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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."],"_nest_path_":"/components#4/components#3/components#7","_nest_parent_":"VAB9846_VAB9846-00066","_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 . 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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_VAB9846-00074"}},{"id":"umich-bhl-0312_aspace_81294866a71e7eb0c9e9fadd0eaa8064","type":"File","attributes":{"title":"Travelogue, 1994","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_81294866a71e7eb0c9e9fadd0eaa8064#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_81294866a71e7eb0c9e9fadd0eaa8064","ref_ssm":["aspace_81294866a71e7eb0c9e9fadd0eaa8064","aspace_81294866a71e7eb0c9e9fadd0eaa8064"],"id":"umich-bhl-0312_aspace_81294866a71e7eb0c9e9fadd0eaa8064","title_filing_ssi":"Travelogue","title_ssm":["Travelogue"],"title_tesim":["Travelogue"],"unitdate_inclusive_ssm":["1994"],"normalized_date_ssm":["1994"],"normalized_title_ssm":["Travelogue, 1994"],"text":["Travelogue, 1994","Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos"],"component_level_isim":[2],"parent_ssim":["umich-bhl-0312","aspace_ea04e152d4703cedcf32d8d9c2b86eab"],"parent_ssi":"aspace_ea04e152d4703cedcf32d8d9c2b86eab","parent_ids_ssim":["umich-bhl-0312","umich-bhl-0312_aspace_ea04e152d4703cedcf32d8d9c2b86eab"],"parent_unittitles_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos"],"parent_unittitles_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos"],"parent_levels_ssm":["collection","Series"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Peter Sparling papers, 1961-2013, bulk 1970-2000"],"physfacet_tesim":[".MOV and .MP4 files"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":267,"parent_access_restrict_tesm":["Restricted Access: All performances in DVC-Pro format are preservation copies dubbed from original VHS and 3/4-inch tape. Arrangements for duplication need to be made with the Reference Archivist. Equipment needed to view digital video cassettes is not available at the Bentley Library. Access to some of the online digital files is restricted to the viewing in the Bentley Library reading room and the School of Music."],"parent_access_terms_tesm":["Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials."],"digital_objects_ssm":["{\"label\":\"Travelogue\u0026#10; 1994\",\"href\":\"http://hdl.handle.net/2027.42/102507\"}"],"date_range_isim":[1994],"_nest_path_":"/components#7/components#59","_nest_parent_":"umich-bhl-0312_aspace_ea04e152d4703cedcf32d8d9c2b86eab","_root_":"umich-bhl-0312","timestamp":"2025-02-18T23:13:20.872Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-0312","title_ssm":["Peter Sparling papers"],"title_tesim":["Peter Sparling papers"],"ead_ssi":"umich-bhl-0312","unitdate_ssm":["1961-2013","1970-2000"],"unitdate_bulk_ssim":["1970-2000"],"unitdate_inclusive_ssm":["1961-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["0312 Aa2"],"text":["0312 Aa2","Peter Sparling papers, 1961-2013, bulk 1970-2000","Choreographers -- United States.","Dancers -- United States.","Ballet -- United States.","Ballet -- Study and teaching.","Choreography.","Ballet -- United States.","Dancers.","Posters.","Videotapes.","Motion pictures.","Photographs.","The collection is open to research."," Access to some of the online digital files in the Performance, Audition, and Rehearsal Videos series is restricted to viewing the Bentley Library Reading Room and at the University of Michigan School of Music, Theatre and Dance. Equipment needed to view the DVC-Pro digital cassettes in this series is not currently available at the Bentley Library. Contact the reference archivist to arrange for duplication of tapes.","Periodic additions to the records expected.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon."," Sparling got his first dance training while on a scholarship for violin performance at Interlochen Arts Academy. He added dance to his major and graduated in 1969, and then attended The Juilliard School, receiving his B.F.A. in 1973. While still at Juilliard, Sparling began touring with the Jose Limon Dance Company, traveling to Europe, Russia and Asia. He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org.","","The Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. The papers are divided into eight series: Background Materials, Choreography, Correspondence, Dance Companies, Programs, Reviews, Photographs, Performance, Audition, and Rehearsal Videos, and Posters.","Copyright is retained by Peter Sparling. Patrons are responsible for determining the appropriate use or reuse of materials.","Peter Sparling is Professor of Dance at the University of Michigan School of Music. Well known as both performer and choreographer, he has danced with Martha Graham and Jose Limon. 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School of Music."],"persname_ssim":["Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"language_ssim":["English","The material is in English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":280,"online_item_count_is":24,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0312","timestamp":"2025-02-18T23:13:20.872Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_640e02ab583c010b16d2974d64721264"}},{"id":"umich-bhl-0312_aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001","type":"File","attributes":{"title":"Travelogue, circa 1994","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001","ref_ssm":["aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001","aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001"],"id":"umich-bhl-0312_aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001","title_filing_ssi":"Travelogue","title_ssm":["Travelogue"],"title_tesim":["Travelogue"],"unitdate_inclusive_ssm":["circa 1994"],"normalized_date_ssm":["circa 1994"],"normalized_title_ssm":["Travelogue, circa 1994"],"text":["Travelogue, circa 1994","Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos","box 6"],"component_level_isim":[2],"parent_ssim":["umich-bhl-0312","aspace_ea04e152d4703cedcf32d8d9c2b86eab"],"parent_ssi":"aspace_ea04e152d4703cedcf32d8d9c2b86eab","parent_ids_ssim":["umich-bhl-0312","umich-bhl-0312_aspace_ea04e152d4703cedcf32d8d9c2b86eab"],"parent_unittitles_ssm":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos"],"parent_unittitles_tesim":["Peter Sparling papers, 1961-2013, bulk 1970-2000","Performance, Audition, and Rehearsal Videos"],"parent_levels_ssm":["collection","Series"],"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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He co-founded Dance Mobile with Janet Eilber, Ange Wolf and Diana Hart, all of whom he met at Interlochen. In 1974, he married another dancer he had met while at Interlochen, Shelley Washington. They divorced after three years."," In 1973, after the death of Jose Limon, Sparling was invited to join the Martha Graham Dance Company. Graham dramatically influenced Sparling's performance and his choreography, and he created and performed his own works during the six years he was with the Graham Company. When he left the company in 1979, he formed Peter Sparling Presents Solo Flight, and then the Peter Sparling Dance Company, as vehicles for his choreography. He continued to dance occasionally with the Graham Company until 1987."," In 1984, after several teaching residencies in such institutions as Barnard College in New York, Florida State University, Cloud Gate Dance Theatre in Taiwan and the Laban Centre for Movement Studies in London, Sparling was hired as Assistant Professor at the University of Michigan Dance Department. He was chair of the Department from 1988 through 1995. In 1984, he co-founded Ann Arbor Dance Works, the University of Michigan's resident dance company. In 1993, Peter founded the Peter Sparling Dance Co. a non-profit organization that continues today. Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan"],"processinfo_html_tesm":["\u003cp\u003e\u003cextptr actuate=\"onload\" href=\"digitalproc\" show=\"embed\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":[""],"scopecontent_html_tesm":["\u003cp\u003eThe Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. 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School of Music."],"persname_ssim":["Sparling, Peter.","Sparling, Peter, 1951-","Sparling, Peter, Performances, 1951-"],"language_ssim":["English","The material is in English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":280,"online_item_count_is":24,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0312","timestamp":"2025-02-18T23:13:20.872Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0312_aspace_cc6bc67e4a3a5b0a136f69ff8bfdf001"}},{"id":"umich-bhl-2014137_aspace_e98c5e8378c831d786116083f0590af6","type":"File","attributes":{"title":"Treasurer, Budgets, Budget Planning, 1957, 1987-1991","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137_aspace_e98c5e8378c831d786116083f0590af6#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_e98c5e8378c831d786116083f0590af6","ref_ssm":["aspace_e98c5e8378c831d786116083f0590af6","aspace_e98c5e8378c831d786116083f0590af6"],"id":"umich-bhl-2014137_aspace_e98c5e8378c831d786116083f0590af6","title_filing_ssi":"Treasurer, Budgets, Budget Planning","title_ssm":["Treasurer, Budgets, Budget Planning"],"title_tesim":["Treasurer, Budgets, Budget Planning"],"unitdate_inclusive_ssm":["1957","1987-1991"],"normalized_date_ssm":["1957, 1987-1991"],"normalized_title_ssm":["Treasurer, Budgets, Budget Planning, 1957, 1987-1991"],"text":["Treasurer, Budgets, Budget Planning, 1957, 1987-1991","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Organizational Records","League Policies and Structure","box 1"],"component_level_isim":[3],"parent_ssim":["umich-bhl-2014137","aspace_02c5c6682714fc939079569355e07374","aspace_1c39018511932f75cc86ad2c6b491984"],"parent_ssi":"aspace_1c39018511932f75cc86ad2c6b491984","parent_ids_ssim":["umich-bhl-2014137","umich-bhl-2014137_aspace_02c5c6682714fc939079569355e07374","umich-bhl-2014137_aspace_1c39018511932f75cc86ad2c6b491984"],"parent_unittitles_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Organizational Records","League Policies and Structure"],"parent_unittitles_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Organizational Records","League Policies and Structure"],"parent_levels_ssm":["collection","Series","File"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":48,"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."],"date_range_isim":[1957,1987,1988,1989,1990,1991],"containers_ssim":["box 1"],"_nest_path_":"/components#1/components#2/components#0","_nest_parent_":"umich-bhl-2014137_aspace_1c39018511932f75cc86ad2c6b491984","_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-2014137","title_ssm":["League of Women Voters of Northwest Wayne County records"],"title_tesim":["League of Women Voters of Northwest Wayne County records"],"ead_ssi":"umich-bhl-2014137","unitdate_ssm":["1957-2013","1973-1992"],"unitdate_bulk_ssim":["1973-1992"],"unitdate_inclusive_ssm":["1957-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["2014137 Aa 2"],"text":["2014137 Aa 2","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Wayne County (Mich.) -- Politics and government.","Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes.","The collection is open to research.","No further additions to the records are expected.","The records are divided into three series based on content and type: Issues, Organizational Records, and Voter Newsletter.","The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.","Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records","The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.","Bentley Historical Library","League of Women Voters of Northwest Wayne County.","English","The material is in English"],"unitid_tesim":["2014137 Aa 2"],"normalized_date_ssm":["1957-2013, bulk 1973-1992"],"normalized_title_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_title_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Wayne County (Mich.) -- Politics and government."],"geogname_ssim":["Wayne County (Mich.) -- Politics and government."],"creator_ssm":["League of Women Voters of Northwest Wayne County."],"creator_ssim":["League of Women Voters of Northwest Wayne County."],"creator_corpname_ssim":["League of Women Voters of Northwest Wayne County."],"creators_ssim":["League of Women Voters of Northwest Wayne County."],"places_ssim":["Wayne County (Mich.) -- Politics and government."],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group was donated by the League of Women Voters of Northwest Wayne County (donor no. 11100 ) in May 2014."],"access_subjects_ssim":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"access_subjects_ssm":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"has_online_content_ssim":["false"],"extent_ssm":["3 linear feet"],"extent_tesim":["3 linear feet"],"genreform_ssim":["Videotapes."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the records are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the records are expected."],"arrangement_html_tesm":["\u003cp\u003eThe records are divided into three series based on content and type: Issues, Organizational Records, and \u003ctitle render=\"italic\"\u003eVoter\u003c/title\u003e Newsletter.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The records are divided into three series based on content and type: Issues, Organizational Records, and Voter Newsletter."],"bioghist_html_tesm":["\u003cp\u003eThe League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920.\u003c/p\u003e\n","\u003cp\u003e Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students.\u003c/p\u003e\n","\u003cp\u003e Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan"],"relatedmaterial_html_tesm":["\u003cp\u003eResearchers may also wish to consult the following collections:\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Allen Park, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Berrien and Cass Counties, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Dearborn-Dearborn Heights (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Grosse Pointe, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Michigan, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Monroe (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Mount Clemens-Clinton Area, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of the Ann Arbor Area, records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records"],"scopecontent_html_tesm":["\u003cp\u003eThe records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1194f506255c3ab03350e6f4d84d06ca\"\u003eRecords of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.\u003c/abstract\u003e"],"abstract_tesim":["Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups."],"names_coll_ssim":["League of Women Voters of Northwest Wayne County."],"names_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"corpname_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"language_ssim":["English","The material is in English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137_aspace_e98c5e8378c831d786116083f0590af6"}},{"id":"m0299-xml_aspace_ref103_u35","type":"Unspecified","attributes":{"title":"Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France, dated 1356","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml_aspace_ref103_u35#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref103_u35","ref_ssm":["aspace_ref103_u35","aspace_ref103_u35"],"id":"m0299-xml_aspace_ref103_u35","title_filing_ssi":"Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France,","title_ssm":["Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France,"],"title_tesim":["Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France,"],"unitdate_inclusive_ssm":["dated 1356"],"normalized_date_ssm":["dated 1356"],"normalized_title_ssm":["Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France, dated 1356"],"text":["Treasury order to pay the Comte de Scraplon 150 francs d'or a l'ecu for the upkeep of his company. France, dated 1356","Medieval fragments study collection, 11th-16th century","14th Century","81 +"],"component_level_isim":[2],"parent_ssim":["m0299-xml","aspace_ref79_fkb"],"parent_ssi":"aspace_ref79_fkb","parent_ids_ssim":["m0299-xml","m0299-xml_aspace_ref79_fkb"],"parent_unittitles_ssm":["Medieval fragments study collection, 11th-16th century","14th Century"],"parent_unittitles_tesim":["Medieval fragments study collection, 11th-16th century","14th Century"],"parent_levels_ssm":["collection","Unspecified"],"unitid_ssm":["81 +"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Unspecified"],"level_ssim":["Unspecified"],"sort_isi":85,"parent_access_restrict_tesm":["None."],"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."],"_nest_path_":"/components#3/components#21","_nest_parent_":"m0299-xml_aspace_ref79_fkb","_root_":"m0299-xml","timestamp":"2025-02-18T23:07:38.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"m0299-xml","title_ssm":["Medieval fragments study collection"],"title_tesim":["Medieval fragments study collection"],"ead_ssi":"m0299.xml","unitdate_ssm":["11th-16th century"],"unitdate_inclusive_ssm":["11th-16th century"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0299"],"text":["M0299","Medieval fragments study collection, 11th-16th century","None.","Purchased, 1969 and 1978.","Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs: Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked oversize are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English, Middle (1100-1500)"],"unitid_tesim":["M0299"],"normalized_date_ssm":["11th-16th century"],"normalized_title_ssm":["Medieval fragments study collection, 11th-16th century"],"collection_title_tesim":["Medieval fragments study collection, 11th-16th century"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["130 item(s)"],"extent_tesim":["130 item(s)"],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["None."],"custodhist_html_tesm":["\u003cp\u003ePurchased, 1969 and 1978.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased, 1969 and 1978."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003ePrimarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003ePapers and Photographs: \u003c/emph\u003eMany items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.\u003c/p\u003e\n","\u003cp\u003eItems marked \u003cemph render=\"italic\"\u003eoversize \u003c/emph\u003eare stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs: Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked oversize are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives"],"corpname_ssim":["Department of Special Collections and University Archives"],"language_ssim":["English, Middle (1100-1500)"],"total_component_count_is":132,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0299-xml","timestamp":"2025-02-18T23:07:38.949Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml_aspace_ref103_u35"}},{"id":"m0299-xml_aspace_ref73_wj1","type":"Unspecified","attributes":{"title":"Treatise on basic grammatical and logical concepts. France?","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0299-xml_aspace_ref73_wj1#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref73_wj1","ref_ssm":["aspace_ref73_wj1","aspace_ref73_wj1"],"id":"m0299-xml_aspace_ref73_wj1","title_filing_ssi":"Treatise on basic grammatical and logical concepts. France?","title_ssm":["Treatise on basic grammatical and logical concepts. France?"],"title_tesim":["Treatise on basic grammatical and logical concepts. France?"],"normalized_title_ssm":["Treatise on basic grammatical and logical concepts. France?"],"text":["Treatise on basic grammatical and logical concepts. France?","Medieval fragments study collection, 11th-16th century","13th Century","54 +"],"component_level_isim":[2],"parent_ssim":["m0299-xml","aspace_ref53_vmw"],"parent_ssi":"aspace_ref53_vmw","parent_ids_ssim":["m0299-xml","m0299-xml_aspace_ref53_vmw"],"parent_unittitles_ssm":["Medieval fragments study collection, 11th-16th century","13th Century"],"parent_unittitles_tesim":["Medieval fragments study collection, 11th-16th century","13th Century"],"parent_levels_ssm":["collection","Unspecified"],"unitid_ssm":["54 +"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Unspecified"],"level_ssim":["Unspecified"],"sort_isi":57,"parent_access_restrict_tesm":["None."],"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."],"_nest_path_":"/components#2/components#17","_nest_parent_":"m0299-xml_aspace_ref53_vmw","_root_":"m0299-xml","timestamp":"2025-02-18T23:07:38.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"m0299-xml","title_ssm":["Medieval fragments study collection"],"title_tesim":["Medieval fragments study collection"],"ead_ssi":"m0299.xml","unitdate_ssm":["11th-16th century"],"unitdate_inclusive_ssm":["11th-16th century"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0299"],"text":["M0299","Medieval fragments study collection, 11th-16th century","None.","Purchased, 1969 and 1978.","Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs: Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked oversize are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","English, Middle (1100-1500)"],"unitid_tesim":["M0299"],"normalized_date_ssm":["11th-16th century"],"normalized_title_ssm":["Medieval fragments study collection, 11th-16th century"],"collection_title_tesim":["Medieval fragments study collection, 11th-16th century"],"collection_ssim":["Medieval fragments study collection, 11th-16th century"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["130 item(s)"],"extent_tesim":["130 item(s)"],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["None."],"custodhist_html_tesm":["\u003cp\u003ePurchased, 1969 and 1978.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased, 1969 and 1978."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Medieval fragments study collection, 11th-16th cent., M0299, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003ePrimarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003ePapers and Photographs: \u003c/emph\u003eMany items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.\u003c/p\u003e\n","\u003cp\u003eItems marked \u003cemph render=\"italic\"\u003eoversize \u003c/emph\u003eare stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the \"cancelleresca.\"","Papers and Photographs: Many items in this collection have been studied by Stanford paleography students. Items for which student papers (usually including transcriptions) are available, are marked by an asterisk in this guide. Also note that photographs are available for more than half of the items, which are marked `+' in the guide. They may be borrowed from the library for a five-week loan period. If interested in either papers or photographs, please ask at the front desk.","Items marked oversize are stored in Box no. 5 in numerical order. Item no. 97 is stored separately in the map case."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. 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Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989","INT 79","cass 1359","Preservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF) Production master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF) Compact disc(s): CDREF 212--CDREF 213","Interview with Larry Troutman, member of Zapp and president of Larry\n Troutman Enterprises; recorded in Dayton, Ohio."],"component_level_isim":[3],"parent_ssim":["VAB9025","VAB9025-00001","VAB9025-00002"],"parent_ssi":"VAB9025-00002","parent_ids_ssim":["VAB9025","VAB9025_VAB9025-00001","VAB9025_VAB9025-00002"],"parent_unittitles_ssm":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989"],"parent_unittitles_tesim":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["INT 79","cass 1359"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Portia K. Maultsby\n Collection, 1981-1986"],"extent_ssm":["1 audiocassette (81 minutes)"],"extent_tesim":["1 audiocassette (81 minutes)"],"physfacet_tesim":[" + 1\n transcript (33 typed leaves)"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Event"],"level_ssim":["Event"],"sort_isi":81,"parent_access_restrict_tesm":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"altformavail_html_tesm":["\u003cp\u003e\n \u003clist\u003e\n \u003citem\u003ePreservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF)\u003c/item\u003e\n \u003citem\u003eProduction master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF)\u003c/item\u003e\n \u003citem\u003eCompact disc(s): CDREF 212--CDREF 213\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"altformavail_heading_ssm":["Reference Copies"],"altformavail_tesim":["Preservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF) Production master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF) Compact disc(s): CDREF 212--CDREF 213"],"scopecontent_html_tesm":["\u003cp\u003eInterview with Larry Troutman, member of Zapp and president of Larry\n Troutman Enterprises; recorded in Dayton, Ohio.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content"],"scopecontent_tesim":["Interview with Larry Troutman, member of Zapp and president of Larry\n Troutman Enterprises; recorded in Dayton, Ohio."],"_nest_path_":"/components#0/components#0/components#78","_nest_parent_":"VAB9025_VAB9025-00002","_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9025","title_ssm":["Portia K. Maultsby\n Collection"],"title_tesim":["Portia K. Maultsby\n Collection"],"ead_ssi":"VAB9025","unitdate_ssm":["1981-1986"],"unitdate_inclusive_ssm":["1981-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 18G"],"text":["SC\n 18G","Portia K. Maultsby\n Collection, 1981-1986","African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories","Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.","Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.","Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.","The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated.","Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."," Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. 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Maultsby in 2008."],"access_subjects_ssim":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"access_subjects_ssm":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["169 audiocassettes"],"extent_tesim":["169 audiocassettes"],"physfacet_tesim":[" : analog, stereo + 5 document\n cases"],"date_range_isim":[1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eReference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eCurrently organized into one series and the following subseries: \u003clist\u003e\n \u003citem\u003eSubseries 1. Interviews by Maultsby, 1979-1989\u003c/item\u003e\n \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."],"names_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"corpname_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records"],"persname_ssim":["Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"language_ssim":["Materials are in English."],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9025_VAB9025-00078"}},{"id":"umich-bhl-014_aspace_2df6fc86c39e53775786f35abff6a1e3","type":"File","attributes":{"title":"Trust Fund case statement","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_2df6fc86c39e53775786f35abff6a1e3#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_2df6fc86c39e53775786f35abff6a1e3","ref_ssm":["aspace_2df6fc86c39e53775786f35abff6a1e3","aspace_2df6fc86c39e53775786f35abff6a1e3"],"id":"umich-bhl-014_aspace_2df6fc86c39e53775786f35abff6a1e3","title_filing_ssi":"Trust Fund case statement","title_ssm":["Trust Fund case statement"],"title_tesim":["Trust Fund case statement"],"normalized_title_ssm":["Trust Fund case statement"],"text":["Trust Fund case statement","TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Statements, guidelines, etc","box 13"],"component_level_isim":[3],"parent_ssim":["umich-bhl-014","aspace_5954350cdf9272a6329ba20a2520d6c7","aspace_ba59d477f0d9cfe6409c7e117a989958"],"parent_ssi":"aspace_ba59d477f0d9cfe6409c7e117a989958","parent_ids_ssim":["umich-bhl-014","umich-bhl-014_aspace_5954350cdf9272a6329ba20a2520d6c7","umich-bhl-014_aspace_ba59d477f0d9cfe6409c7e117a989958"],"parent_unittitles_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Statements, guidelines, etc"],"parent_unittitles_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Statements, guidelines, etc"],"parent_levels_ssm":["collection","Subgroup","Series"],"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":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":277,"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."],"containers_ssim":["box 13"],"_nest_path_":"/components#1/components#7/components#40","_nest_parent_":"umich-bhl-014_aspace_ba59d477f0d9cfe6409c7e117a989958","_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. 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."],"userestrict_html_tesm":["\u003cp\u003eDonor(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.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_85c28ec7f064d103fc6a1b17b4c73c99\"\u003eOrganization 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.\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_2df6fc86c39e53775786f35abff6a1e3"}},{"id":"ehll--wilsondoncollectiontwo_al_751d91e6d6f1074900fabe1a0df95a305395c01c","type":"File","attributes":{"title":"T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/ehll--wilsondoncollectiontwo_al_751d91e6d6f1074900fabe1a0df95a305395c01c#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"al_751d91e6d6f1074900fabe1a0df95a305395c01c","ref_ssm":["al_751d91e6d6f1074900fabe1a0df95a305395c01c","al_751d91e6d6f1074900fabe1a0df95a305395c01c"],"id":"ehll--wilsondoncollectiontwo_al_751d91e6d6f1074900fabe1a0df95a305395c01c","title_filing_ssi":"T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985","title_ssm":["T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985"],"title_tesim":["T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985"],"normalized_title_ssm":["T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985"],"text":["T.S.B.R.R., A.A. Div. (1 of 3), 1983-1985","Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection.","Box 6","Folder 1"],"component_level_isim":[2],"parent_ssim":["ehll--wilsondoncollectiontwo","al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_ssi":"al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","parent_ids_ssim":["ehll--wilsondoncollectiontwo","ehll--wilsondoncollectiontwo_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_unittitles_ssm":["Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection."],"parent_unittitles_tesim":["Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection."],"parent_levels_ssm":["collection","Series"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"collection_ssim":["Don Wilson Collection\n \n1885-2015, and undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":179,"containers_ssim":["Box 6","Folder 1"],"_nest_path_":"/components#0/components#177","_nest_parent_":"ehll--wilsondoncollectiontwo_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","_root_":"ehll--wilsondoncollectiontwo","timestamp":"2025-02-18T23:25:40.103Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ehll--wilsondoncollectiontwo","title_ssm":["\nDon Wilson Collection\n \n1885-2015, and undated \n"],"title_tesim":["\nDon Wilson Collection\n \n1885-2015, and undated \n"],"ead_ssi":"ehll--wilsondoncollectiontwo","level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["\nMSS.\n"],"text":["\nMSS.\n","Don Wilson Collection\n \n1885-2015, and undated","Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan.","The collection is organized by size and format, and then in alphabetical and chronological order.","Biography:","Don Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections.","Collection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.","Items of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).","Photographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).","Blueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.","The 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don’s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson’s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.","Researchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.","Processing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke’s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies.","The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA).","Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs.","Wilson, Don.","The material is in English"],"unitid_tesim":["\nMSS.\n"],"normalized_title_ssm":["Don Wilson Collection\n \n1885-2015, and undated"],"collection_title_tesim":["Don Wilson Collection\n \n1885-2015, and undated"],"collection_ssim":["Don Wilson Collection\n \n1885-2015, and undated"],"repository_ssm":["Central Michigan University Clarke Historical Library"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"creator_ssm":["Wilson, Don."],"creator_ssim":["Wilson, Don."],"creator_persname_ssim":["Wilson, Don."],"creators_ssim":["Wilson, Don."],"acqinfo_ssim":["\nAcc # 74460, 74499, 75617 \n"],"access_subjects_ssim":["Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan."],"access_subjects_ssm":["Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan."],"has_online_content_ssim":["false"],"extent_ssm":["11.5 cubic ft. (in 11 boxes, 3 slide boxes, 2 note card boxes of slides, 21 Oversized folder)"],"extent_tesim":["11.5 cubic ft. (in 11 boxes, 3 slide boxes, 2 note card boxes of slides, 21 Oversized folder)"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized by size and format, and then in alphabetical and chronological order.\u003c/p\u003e"],"arrangement_tesim":["The collection is organized by size and format, and then in alphabetical and chronological order."],"bioghist_html_tesm":["\u003cp\u003eBiography:\u003c/p\u003e","\u003cp\u003eDon Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections.\u003c/p\u003e"],"bioghist_tesim":["Biography:","Don Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections."],"scopecontent_html_tesm":["\u003cp\u003eCollection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.\u003c/p\u003e","\u003cp\u003eItems of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).\u003c/p\u003e","\u003cp\u003ePhotographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).\u003c/p\u003e","\u003cp\u003eBlueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.\u003c/p\u003e","\u003cp\u003eThe 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don\u0026#x2019;s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson\u0026#x2019;s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.\u003c/p\u003e","\u003cp\u003eResearchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.\u003c/p\u003e","\u003cp\u003eProcessing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke\u0026#x2019;s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies.\u003c/p\u003e"],"scopecontent_tesim":["Collection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.","Items of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).","Photographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).","Blueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.","The 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don’s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson’s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.","Researchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.","Processing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke’s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies."],"abstract_html_tesm":["\u003cabstract\u003eThe collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA).\u003c/abstract\u003e"],"abstract_tesim":["The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA)."],"names_ssim":["Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs.","Wilson, Don."],"corpname_ssim":["Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs."],"persname_ssim":["Wilson, Don."],"language_ssim":["The material is in English"],"total_component_count_is":310,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"ehll--wilsondoncollectiontwo","timestamp":"2025-02-18T23:25:40.103Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/ehll--wilsondoncollectiontwo_al_751d91e6d6f1074900fabe1a0df95a305395c01c"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","value":"David V. 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