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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. 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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. 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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. 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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_7faedccec65bc91fd3282c2b55300eda"}},{"id":"sc0066-xml_aspace_ref75_qmg","type":"File","attributes":{"title":"Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/sc0066-xml_aspace_ref75_qmg#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref75_qmg","ref_ssm":["aspace_ref75_qmg","aspace_ref75_qmg"],"id":"sc0066-xml_aspace_ref75_qmg","title_filing_ssi":"Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama","title_ssm":["Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama"],"title_tesim":["Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama"],"normalized_title_ssm":["Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama"],"text":["Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama","KZSU Project South interviews, 1965-1976","Interviews, 1965","White SCLC - SCOPE (Southern Christian Leadership Conference - Southern Community and Political Education Project) volunteers","box 3","folder 65"],"component_level_isim":[3],"parent_ssim":["sc0066-xml","aspace_ref267_lgy","aspace_ref74_yfk"],"parent_ssi":"aspace_ref74_yfk","parent_ids_ssim":["sc0066-xml","sc0066-xml_aspace_ref267_lgy","sc0066-xml_aspace_ref74_yfk"],"parent_unittitles_ssm":["KZSU Project South interviews, 1965-1976","Interviews, 1965","White SCLC - SCOPE (Southern Christian Leadership Conference - Southern Community and Political Education Project) volunteers"],"parent_unittitles_tesim":["KZSU Project South interviews, 1965-1976","Interviews, 1965","White SCLC - SCOPE (Southern Christian Leadership Conference - Southern Community and Political Education Project) volunteers"],"parent_levels_ssm":["collection","Series","Subseries"],"repository_ssim":["Stanford University Libraries. 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To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"digital_objects_ssm":["{\"label\":\"Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama\",\"href\":\"https://sul-streaming.stanford.edu/collections/sc0066/wj945bz4758_b_sl.html\"}","{\"label\":\"Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama\",\"href\":\"https://sul-streaming.stanford.edu/collections/sc0066/wj945bz4758_a_sl.html\"}","{\"label\":\"Maggie Anderson, white, female, SCOPE student volunteer, 0228 (side 1 and 2), Marion, Alabama\",\"href\":\"https://purl.stanford.edu/wj945bz4758\"}"],"containers_ssim":["box 3","folder 65"],"_nest_path_":"/components#0/components#2/components#0","_nest_parent_":"sc0066-xml_aspace_ref74_yfk","_root_":"sc0066-xml","timestamp":"2025-02-18T23:10:35.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"sc0066-xml","title_filing_ssi":"KZSU Project South Interviews","title_ssm":["KZSU Project South interviews"],"title_tesim":["KZSU Project South interviews"],"ead_ssi":"sc0066.xml","unitdate_ssm":["1965-1976"],"unitdate_inclusive_ssm":["1965-1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC0066"],"text":["SC0066","KZSU Project South interviews, 1965-1976","Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews.","The materials are open for research use.","The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.","During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969","Gift of Richard Gillam and KZSU, 1969.","Alabama - Southern Christian Leadership Conference  Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee  Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference  Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality  Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party  Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference  Columbia Orangeburg","Original audiotapes are held in the Stanford Archive of Recorded Sound.","This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives.","Department of Special Collections and University Archives","Stanford University. Institute of American History","KZSU (Radio station : Stanford)","Ku Klux Klan (1915- )","Congress of Racial Equality.","Mississippi Freedom Democratic Party.","Student Nonviolent Coordinating Committee (U.S.)","National Association for the Advancement of Colored People (NAACP)","Southern Christian Leadership Conference.","Klu Klux Klan","Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Evers, Charles","Abernathy, Ralph David, 1926-1990","King, Martin Luther, Jr.","Williams, Hosea.","Shelton, Robert M.","McDaniel, Edward L.","Farmer, James.","Abernathy, Ralph","Williams, Hosea","Strickland, Joe E.","English"],"unitid_tesim":["SC0066"],"normalized_date_ssm":["1965-1976"],"normalized_title_ssm":["KZSU Project South interviews, 1965-1976"],"collection_title_tesim":["KZSU Project South interviews, 1965-1976"],"collection_ssim":["KZSU Project South interviews, 1965-1976"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Stanford University. Institute of American History","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","KZSU (Radio station : Stanford)"],"creator_persname_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope."],"creator_corpname_ssim":["Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"creators_ssim":["Becker, Mary Kay.","Dalrymple, Mark David","Dankert, Roger.","Wells, Judith Lee.","McRae, James Dean.","Gillam, Richard Arthur.","Roise, Jonathan Harold.","Niland, Penelope.","Stanford University. Institute of American History","KZSU (Radio station : Stanford)"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"access_subjects_ssim":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"access_subjects_ssm":["Civil rights movements -- United States.","African Americans -- Civil rights -- United States.","Civil rights -- United States.","Audiotapes.","Interviews."],"has_online_content_ssim":["true"],"extent_ssm":["7 Linear Feet"],"extent_tesim":["7 Linear Feet"],"genreform_ssim":["Audiotapes.","Interviews."],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThe materials are open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Information about Access"],"accessrestrict_tesim":["The materials are open for research use."],"altformavail_html_tesm":["\u003cp\u003eThe transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["The transcripts and audio recordings have been digitized and are available for online review by clicking on the hyperlinks under each interview."],"bioghist_html_tesm":["\u003cp\u003eDuring the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.\u003c/p\u003e\n","\u003cp\u003eSeveral of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.\u003c/p\u003e\n","\u003cp\u003eThe following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.\u003c/p\u003e\n","\u003cp\u003eMany of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.\u003c/p\u003e\n","\u003cp\u003eIn closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.\u003c/p\u003e\n","\u003cp\u003eRichard Gillam\u003c/p\u003e\n","\u003cp\u003eJames D. McRae\u003c/p\u003e\n","\u003cp\u003ePalo Alto\u003c/p\u003e\n","\u003cp\u003eJanuary 1969\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["During the summer of 1965, eight students from Stanford University spent ten weeks in the southern states tape-recording information on the civil rights movement. The eight interviewers -- Mary Kay Becker, Mark Dalrymple, Roger Dankert, Richard Gillam, James McRae, Penny Niland, Jon Roise, and Julie Wells -- were sponsored by KZSU, Stanford's student radio station, and their original intent was to gather material suitable for rebroadcasting in the form of radio programs. Much attention was focused on white civil rights workers, although a great deal of other documentation relevant to black history was also obtained: the interviewers visited over fifty civil rights projects in six states (see appendix) and secured three hundred and thirty hours of recordings, including over two hundred hours of personal interviews. In addition to interviewing members of various, well-known civil rights groups -- the Congress of Racial Equality (CORE), the Mississippi Freedom Democratic Party (MFDP), the National Association for the Advancement of Colored People (NAACP), the Southern Christian Leadership Conference (SCLC), and the Student Nonviolent Coordinating Committee (SNCC or `Snick') -- the student interviewers also recorded the formal and the informal remarks of those working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and of many others including Ku Klux Klansmen and Southerners connected with the Sheriff's Department of Clay County, Mississippi. The interviewers, in addition, spoke with many white volunteers who participated in Snick's `Washington Lobby' (aimed at unseating the all-white Mississippi Congressional Delegation) but who did not actually go south.","Several of the two-man interview teams recorded parts of the Jackson, Bougalusa, Greensboro, Crawfordsville, and West Point demonstrations, and also gathered various other action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstrations. Finally, the interviewers recorded many mass meetings and gathered much material on the orientation sessions of MFDP in Hattiesburg, Mississippi and of SCLC in Atlanta, Georgia. All of these original tape recordings are now housed in the Library of Recorded Sound, Stanford, California.","The following pages contain transcripts of the majority of recordings mentioned above. It is hoped that these volumes will rescue from obscurity a body of information which we believe can be of great use both to scholars and to laymen interested in the dramatic history of the civil rights movement during the past decade. This material may prove to be especially valuable because it concerns a transitional period between the first `freedom summer' of 1964, the high tide of civil rights, and the `Meredith March of 1966 during which Stokely Carmichael first voiced the compelling cry of `Black Power'. In fact, at least one essay and a documentary history based on these recordings are already in progress, and it is expected that more will soon follow.","Many of the interviewees are identified by name on the first page of the transcripts which follow. Because of the long time which has already elapsed since the interviews were recorded, however, it is requested that these names not be used in print unless the written consent of the interviewees concerned is first obtained.","In closing, we would like to express our thanks to the Stanford Institute of American History and to the Stanford Library for financial support which made possible the transcription of the original recordings. We would also like to thank Mrs. Betty Eldon of the Institute of American History who accepted the added burden of paperwork connected with this transcription project with tolerance and good humor. Finally, we acknowledge a particular debt to Professor George Knoles for his unfailing encouragement and support.","Richard Gillam","James D. McRae","Palo Alto","January 1969"],"custodhist_html_tesm":["\u003cp\u003eGift of Richard Gillam and KZSU, 1969.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Gift of Richard Gillam and KZSU, 1969."],"odd_html_tesm":["\u003cp\u003eAlabama - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eDemopolis\u003c/item\u003e\u003citem\u003eGreensboro\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eLuverne\u003c/item\u003e\u003citem\u003eMarion\u003c/item\u003e\u003citem\u003eMidway\u003c/item\u003e\u003citem\u003eMontgomery\u003c/item\u003e\u003citem\u003eSelma (also the SNCC project located there)\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eArkansas - Student Nonviolent Coordinating Committee \u003clist type=\"simple\"\u003e\u003citem\u003eLittle Rock - state headquarters\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eGeorgia - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eAtlanta - Southern headquarters of SCLC \u0026amp; SNCC\u003c/item\u003e\u003citem\u003eCrawfordville\u003c/item\u003e\u003citem\u003eMacon\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eLouisiana - Congress of Racial Equality \u003clist type=\"simple\"\u003e\u003citem\u003eBaton Rouge - state headquarters\u003c/item\u003e\u003citem\u003eBogalusa\u003c/item\u003e\u003citem\u003eClinton\u003c/item\u003e\u003citem\u003eFerriday\u003c/item\u003e\u003citem\u003eGreensburg\u003c/item\u003e\u003citem\u003eHomer\u003c/item\u003e\u003citem\u003eJonesboro\u003c/item\u003e\u003citem\u003eMinden\u003c/item\u003e\u003citem\u003eMonroe\u003c/item\u003e\u003citem\u003eNew Orleans project\u003c/item\u003e\u003citem\u003eNew Roads\u003c/item\u003e\u003citem\u003ePlaquemine - evaluation session\u003c/item\u003e\u003citem\u003eShreveport\u003c/item\u003e\u003citem\u003eSouthern Regional CORE office\u003c/item\u003e\u003citem\u003eSt. Francisville\u003c/item\u003e\u003citem\u003eTallulah\u003c/item\u003e\u003citem\u003eWaveland, Miss. - orientation\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eMississippi - Mississippi Freedom Democratic Party \u003clist type=\"simple\"\u003e\u003citem\u003eBatesville\u003c/item\u003e\u003citem\u003eBeasley\u003c/item\u003e\u003citem\u003eBelzoni\u003c/item\u003e\u003citem\u003eBiloxi\u003c/item\u003e\u003citem\u003eCanton\u003c/item\u003e\u003citem\u003eClarksdale\u003c/item\u003e\u003citem\u003eCleveland\u003c/item\u003e\u003citem\u003eGreenville\u003c/item\u003e\u003citem\u003eGreenwood\u003c/item\u003e\u003citem\u003eHattiesburg - orientation\u003c/item\u003e\u003citem\u003eHolly Springs\u003c/item\u003e\u003citem\u003eIndianola\u003c/item\u003e\u003citem\u003eJackson - state headquarters\u003c/item\u003e\u003citem\u003eLaurel\u003c/item\u003e\u003citem\u003eMcComb\u003c/item\u003e\u003citem\u003eMileston\u003c/item\u003e\u003citem\u003eMt. Beulah\u003c/item\u003e\u003citem\u003eNatchez\u003c/item\u003e\u003citem\u003ePhela\u003c/item\u003e\u003citem\u003ePhiladelphia\u003c/item\u003e\u003citem\u003eQuitman\u003c/item\u003e\u003citem\u003eRuleville\u003c/item\u003e\u003citem\u003eShaw\u003c/item\u003e\u003citem\u003eVicksburg\u003c/item\u003e\u003citem\u003eWest Point\u003c/item\u003e\u003citem\u003eWhites\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e\n","\u003cp\u003eSouth Carolina - Southern Christian Leadership Conference \u003clist type=\"simple\"\u003e\u003citem\u003eColumbia\u003c/item\u003e\u003citem\u003eOrangeburg\u003c/item\u003e\u003c/list\u003e \u003c/p\u003e"],"odd_heading_ssm":["Appendix: Projects Visited"],"odd_tesim":["Alabama - Southern Christian Leadership Conference  Demopolis Greensboro Greenville Luverne Marion Midway Montgomery Selma (also the SNCC project located there)","Arkansas - Student Nonviolent Coordinating Committee  Little Rock - state headquarters","Georgia - Southern Christian Leadership Conference  Atlanta - Southern headquarters of SCLC \u0026 SNCC Crawfordville Macon","Louisiana - Congress of Racial Equality  Baton Rouge - state headquarters Bogalusa Clinton Ferriday Greensburg Homer Jonesboro Minden Monroe New Orleans project New Roads Plaquemine - evaluation session Shreveport Southern Regional CORE office St. Francisville Tallulah Waveland, Miss. - orientation","Mississippi - Mississippi Freedom Democratic Party  Batesville Beasley Belzoni Biloxi Canton Clarksdale Cleveland Greenville Greenwood Hattiesburg - orientation Holly Springs Indianola Jackson - state headquarters Laurel McComb Mileston Mt. Beulah Natchez Phela Philadelphia Quitman Ruleville Shaw Vicksburg West Point Whites","South Carolina - Southern Christian Leadership Conference  Columbia Orangeburg"],"originalsloc_html_tesm":["\u003cp\u003eOriginal audiotapes are held in the Stanford Archive of Recorded Sound.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Original audiotapes are held in the Stanford Archive of Recorded Sound."],"prefercite_html_tesm":["\u003cp\u003eKZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["KZSU Project South Interviews (SC0066). Department of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. The project was sponsored by the Institute of American History at Stanford. The collection includes information relating to black history; interviews of members of the Congress of Racial Equality, the Mississippi Freedom Democratic Party, the NAACP, the Southern Christian Leadership Conference, and the Student Non-violent Coordinating Committee; transcripts of formal and informal remarks of persons working with smaller, independent civil rights projects, of local blacks associated with the civil rights movement, and other people, including Ku Klux Klansmen; transcribed action tapes of civil rights workers canvassing voters, conducting freedom schools, or participating in demonstration; speeches by and/or interviews with Ralph David Abernathy, Charles Evers, James Farmer, Martin Luther King, Jr., and Hosea Williams; and a Ku Klux Klan meeting and speech made by Robert Sheldon, its Imperial Wizard.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains transcribed meetings and interviews with Civil Rights workers in the South recorded by several Stanford students affiliated with the campus radio station KZSU during the summer of 1965. 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Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives.\u003c/p\u003e"],"userestrict_heading_ssm":["Ownership \u0026 Copyright"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections and University Archives."],"names_coll_ssim":["Ku Klux Klan (1915- )","KZSU (Radio station : Stanford)","Congress of Racial Equality.","Stanford University. 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As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.","Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317","Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.","The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library.","Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. 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The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026amp;\n        Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Re-Imagining Collection, David M. 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Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. 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Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f7f6d2f5ebd091a28e15eeda3b5ef959\"\u003eRe-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.\u003c/abstract\u003e"],"abstract_tesim":["Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining."],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library"],"names_coll_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"persname_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"language_ssim":["English","English","Materials in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":345,"online_item_count_is":65,"component_level_isim":[0],"sort_isi":0,"_root_":"reimagining","timestamp":"2025-02-18T22:58:40.698Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/reimagining_aspace_80a5c0f1362d84921128c59810fa36a4"}},{"id":"VAB9846_VAB9846-00048","type":"File","attributes":{"title":"Mahon, Maureen","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00048#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00048","ref_ssm":["VAB9846-00048","VAB9846-00048"],"id":"VAB9846_VAB9846-00048","title_filing_ssi":"Mahon, Maureen","title_ssm":["Mahon, Maureen"],"title_tesim":["Mahon, Maureen"],"normalized_title_ssm":["Mahon, Maureen"],"text":["Mahon, Maureen","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"component_level_isim":[3],"parent_ssim":["VAB9846","VAB9846-00037","VAB9846-00042"],"parent_ssi":"VAB9846-00042","parent_ids_ssim":["VAB9846","VAB9846_VAB9846-00037","VAB9846_VAB9846-00042"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"parent_levels_ssm":["collection","Series","Subseries"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":48,"parent_access_restrict_tesm":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"_nest_path_":"/components#4/components#1/components#5","_nest_parent_":"VAB9846_VAB9846-00042","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n                151"],"text":["SC\n                151","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. ","This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            ","Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in  English . "],"unitid_tesim":["SC\n                151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n                    with the panelists was released to the Indiana University Board of Trustees in\n                    November 2009. "],"access_subjects_ssim":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n                    sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n                    (circa 21 hours), 1 box documentation, assorted audio, video, and image\n                    files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n               \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n               \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n               \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n               \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n               \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n            \u003c/list\u003e\n         \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n                    Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n                    Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                    \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n                    \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n                    from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n                    swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n                    for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n                fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n                    It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n                    Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n                    Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n                    Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                    \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n                writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n                    Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n                    Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n                magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                    \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n                    Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n                    Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n                    Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n                    \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n                    Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                    \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n                    Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n                    Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n                Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n            \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n                    Music\u003c/title\u003e brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in  English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00048"}},{"id":"umich-bhl-0234_aspace_54be048d58e22fbfcbb69528e9f03c67","type":"File","attributes":{"title":"Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories, 1978","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0234_aspace_54be048d58e22fbfcbb69528e9f03c67#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_54be048d58e22fbfcbb69528e9f03c67","ref_ssm":["aspace_54be048d58e22fbfcbb69528e9f03c67","aspace_54be048d58e22fbfcbb69528e9f03c67"],"id":"umich-bhl-0234_aspace_54be048d58e22fbfcbb69528e9f03c67","title_filing_ssi":"Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories","title_ssm":["Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories"],"title_tesim":["Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories"],"unitdate_inclusive_ssm":["1978"],"normalized_date_ssm":["1978"],"normalized_title_ssm":["Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories, 1978"],"text":["Majority Report of NLG Concerning Treatment of Palestinians in Israeli Occupied Territories, 1978","Abdeen Jabara papers, 1956-1994, bulk 1968-1993","Political and Cultural Activities","National Lawyers Guild (NLG) Middle East Delegation","box 12"],"component_level_isim":[3],"parent_ssim":["umich-bhl-0234","aspace_9b7eb901ee1385ffd7128c9c45a8034b","aspace_69a1f1bb6358f01b99796edde4a4f676"],"parent_ssi":"aspace_69a1f1bb6358f01b99796edde4a4f676","parent_ids_ssim":["umich-bhl-0234","umich-bhl-0234_aspace_9b7eb901ee1385ffd7128c9c45a8034b","umich-bhl-0234_aspace_69a1f1bb6358f01b99796edde4a4f676"],"parent_unittitles_ssm":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993","Political and Cultural Activities","National Lawyers Guild (NLG) Middle East Delegation"],"parent_unittitles_tesim":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993","Political and Cultural Activities","National Lawyers Guild (NLG) Middle East Delegation"],"parent_levels_ssm":["collection","Series","File"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":216,"parent_access_restrict_tesm":["The collection is open to research except for indicated restricted files which require the written permission of the donor for access. These files open with the passing of Mr. Jabara."],"parent_access_terms_tesm":["Abdeen M. Jabara reserves copyright during his lifetime. Patrons are responsible for determining the appropriate use or reuse of materials."],"date_range_isim":[1978],"containers_ssim":["box 12"],"_nest_path_":"/components#1/components#19/components#6","_nest_parent_":"umich-bhl-0234_aspace_69a1f1bb6358f01b99796edde4a4f676","_root_":"umich-bhl-0234","timestamp":"2025-02-18T23:13:16.849Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-0234","title_ssm":["Abdeen Jabara papers"],"title_tesim":["Abdeen Jabara papers"],"ead_ssi":"umich-bhl-0234","unitdate_ssm":["1956-1994","1968-1993"],"unitdate_bulk_ssim":["1968-1993"],"unitdate_inclusive_ssm":["1956-1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["0234 Aa 2"],"text":["0234 Aa 2","Abdeen Jabara papers, 1956-1994, bulk 1968-1993","Israel -- Relations -- Lebanon.","Lebanon -- Relations -- Israel.","Arab Americans -- Civil rights.","Arab Americans -- Michigan.","Human rights -- Israel.","Human rights -- Palestine.","Lawyers -- Michigan.","Photographs.","The collection is open to research except for indicated restricted files which require the written permission of the donor for access. These files open with the passing of Mr. Jabara.","No further additions to the papers are expected.","Abdeen M. Jabara was born in Mancelona, Michigan in 1940 to Lebanese parents who had immigrated to the United States in the early 20th century, eventually settling in northern Michigan. Jabara took an interest in Middle Eastern affairs throughout his youth and upon graduation from high school in 1958 decided to attend the University of Michigan, largely because the school offered courses in Arabic and had a prominent Arab student population. During his early undergraduate years Jabara determined that in order to learn the Arabic language properly he would have to immerse himself in that culture and so he spent five months living in Cairo, Egypt. He then journeyed by freighter to Lebanon to visit his father's village, where he met his uncle for the first time."," Upon returning from this trip, Jabara's focus centered more on the completion of his undergraduate education at Michigan than on Middle East issues. However, during his years of law school at Wayne State University in Detroit he gradually became more involved with civil rights issues and founded a local chapter of the Civil Rights Research Council. He graduated from law school in 1965 and returned to Lebanon to further develop his Arabic language skills through additional schooling."," Jabara returned to Detroit in 1966 to open his law practice. In 1967, the Arab-Israeli war and the anti-Arab sentiment it created prompted Jabara to become heavily involved with Arab-American issues. Academics of Arab heritage met at the University of Michigan to discuss the political situation and formed the Association of Arab-American University Graduates (AAUG) in 1968. The mission of the AAUG was to promote educational and cultural activities and information about the Arab world and the Arab-American community. Jabara served as the first executive secretary and was later elected president of the group in 1972."," In 1970, Jabara joined the law firm of Lafferty, Reosti, Jabara, Papakhian, Stickgold, James and Smith in Detroit. For the next decade and a half he would fight for the rights of Arabs living or traveling in the United States as well as political activists in general. He did so by challenging the practice of collecting information and maintaining surveillance of Arabs and Arab Americans by such institutions as the Detroit and Michigan State Police, the Federal Bureau of Investigation, and the Secretary of State. Jabara's own case against the FBI, for which he enlisted the help of the ACLU, finally ended in victory in 1984 with the FBI agreeing to destroy his file and acknowledging that collecting the information found within the file violated his constitutional rights."," Throughout his legal career Jabara would take on nationally prominent cases of Arabs and Arab-Americans. Such cases included Sirhan B. Sirhan, convicted in the assassination of Robert F. Kennedy in 1968, and Ziad Abu Eain, wanted for extradition to Israel for a 1979 Palestine Liberation Organization bombing."," Jabara was also involved in the National Lawyer's Guild, an organization founded as an alternative to the more conservative American Bar Association. In 1977 he traveled to Lebanon, Jordan, Israel and the Occupied Territories as part of the NLG's Middle East delegation to report on the condition and treatment of Palestinians living in the Occupied Territories. Jabara became president of the American-Arab Anti-Discrimination Committee in 1986. The ADC, founded by former Senator James Abourezk in 1980, devoted itself to the protection of the rights of people of Arab descent and promoting their cultural heritage. Jabara now (2002) works for the ADC Research Institute in Washington D.C. He recently worked as part of the defense team for Omar Ahmad Ali Abdel Rahman, accused of plotting to blow up New York City landmarks and the 1993 bombing of the World Trade Center. Jabara resides in New York City.","The collection has been divided into two series: Litigation/Court Cases and Political and Cultural Activities. The many files of correspondence and press clippings document the types of legal and political battles and causes that Jabara has tackled throughout his career. A limited amount of material in the collection is in Arabic, mostly correspondence and press clippings, and is noted as such in the contents list.","Abdeen M. Jabara reserves copyright during his lifetime. Patrons are responsible for determining the appropriate use or reuse of materials.","New York attorney originally based in Detroit. Jabara was concerned with issues of civil rights of Arab Americans and the rights of Arabs living or traveling in the United States. He challenged practice of law enforcement agencies to collect information and maintain surveillance of Arabs and Arab Americans. Jabara was involved in the murder trial of Sirhan Sirhan and the extradition case of Ziad Abu Eain. Litigation and case files; subject files regarding his Arab American activism, organizational involvements, and participation in the Middle East delegation of the National Lawyers Guild.","Bentley Historical Library","American-Arab Anti-Discrimination Committee.","B'nai B'rith. Anti-defamation League.","National Lawyers Guild.","Jabara, Abdeen.","Abu Ayn, Ziyad.","Jabara, Abdeen, 1940-","Sirhan, Sirhan Bishara, 1944- -- Trials, litigation, etc.","English","The material is in  English  and  Arabic ."],"unitid_tesim":["0234 Aa 2"],"normalized_date_ssm":["1956-1994, bulk 1968-1993"],"normalized_title_ssm":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993"],"collection_title_tesim":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993"],"collection_ssim":["Abdeen Jabara papers, 1956-1994, bulk 1968-1993"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Israel -- Relations -- Lebanon.","Lebanon -- Relations -- Israel."],"geogname_ssim":["Israel -- Relations -- Lebanon.","Lebanon -- Relations -- Israel."],"creator_ssm":["Jabara, Abdeen."],"creator_ssim":["Jabara, Abdeen."],"creator_persname_ssim":["Jabara, Abdeen."],"creators_ssim":["Jabara, Abdeen."],"places_ssim":["Israel -- Relations -- Lebanon.","Lebanon -- Relations -- Israel."],"access_terms_ssm":["Abdeen M. Jabara reserves copyright during his lifetime. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["This collection was donated by Abdeen M. Jabara (Donor No.  9120 ) and came to the library in August, 2001. Additions were received in 2007 and in 2012."],"access_subjects_ssim":["Arab Americans -- Civil rights.","Arab Americans -- Michigan.","Human rights -- Israel.","Human rights -- Palestine.","Lawyers -- Michigan.","Photographs."],"access_subjects_ssm":["Arab Americans -- Civil rights.","Arab Americans -- Michigan.","Human rights -- Israel.","Human rights -- Palestine.","Lawyers -- Michigan.","Photographs."],"has_online_content_ssim":["false"],"extent_ssm":["14.4 linear feet"],"extent_tesim":["14.4 linear feet"],"genreform_ssim":["Photographs."],"date_range_isim":[1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research except for indicated restricted files which require the written permission of the donor for access. These files open with the passing of Mr. Jabara.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research except for indicated restricted files which require the written permission of the donor for access. These files open with the passing of Mr. Jabara."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the papers are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the papers are expected."],"bioghist_html_tesm":["\u003cp\u003eAbdeen M. Jabara was born in Mancelona, Michigan in 1940 to Lebanese parents who had immigrated to the United States in the early 20th century, eventually settling in northern Michigan. Jabara took an interest in Middle Eastern affairs throughout his youth and upon graduation from high school in 1958 decided to attend the University of Michigan, largely because the school offered courses in Arabic and had a prominent Arab student population. During his early undergraduate years Jabara determined that in order to learn the Arabic language properly he would have to immerse himself in that culture and so he spent five months living in Cairo, Egypt. He then journeyed by freighter to Lebanon to visit his father's village, where he met his uncle for the first time.\u003c/p\u003e\n","\u003cp\u003e Upon returning from this trip, Jabara's focus centered more on the completion of his undergraduate education at Michigan than on Middle East issues. However, during his years of law school at Wayne State University in Detroit he gradually became more involved with civil rights issues and founded a local chapter of the Civil Rights Research Council. He graduated from law school in 1965 and returned to Lebanon to further develop his Arabic language skills through additional schooling.\u003c/p\u003e\n","\u003cp\u003e Jabara returned to Detroit in 1966 to open his law practice. In 1967, the Arab-Israeli war and the anti-Arab sentiment it created prompted Jabara to become heavily involved with Arab-American issues. Academics of Arab heritage met at the University of Michigan to discuss the political situation and formed the Association of Arab-American University Graduates (AAUG) in 1968. The mission of the AAUG was to promote educational and cultural activities and information about the Arab world and the Arab-American community. Jabara served as the first executive secretary and was later elected president of the group in 1972.\u003c/p\u003e\n","\u003cp\u003e In 1970, Jabara joined the law firm of Lafferty, Reosti, Jabara, Papakhian, Stickgold, James and Smith in Detroit. For the next decade and a half he would fight for the rights of Arabs living or traveling in the United States as well as political activists in general. He did so by challenging the practice of collecting information and maintaining surveillance of Arabs and Arab Americans by such institutions as the Detroit and Michigan State Police, the Federal Bureau of Investigation, and the Secretary of State. Jabara's own case against the FBI, for which he enlisted the help of the ACLU, finally ended in victory in 1984 with the FBI agreeing to destroy his file and acknowledging that collecting the information found within the file violated his constitutional rights.\u003c/p\u003e\n","\u003cp\u003e Throughout his legal career Jabara would take on nationally prominent cases of Arabs and Arab-Americans. Such cases included Sirhan B. Sirhan, convicted in the assassination of Robert F. Kennedy in 1968, and Ziad Abu Eain, wanted for extradition to Israel for a 1979 Palestine Liberation Organization bombing.\u003c/p\u003e\n","\u003cp\u003e Jabara was also involved in the National Lawyer's Guild, an organization founded as an alternative to the more conservative American Bar Association. In 1977 he traveled to Lebanon, Jordan, Israel and the Occupied Territories as part of the NLG's Middle East delegation to report on the condition and treatment of Palestinians living in the Occupied Territories. Jabara became president of the American-Arab Anti-Discrimination Committee in 1986. The ADC, founded by former Senator James Abourezk in 1980, devoted itself to the protection of the rights of people of Arab descent and promoting their cultural heritage. Jabara now (2002) works for the ADC Research Institute in Washington D.C. He recently worked as part of the defense team for Omar Ahmad Ali Abdel Rahman, accused of plotting to blow up New York City landmarks and the 1993 bombing of the World Trade Center. Jabara resides in New York City.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Abdeen M. Jabara was born in Mancelona, Michigan in 1940 to Lebanese parents who had immigrated to the United States in the early 20th century, eventually settling in northern Michigan. Jabara took an interest in Middle Eastern affairs throughout his youth and upon graduation from high school in 1958 decided to attend the University of Michigan, largely because the school offered courses in Arabic and had a prominent Arab student population. During his early undergraduate years Jabara determined that in order to learn the Arabic language properly he would have to immerse himself in that culture and so he spent five months living in Cairo, Egypt. He then journeyed by freighter to Lebanon to visit his father's village, where he met his uncle for the first time."," Upon returning from this trip, Jabara's focus centered more on the completion of his undergraduate education at Michigan than on Middle East issues. However, during his years of law school at Wayne State University in Detroit he gradually became more involved with civil rights issues and founded a local chapter of the Civil Rights Research Council. He graduated from law school in 1965 and returned to Lebanon to further develop his Arabic language skills through additional schooling."," Jabara returned to Detroit in 1966 to open his law practice. In 1967, the Arab-Israeli war and the anti-Arab sentiment it created prompted Jabara to become heavily involved with Arab-American issues. Academics of Arab heritage met at the University of Michigan to discuss the political situation and formed the Association of Arab-American University Graduates (AAUG) in 1968. The mission of the AAUG was to promote educational and cultural activities and information about the Arab world and the Arab-American community. Jabara served as the first executive secretary and was later elected president of the group in 1972."," In 1970, Jabara joined the law firm of Lafferty, Reosti, Jabara, Papakhian, Stickgold, James and Smith in Detroit. For the next decade and a half he would fight for the rights of Arabs living or traveling in the United States as well as political activists in general. He did so by challenging the practice of collecting information and maintaining surveillance of Arabs and Arab Americans by such institutions as the Detroit and Michigan State Police, the Federal Bureau of Investigation, and the Secretary of State. Jabara's own case against the FBI, for which he enlisted the help of the ACLU, finally ended in victory in 1984 with the FBI agreeing to destroy his file and acknowledging that collecting the information found within the file violated his constitutional rights."," Throughout his legal career Jabara would take on nationally prominent cases of Arabs and Arab-Americans. Such cases included Sirhan B. Sirhan, convicted in the assassination of Robert F. Kennedy in 1968, and Ziad Abu Eain, wanted for extradition to Israel for a 1979 Palestine Liberation Organization bombing."," Jabara was also involved in the National Lawyer's Guild, an organization founded as an alternative to the more conservative American Bar Association. In 1977 he traveled to Lebanon, Jordan, Israel and the Occupied Territories as part of the NLG's Middle East delegation to report on the condition and treatment of Palestinians living in the Occupied Territories. Jabara became president of the American-Arab Anti-Discrimination Committee in 1986. The ADC, founded by former Senator James Abourezk in 1980, devoted itself to the protection of the rights of people of Arab descent and promoting their cultural heritage. Jabara now (2002) works for the ADC Research Institute in Washington D.C. He recently worked as part of the defense team for Omar Ahmad Ali Abdel Rahman, accused of plotting to blow up New York City landmarks and the 1993 bombing of the World Trade Center. Jabara resides in New York City."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Abdeen Jabara papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Abdeen Jabara papers, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThe collection has been divided into two series: Litigation/Court Cases and Political and Cultural Activities. The many files of correspondence and press clippings document the types of legal and political battles and causes that Jabara has tackled throughout his career. A limited amount of material in the collection is in Arabic, mostly correspondence and press clippings, and is noted as such in the contents list.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection has been divided into two series: Litigation/Court Cases and Political and Cultural Activities. The many files of correspondence and press clippings document the types of legal and political battles and causes that Jabara has tackled throughout his career. A limited amount of material in the collection is in Arabic, mostly correspondence and press clippings, and is noted as such in the contents list."],"userestrict_html_tesm":["\u003cp\u003eAbdeen M. Jabara reserves copyright during his lifetime. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Abdeen M. Jabara reserves copyright during his lifetime. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c5e379c29afd7cfcdefb5c46ebbbf0dc\"\u003eNew York attorney originally based in Detroit. Jabara was concerned with issues of civil rights of Arab Americans and the rights of Arabs living or traveling in the United States. He challenged practice of law enforcement agencies to collect information and maintain surveillance of Arabs and Arab Americans. Jabara was involved in the murder trial of Sirhan Sirhan and the extradition case of Ziad Abu Eain. Litigation and case files; subject files regarding his Arab American activism, organizational involvements, and participation in the Middle East delegation of the National Lawyers Guild.\u003c/abstract\u003e"],"abstract_tesim":["New York attorney originally based in Detroit. Jabara was concerned with issues of civil rights of Arab Americans and the rights of Arabs living or traveling in the United States. He challenged practice of law enforcement agencies to collect information and maintain surveillance of Arabs and Arab Americans. Jabara was involved in the murder trial of Sirhan Sirhan and the extradition case of Ziad Abu Eain. Litigation and case files; subject files regarding his Arab American activism, organizational involvements, and participation in the Middle East delegation of the National Lawyers Guild."],"names_coll_ssim":["American-Arab Anti-Discrimination Committee.","B'nai B'rith. Anti-defamation League.","National Lawyers Guild.","Abu Ayn, Ziyad.","Jabara, Abdeen, 1940-","Sirhan, Sirhan Bishara, 1944- -- Trials, litigation, etc."],"names_ssim":["Bentley Historical Library","American-Arab Anti-Discrimination Committee.","B'nai B'rith. Anti-defamation League.","National Lawyers Guild.","Jabara, Abdeen.","Abu Ayn, Ziyad.","Jabara, Abdeen, 1940-","Sirhan, Sirhan Bishara, 1944- -- Trials, litigation, etc."],"corpname_ssim":["Bentley Historical Library","American-Arab Anti-Discrimination Committee.","B'nai B'rith. Anti-defamation League.","National Lawyers Guild."],"persname_ssim":["Jabara, Abdeen.","Abu Ayn, Ziyad.","Jabara, Abdeen, 1940-","Sirhan, Sirhan Bishara, 1944- -- Trials, litigation, etc."],"language_ssim":["English","The material is in  English  and  Arabic ."],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":253,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-0234","timestamp":"2025-02-18T23:13:16.849Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-0234_aspace_54be048d58e22fbfcbb69528e9f03c67"}},{"id":"umich-bhl-014_aspace_87e5639d44a841ee2e8c564dd85c2d4e","type":"File","attributes":{"title":"Mallison, David","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_87e5639d44a841ee2e8c564dd85c2d4e#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_87e5639d44a841ee2e8c564dd85c2d4e","ref_ssm":["aspace_87e5639d44a841ee2e8c564dd85c2d4e","aspace_87e5639d44a841ee2e8c564dd85c2d4e"],"id":"umich-bhl-014_aspace_87e5639d44a841ee2e8c564dd85c2d4e","title_filing_ssi":"Mallison, David","title_ssm":["Mallison, David"],"title_tesim":["Mallison, David"],"normalized_title_ssm":["Mallison, David"],"text":["Mallison, David","TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Topical Files","box 11"],"component_level_isim":[3],"parent_ssim":["umich-bhl-014","aspace_5954350cdf9272a6329ba20a2520d6c7","aspace_ff4a0ccea6004f45b3f146aa5c5435d6"],"parent_ssi":"aspace_ff4a0ccea6004f45b3f146aa5c5435d6","parent_ids_ssim":["umich-bhl-014","umich-bhl-014_aspace_5954350cdf9272a6329ba20a2520d6c7","umich-bhl-014_aspace_ff4a0ccea6004f45b3f146aa5c5435d6"],"parent_unittitles_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Topical Files"],"parent_unittitles_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","Michigan Center for Charter Schools","Topical Files"],"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":186,"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 11"],"_nest_path_":"/components#1/components#1/components#20","_nest_parent_":"umich-bhl-014_aspace_ff4a0ccea6004f45b3f146aa5c5435d6","_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. 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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. 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Further information about Sparling's dance company or current work see http://www.dancegalleryfoundation.org."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Peter Sparling papers, Bentley Historical Library, University of Michigan"],"processinfo_html_tesm":["\u003cp\u003e\u003cextptr actuate=\"onload\" href=\"digitalproc\" show=\"embed\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":[""],"scopecontent_html_tesm":["\u003cp\u003eThe Peter Sparling Papers include materials relating to Sparling's dance training, performance, and teaching. 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April, 1927","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0263-xml_aspace_ref240_su6#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref240_su6","ref_ssm":["aspace_ref240_su6","aspace_ref240_su6"],"id":"m0263-xml_aspace_ref240_su6","title_filing_ssi":"Manila Folder addressed to C.A. Sheffield, ca. April, 1927","title_ssm":["Manila Folder addressed to C.A. Sheffield, ca. April, 1927"],"title_tesim":["Manila Folder addressed to C.A. Sheffield, ca. April, 1927"],"normalized_title_ssm":["Manila Folder addressed to C.A. Sheffield, ca. April, 1927"],"text":["Manila Folder addressed to C.A. Sheffield, ca. 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This material cannot be photocopied without first obtaining permission through Julie Fallowfield at the address below.","Copyright administered by:","Mc Intosh and Otis, Inc.","475 Fifth Ave.","New York, NY 10017","Attention: Julie Fallowfield","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. 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To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"acqinfo_ssim":["Gifts and purchases from various sources."],"has_online_content_ssim":["false"],"extent_ssm":["8.5 Linear Feet"],"extent_tesim":["8.5 Linear Feet"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research; materials must be requested at least 24 hours in advance of intended use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Collection is open for research; materials must be requested at least 24 hours in advance of intended use."],"arrangement_html_tesm":["\u003cp\u003eData organization: Correspondence, 1928-1972 (boxes 1-8), Literary manuscripts, 1923-1975 (boxes 8-12), Photographs, artwork and ephemera, 1902-1979 (boxes 12-17).\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Data organization: Correspondence, 1928-1972 (boxes 1-8), Literary manuscripts, 1923-1975 (boxes 8-12), Photographs, artwork and ephemera, 1902-1979 (boxes 12-17)."],"bioghist_html_tesm":["\u003cp\u003eJohn Ernst Steinbeck was born in Salinas, California 27 February 1902. He was the author of short stories and novels, of which some became plays and films. He died in New York City 20 December 1968.\u003c/p\u003e"],"bioghist_heading_ssm":["Biography / Administrative History"],"bioghist_tesim":["John Ernst Steinbeck was born in Salinas, California 27 February 1902. He was the author of short stories and novels, of which some became plays and films. He died in New York City 20 December 1968."],"prefercite_html_tesm":["\u003cp\u003eJohn Steinbeck collection, M0263. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["John Steinbeck collection, M0263. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is primarily letters and documents written by Steinbeck to family, friends and business associates. Also included are letters written to Steinbeck and letters written about him. Includes manuscripts and typescripts of works by Steinbeck, proofs of books, tearsheets, and photocopies of published works by him. Reviews of Steinbeck's work, articles about him, press coverage of his travels, memorabilia, photographs, and artwork complete the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["The collection is primarily letters and documents written by Steinbeck to family, friends and business associates. Also included are letters written to Steinbeck and letters written about him. Includes manuscripts and typescripts of works by Steinbeck, proofs of books, tearsheets, and photocopies of published works by him. Reviews of Steinbeck's work, articles about him, press coverage of his travels, memorabilia, photographs, and artwork complete the collection."],"userestrict_html_tesm":["\u003cp\u003eThe library does not have full title to the portion of the collection comprising Steinbeck's letters to Elaine Steinbeck (78-011). This material cannot be photocopied without first obtaining permission through Julie Fallowfield at the address below.\u003c/p\u003e\n","\u003cp\u003eCopyright administered by:\u003c/p\u003e\n","\u003cp\u003eMc Intosh and Otis, Inc.\u003c/p\u003e\n","\u003cp\u003e475 Fifth Ave.\u003c/p\u003e\n","\u003cp\u003eNew York, NY 10017\u003c/p\u003e\n","\u003cp\u003eAttention: Julie Fallowfield\u003c/p\u003e\n","\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":["The library does not have full title to the portion of the collection comprising Steinbeck's letters to Elaine Steinbeck (78-011). This material cannot be photocopied without first obtaining permission through Julie Fallowfield at the address below.","Copyright administered by:","Mc Intosh and Otis, Inc.","475 Fifth Ave.","New York, NY 10017","Attention: Julie Fallowfield","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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_710d4c8d68ec44a40403c3f8df3485a7\"\u003eThe collection is primarily letters and documents written by Steinbeck to family, friends and business associates. Also included are letters written to Steinbeck and letters written about him. Includes manuscripts and typescripts of works by Steinbeck, proofs of books, tearsheets, and photocopies of published works by him. Reviews of Steinbeck's work, articles about him, press coverage of his travels, memorabilia, photographs, and artwork complete the collection.\u003c/abstract\u003e"],"abstract_tesim":["The collection is primarily letters and documents written by Steinbeck to family, friends and business associates. Also included are letters written to Steinbeck and letters written about him. Includes manuscripts and typescripts of works by Steinbeck, proofs of books, tearsheets, and photocopies of published works by him. Reviews of Steinbeck's work, articles about him, press coverage of his travels, memorabilia, photographs, and artwork complete the collection."],"names_ssim":["Department of Special Collections and University Archives","Steinbeck, John"],"corpname_ssim":["Department of Special Collections and University Archives"],"names_coll_ssim":["Steinbeck, John"],"persname_ssim":["Steinbeck, John"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":341,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0263-xml","timestamp":"2025-02-18T23:07:31.215Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0263-xml_aspace_ref240_su6"}},{"id":"umich-bhl-9840_aspace_4724bbdf8897a9606ba428a48cef53fb","type":"File","attributes":{"title":"Manila, Philippines, 1945","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-9840_aspace_4724bbdf8897a9606ba428a48cef53fb#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_4724bbdf8897a9606ba428a48cef53fb","ref_ssm":["aspace_4724bbdf8897a9606ba428a48cef53fb","aspace_4724bbdf8897a9606ba428a48cef53fb"],"id":"umich-bhl-9840_aspace_4724bbdf8897a9606ba428a48cef53fb","title_filing_ssi":"Manila, Philippines","title_ssm":["Manila, Philippines"],"title_tesim":["Manila, Philippines"],"unitdate_inclusive_ssm":["1945"],"normalized_date_ssm":["1945"],"normalized_title_ssm":["Manila, Philippines, 1945"],"text":["Manila, Philippines, 1945","Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service","Photographs","box 6"],"component_level_isim":[3],"parent_ssim":["umich-bhl-9840","aspace_58990490f71df193ccbe063d89c04004","aspace_449f06f752b1dd2e4921741c8b94d2f3"],"parent_ssi":"aspace_449f06f752b1dd2e4921741c8b94d2f3","parent_ids_ssim":["umich-bhl-9840","umich-bhl-9840_aspace_58990490f71df193ccbe063d89c04004","umich-bhl-9840_aspace_449f06f752b1dd2e4921741c8b94d2f3"],"parent_unittitles_ssm":["Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service","Photographs"],"parent_unittitles_tesim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service","Photographs"],"parent_levels_ssm":["collection","Series","File"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":125,"parent_access_restrict_tesm":["The collection is open to research, except for some files in box 2 that are restricted to staff use only."],"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":[1945],"containers_ssim":["box 6"],"_nest_path_":"/components#4/components#2/components#3","_nest_parent_":"umich-bhl-9840_aspace_449f06f752b1dd2e4921741c8b94d2f3","_root_":"umich-bhl-9840","timestamp":"2025-02-18T23:24:36.652Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-9840","title_ssm":["Charles W. Lane papers"],"title_tesim":["Charles W. Lane papers"],"ead_ssi":"umich-bhl-9840","unitdate_ssm":["1935-1997","1958-1969"],"unitdate_bulk_ssim":["1958-1969"],"unitdate_inclusive_ssm":["1935-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["9840 Aa 2"],"text":["9840 Aa 2","Charles W. Lane papers, 1935-1997, bulk 1958-1969","Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945.","Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs.","The collection is open to research, except for some files in box 2 that are restricted to staff use only.","No further additions to the papers are expected.","Charles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors."," Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States."," After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for  Good Housekeeping  and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed."," In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping.","The collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest.","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.","Architect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings.","Bentley Historical Library","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-","English","The material is in  English"],"unitid_tesim":["9840 Aa 2"],"normalized_date_ssm":["1935-1997, bulk 1958-1969"],"normalized_title_ssm":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"collection_title_tesim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"collection_ssim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"geogname_ssim":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"creator_ssm":["Lane, Charles W. (Charles Wesley), 1919-"],"creator_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"creator_persname_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"creators_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"places_ssim":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"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 collection was donated by Charles Wesley Lane (donor  8716 ) in 1998; additions were received from the family in 2008."],"access_subjects_ssim":["Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs."],"access_subjects_ssm":["Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs."],"has_online_content_ssim":["false"],"extent_ssm":["4.5 linear feet in 6 boxes","7 oversize folders"],"extent_tesim":["4.5 linear feet in 6 boxes","7 oversize folders"],"genreform_ssim":["Architectural drawings.","Photographs."],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research, except for some files in box 2 that are restricted to staff use only.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research, except for some files in box 2 that are restricted to staff use only."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the papers are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the papers are expected."],"bioghist_html_tesm":["\u003cp\u003eCharles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors.\u003c/p\u003e\n","\u003cp\u003e Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States.\u003c/p\u003e\n","\u003cp\u003e After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for \u003ctitle render=\"italic\"\u003eGood Housekeeping\u003c/title\u003e and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed.\u003c/p\u003e\n","\u003cp\u003e In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Charles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors."," Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States."," After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for  Good Housekeeping  and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed."," In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Charles W. Lane papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Charles W. Lane papers, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThe collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest."],"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_1711e8ec6440e36b108652ca8e44f52e\"\u003eArchitect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings.\u003c/abstract\u003e"],"abstract_tesim":["Architect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings."],"names_coll_ssim":["Huron High School (Ann Arbor, Mich.)","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-","Lane, Charles W. (Charles Wesley), 1919-"],"names_ssim":["Bentley Historical Library","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-"],"corpname_ssim":["Bentley Historical Library","Huron High School (Ann Arbor, Mich.)"],"persname_ssim":["Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-"],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":135,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-9840","timestamp":"2025-02-18T23:24:36.652Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-9840_aspace_4724bbdf8897a9606ba428a48cef53fb"}},{"id":"VAB9846_VAB9846-00005","type":"Event","attributes":{"title":"Man on the Street Interviews,  2009\n                                November 14","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00005#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eBrief interviews with audience members attending Saturday conference sessions. Due to technical problems, an additional interview with an unidentified informant was not recorded and a second interview with another unidentified informant was recorded without audio.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00005#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00005","ref_ssm":["VAB9846-00005","VAB9846-00005"],"id":"VAB9846_VAB9846-00005","title_filing_ssi":"Man on the Street Interviews,  2009\n                                November 14","title_ssm":["Man on the Street Interviews,  2009\n                                November 14"],"title_tesim":["Man on the Street Interviews,  2009\n                                November 14"],"normalized_title_ssm":["Man on the Street Interviews,  2009\n                                November 14"],"text":["Man on the Street Interviews,  2009\n                                November 14","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","1. Conference Sessions,  2009 November 13 and 14","DVF 1042--DVF 1048","File DVF 1042 contains no useable content.","Brief interviews with audience members attending Saturday conference\n                            sessions. Due to technical problems, an additional interview with an\n                            unidentified informant was not recorded and a second interview with\n                            another unidentified informant was recorded without audio."],"component_level_isim":[2],"parent_ssim":["VAB9846","VAB9846-00001"],"parent_ssi":"VAB9846-00001","parent_ids_ssim":["VAB9846","VAB9846_VAB9846-00001"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","1. Conference Sessions,  2009 November 13 and 14"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","1. Conference Sessions,  2009 November 13 and 14"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["DVF 1042--DVF 1048"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"extent_ssm":["7 video files (HD QuickTime) (14 minutes)"],"extent_tesim":["7 video files (HD QuickTime) (14 minutes)"],"creator_ssim":["Allbrittin, Deanna Berry, William Brown, Clayton Ford, Starla Rizzi, Jessica Rowley, Ariel","Williams, Lorrin[?]","Indiana University, Radio and Television\n                                Services"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Event"],"level_ssim":["Event"],"sort_isi":5,"parent_access_restrict_tesm":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"corpname_ssim":["Indiana University, Radio and Television\n                                Services"],"persname_ssim":["Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]"],"phystech_html_tesm":["\u003cp\u003eFile DVF 1042 contains no useable content.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Note"],"phystech_tesim":["File DVF 1042 contains no useable content."],"scopecontent_html_tesm":["\u003cp\u003eBrief interviews with audience members attending Saturday conference\n                            sessions. Due to technical problems, an additional interview with an\n                            unidentified informant was not recorded and a second interview with\n                            another unidentified informant was recorded without audio.\u003c/p\u003e"],"scopecontent_heading_ssm":["Description"],"scopecontent_tesim":["Brief interviews with audience members attending Saturday conference\n                            sessions. Due to technical problems, an additional interview with an\n                            unidentified informant was not recorded and a second interview with\n                            another unidentified informant was recorded without audio."],"_nest_path_":"/components#0/components#3","_nest_parent_":"VAB9846_VAB9846-00001","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n                151"],"text":["SC\n                151","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. ","This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            ","Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in  English . "],"unitid_tesim":["SC\n                151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n                    with the panelists was released to the Indiana University Board of Trustees in\n                    November 2009. "],"access_subjects_ssim":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n                    sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n                    (circa 21 hours), 1 box documentation, assorted audio, video, and image\n                    files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n               \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n               \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n               \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n               \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n               \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n            \u003c/list\u003e\n         \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n                    Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n                    Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                    \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n                    \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n                    from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n                    swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n                    for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n                fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n                    It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n                    Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n                    Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n                    Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                    \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n                writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n                    Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n                    Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n                magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                    \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n                    Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n                    Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n                    Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n                    \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n                    Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                    \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n                    Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n                    Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n                Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n            \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n                    Music\u003c/title\u003e brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in  English . 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