aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf","title_filing_ssi":"Audio Recording","title_ssm":["Audio Recording"],"title_tesim":["Audio Recording"],"normalized_title_ssm":["Audio Recording"],"text":["Audio Recording","Ruth Ellis papers, 1910-2000, bulk 1997-2000","Digitized audio files are currently available only in the Bentley Historical Library reading room on designated Bentley Library computers."],"component_level_isim":[1],"parent_ssim":["umich-bhl-0047"],"parent_ssi":"umich-bhl-0047","parent_ids_ssim":["umich-bhl-0047"],"parent_unittitles_ssm":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"parent_unittitles_tesim":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"parent_levels_ssm":["collection"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"has_online_content_ssim":["true"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":15,"parent_access_restrict_tesm":["The collection is open to research."],"parent_access_terms_tesm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"accessrestrict_html_tesm":["\u003cp\u003eDigitized audio files are currently available only in the Bentley Historical Library reading room on designated Bentley Library computers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Digitized audio files are currently available only in the Bentley Historical Library reading room on designated Bentley Library computers."],"_nest_path_":"/components#1","_nest_parent_":"umich-bhl-0047","_root_":"umich-bhl-0047","timestamp":"2025-02-18T23:13:06.070Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-0047","title_ssm":["Ruth Ellis papers"],"title_tesim":["Ruth Ellis papers"],"ead_ssi":"umich-bhl-0047","unitdate_ssm":["1910-2000","1997-2000"],"unitdate_bulk_ssim":["1997-2000"],"unitdate_inclusive_ssm":["1910-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["0047 Aa 2 Ac"],"text":["0047 Aa 2 Ac","Ruth Ellis papers, 1910-2000, bulk 1997-2000","Lesbians -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","Lesbians -- Michigan -- Detroit.","Printers.","Printing press.","Photographs.","The collection is open to research.","No further additions to the papers are expected.","Digitization: The Library has undertaken the digitization of a number of sound recordings within this collection. The resulting audio files are available for playback only in the Bentley Library Reading Room. Links to item images and additional information are available within this finding aid. Original sound recordings are only available for staff use.","Ruth Ellis was born on July 23, 1899 in Springfield Illinois, the youngest of four children born to Charles and Carrie Ellis. After the death of her mother, Ellis and her brothers were raised by her father. At age 37, she moved to Detroit and was soon joined by her partner, Cicilene \"Babe\" Franklin also of Springfield. The couple stayed together for more than thirty years, during which time they bought a home on Oakland Avenue and opened a small print shop, the Ellis and Franklin Printing Company."," During the late 1930s and 1940s the Ellis/Franklin house served as a meeting place and temporary shelter for Gay men and Lesbians. Ms. Ellis ran the print shop until her retirement at age 65. She actively participated in the events of the Lesbian community nation-wide until her death in 2000 at the age of 101.","The Ruth Ellis collection contains correspondence, photographs, and publications related to Ms. Ellis's life and her activities in the Gay and Lesbian community. The papers are arranged in the following series: Papers, Correspondence, and Events; Photographs; and Miscellaneous Materials.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Ruth Ellis of Detroit, Michigan was well known in the Gay community as the oldest known African American Lesbian. She was a business woman, owned a printing company, and held social gatherings at her home at a time when there were few opportunities for Gay African Americans to gather. During the last twenty years of her life she was active in the Lesbian, Gay, Bisexual, and Transgender community and in the Senior Citizens movement. The collection contains correspondence, photographs, and publications.","Bentley Historical Library","Ellis family.","Ellis, Ruth, 1899-2000","English","The material is in English"],"unitid_tesim":["0047 Aa 2 Ac"],"normalized_date_ssm":["1910-2000, bulk 1997-2000"],"normalized_title_ssm":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"collection_title_tesim":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"collection_ssim":["Ruth Ellis papers, 1910-2000, bulk 1997-2000"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"creator_ssm":["Ellis, Ruth, 1899-2000"],"creator_ssim":["Ellis, Ruth, 1899-2000"],"creator_persname_ssim":["Ellis, Ruth, 1899-2000"],"creators_ssim":["Ellis, Ruth, 1899-2000"],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["Collection received from Ruth Ellis (donor no. 8774 ) in 2000."],"access_subjects_ssim":["Lesbians -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","Lesbians -- Michigan -- Detroit.","Printers.","Printing press.","Photographs."],"access_subjects_ssm":["Lesbians -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African Americans -- Michigan -- Detroit.","African American lesbians -- Michigan -- Detroit.","Lesbians -- Michigan -- Detroit.","Printers.","Printing press.","Photographs."],"has_online_content_ssim":["true"],"extent_ssm":["2.5 linear feet","3.6 GB"],"extent_tesim":["2.5 linear feet","3.6 GB"],"physfacet_tesim":["online"],"genreform_ssim":["Photographs."],"date_range_isim":[1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the papers are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the papers are expected."],"altformavail_html_tesm":["\u003cp\u003e\u003cemph render=\"bold\"\u003eDigitization:\u003c/emph\u003e The Library has undertaken the digitization of a number of sound recordings within this collection. The resulting audio files are available for playback only in the Bentley Library Reading Room. Links to item images and additional information are available within this finding aid. Original sound recordings are only available for staff use.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["Digitization: The Library has undertaken the digitization of a number of sound recordings within this collection. The resulting audio files are available for playback only in the Bentley Library Reading Room. Links to item images and additional information are available within this finding aid. Original sound recordings are only available for staff use."],"bioghist_html_tesm":["\u003cp\u003eRuth Ellis was born on July 23, 1899 in Springfield Illinois, the youngest of four children born to Charles and Carrie Ellis. After the death of her mother, Ellis and her brothers were raised by her father. At age 37, she moved to Detroit and was soon joined by her partner, Cicilene \"Babe\" Franklin also of Springfield. The couple stayed together for more than thirty years, during which time they bought a home on Oakland Avenue and opened a small print shop, the Ellis and Franklin Printing Company.\u003c/p\u003e\n","\u003cp\u003e During the late 1930s and 1940s the Ellis/Franklin house served as a meeting place and temporary shelter for Gay men and Lesbians. Ms. Ellis ran the print shop until her retirement at age 65. She actively participated in the events of the Lesbian community nation-wide until her death in 2000 at the age of 101.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ruth Ellis was born on July 23, 1899 in Springfield Illinois, the youngest of four children born to Charles and Carrie Ellis. After the death of her mother, Ellis and her brothers were raised by her father. At age 37, she moved to Detroit and was soon joined by her partner, Cicilene \"Babe\" Franklin also of Springfield. The couple stayed together for more than thirty years, during which time they bought a home on Oakland Avenue and opened a small print shop, the Ellis and Franklin Printing Company."," During the late 1930s and 1940s the Ellis/Franklin house served as a meeting place and temporary shelter for Gay men and Lesbians. Ms. Ellis ran the print shop until her retirement at age 65. She actively participated in the events of the Lesbian community nation-wide until her death in 2000 at the age of 101."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Ruth Ellis papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Ruth Ellis papers, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThe Ruth Ellis collection contains correspondence, photographs, and publications related to Ms. Ellis's life and her activities in the Gay and Lesbian community. The papers are arranged in the following series: Papers, Correspondence, and Events; Photographs; and Miscellaneous Materials.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Ruth Ellis collection contains correspondence, photographs, and publications related to Ms. Ellis's life and her activities in the Gay and Lesbian community. The papers are arranged in the following series: Papers, Correspondence, and Events; Photographs; and Miscellaneous Materials."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_14322b7e892c746399263b939c268594\"\u003eRuth Ellis of Detroit, Michigan was well known in the Gay community as the oldest known African American Lesbian. She was a business woman, owned a printing company, and held social gatherings at her home at a time when there were few opportunities for Gay African Americans to gather. During the last twenty years of her life she was active in the Lesbian, Gay, Bisexual, and Transgender community and in the Senior Citizens movement. The collection contains correspondence, photographs, and publications.\u003c/abstract\u003e"],"abstract_tesim":["Ruth Ellis of Detroit, Michigan was well known in the Gay community as the oldest known African American Lesbian. She was a business woman, owned a printing company, and held social gatherings at her home at a time when there were few opportunities for Gay African Americans to gather. During the last twenty years of her life she was active in the Lesbian, Gay, Bisexual, and Transgender community and in the Senior Citizens movement. The collection contains correspondence, photographs, and publications."],"names_ssim":["Bentley Historical Library","Ellis family.","Ellis, Ruth, 1899-2000"],"corpname_ssim":["Bentley Historical Library"],"names_coll_ssim":["Ellis family.","Ellis, Ruth, 1899-2000","Ellis, Ruth, 1899-2000"],"famname_ssim":["Ellis family."],"persname_ssim":["Ellis, Ruth, 1899-2000"],"language_ssim":["English","The material is in English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":35,"online_item_count_is":2,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0047","timestamp":"2025-02-18T23:13:06.070Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0047_aspace_d425b8ceb52b4c7c4bb51dd4a372b2bf"}},{"id":"umich-bhl-014_aspace_e8ba56a50b15ba15962b1b83c42bd6a6","type":"Series","attributes":{"title":"Audio-Visual Materials","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_e8ba56a50b15ba15962b1b83c42bd6a6#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Audio-Visual Materials series contains both audio and visual cassette tapes of TM presentations, debates, or appearances by DeWeese on radio or television programs.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_e8ba56a50b15ba15962b1b83c42bd6a6#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_e8ba56a50b15ba15962b1b83c42bd6a6","ref_ssm":["aspace_e8ba56a50b15ba15962b1b83c42bd6a6","aspace_e8ba56a50b15ba15962b1b83c42bd6a6"],"id":"umich-bhl-014_aspace_e8ba56a50b15ba15962b1b83c42bd6a6","title_filing_ssi":"Audio-Visual Materials","title_ssm":["Audio-Visual Materials"],"title_tesim":["Audio-Visual Materials"],"normalized_title_ssm":["Audio-Visual Materials"],"text":["Audio-Visual Materials","TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund","The Audio-Visual Materials series contains both audio and visual cassette tapes of TM presentations, debates, or appearances by DeWeese on radio or television programs."],"component_level_isim":[2],"parent_ssim":["umich-bhl-014","aspace_cf956795d3593ee5250e5bb0d146af8e"],"parent_ssi":"aspace_cf956795d3593ee5250e5bb0d146af8e","parent_ids_ssim":["umich-bhl-014","umich-bhl-014_aspace_cf956795d3593ee5250e5bb0d146af8e"],"parent_unittitles_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund"],"parent_unittitles_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund"],"parent_levels_ssm":["collection","Subgroup"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":136,"parent_access_restrict_tesm":["Research use of the record group is restricted except with the permission of Dr. Paul DeWeese."],"parent_access_terms_tesm":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials."],"scopecontent_html_tesm":["\u003cp\u003eThe Audio-Visual Materials series contains both audio and visual cassette tapes of TM presentations, debates, or appearances by DeWeese on radio or television programs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Audio-Visual Materials series contains both audio and visual cassette tapes of TM presentations, debates, or appearances by DeWeese on radio or television programs."],"_nest_path_":"/components#0/components#5","_nest_parent_":"umich-bhl-014_aspace_cf956795d3593ee5250e5bb0d146af8e","_root_":"umich-bhl-014","timestamp":"2025-02-18T23:13:12.778Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-014","title_ssm":["TEACH Michigan and TEACH Michigan Education Fund records"],"title_tesim":["TEACH Michigan and TEACH Michigan Education Fund records"],"ead_ssi":"umich-bhl-014","unitdate_ssm":["1989-1996"],"unitdate_inclusive_ssm":["1989-1996"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["014 Bj 2"],"text":["014 Bj 2","TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Charter schools -- Michigan.","Education -- Michigan.","Public schools -- Michigan.","School choice -- Michigan.","Charter schools -- Michigan.","Debates.","Discussion.","Public affairs television programs.","School choice -- Michigan.","Sound recordings.","Videocassettes.","Research use of the record group is restricted except with the permission of Dr. Paul DeWeese.","In 1989, Dr. Paul N. DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions."," Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice."," Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students."," Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters."," In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation."," In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education."," From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school."," In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning.","This record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization.","Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials.","Organization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools.","Offsite storage; prior notification required for access","Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N.","English","The materials are in English."],"unitid_tesim":["014 Bj 2"],"normalized_date_ssm":["1989-1996"],"normalized_title_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"collection_title_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"collection_ssim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"creator_ssm":["TEACH Michigan."],"creator_ssim":["TEACH Michigan."],"creator_corpname_ssim":["TEACH Michigan."],"creators_ssim":["TEACH Michigan."],"access_terms_ssm":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group came to the library from Partnership for Learning (formerly TEACH Michigan) in December 2000. Donor no. 9038"],"access_subjects_ssim":["Charter schools -- Michigan.","Education -- Michigan.","Public schools -- Michigan.","School choice -- Michigan.","Charter schools -- Michigan.","Debates.","Discussion.","Public affairs television programs.","School choice -- Michigan.","Sound recordings.","Videocassettes."],"access_subjects_ssm":["Charter schools -- Michigan.","Education -- Michigan.","Public schools -- Michigan.","School choice -- Michigan.","Charter schools -- Michigan.","Debates.","Discussion.","Public affairs television programs.","School choice -- Michigan.","Sound recordings.","Videocassettes."],"has_online_content_ssim":["false"],"extent_ssm":["13 linear feet"],"extent_tesim":["13 linear feet"],"genreform_ssim":["Sound recordings.","Videocassettes."],"date_range_isim":[1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eResearch use of the record group is restricted except with the permission of Dr. Paul DeWeese.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Research use of the record group is restricted except with the permission of Dr. Paul DeWeese."],"bioghist_html_tesm":["\u003cp\u003eIn 1989, Dr. Paul N. DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions.\u003c/p\u003e\n","\u003cp\u003e Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice.\u003c/p\u003e\n","\u003cp\u003e Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students.\u003c/p\u003e\n","\u003cp\u003e Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters.\u003c/p\u003e\n","\u003cp\u003e In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation.\u003c/p\u003e\n","\u003cp\u003e In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education.\u003c/p\u003e\n","\u003cp\u003e From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school.\u003c/p\u003e\n","\u003cp\u003e In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In 1989, Dr. Paul N. DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions."," Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice."," Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students."," Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters."," In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation."," In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education."," From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school."," In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning."],"prefercite_html_tesm":["\u003cp\u003eitem, folder title, box no., TEACH Michigan and TEACH Michigan Education Fund records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["item, folder title, box no., TEACH Michigan and TEACH Michigan Education Fund records, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThis record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. 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Also included are the organizational records of the Michigan Center for Charter Schools.\u003c/abstract\u003e"],"abstract_tesim":["Organization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4f9a3a50370f108b16342d0e56be5abb\"\u003eOffsite storage; prior notification required for access\u003c/physloc\u003e"],"physloc_tesim":["Offsite storage; prior notification required for access"],"names_coll_ssim":["Michigan Center for Charter Schools.","TEACH Michigan.","TEACH Michigan Education Fund.","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N.","DeWeese, Paul N.","DeWeese, Paul N."],"names_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N."],"corpname_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund."],"persname_ssim":["DeWeese, Paul N."],"language_ssim":["English","The materials are in English."],"total_component_count_is":279,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-014","timestamp":"2025-02-18T23:13:12.778Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_e8ba56a50b15ba15962b1b83c42bd6a6"}},{"id":"umich-bhl-0312_aspace_66733ea1d7a9837dfba9e48d32c4d61b","type":"Series","attributes":{"title":"Background Materials, 1967-1999","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_66733ea1d7a9837dfba9e48d32c4d61b#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Background Materials series, (.10 linear feet, 1967-1999), includes a curriculum vitae with a chronological list of Sparling's choreographic works through the year 1999, a journal written while he was on tour in the Soviet Union in 1973, news clippings, and other biographical materials.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_66733ea1d7a9837dfba9e48d32c4d61b#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_66733ea1d7a9837dfba9e48d32c4d61b","ref_ssm":["aspace_66733ea1d7a9837dfba9e48d32c4d61b","aspace_66733ea1d7a9837dfba9e48d32c4d61b"],"id":"umich-bhl-0312_aspace_66733ea1d7a9837dfba9e48d32c4d61b","title_filing_ssi":"Background Materials","title_ssm":["Background Materials"],"title_tesim":["Background Materials"],"unitdate_inclusive_ssm":["1967-1999"],"normalized_date_ssm":["1967-1999"],"normalized_title_ssm":["Background Materials, 1967-1999"],"text":["Background Materials, 1967-1999","Peter Sparling papers, 1961-2013, bulk 1970-2000","The Background Materials series, (.10 linear feet, 1967-1999), includes a curriculum vitae with a chronological list of Sparling's choreographic works through the year 1999, a journal written while he was on tour in the Soviet Union in 1973, news clippings, and other biographical materials."],"component_level_isim":[1],"parent_ssim":["umich-bhl-0312"],"parent_ssi":"umich-bhl-0312","parent_ids_ssim":["umich-bhl-0312"],"parent_unittitles_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"parent_unittitles_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"parent_levels_ssm":["collection"],"repository_ssim":["University of Michigan. 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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. 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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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