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If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"persname_ssim":["Cooper, Tyron","Mahon, Maureen"],"_nest_path_":"/components#4/components#3/components#1","_nest_parent_":"VAB9846_VAB9846-00066","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 151"],"text":["SC\n 151","Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010","African American rock\n musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. ","This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n ","Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in English . "],"unitid_tesim":["SC\n 151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n with the panelists was released to the Indiana University Board of Trustees in\n November 2009. 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If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n reference copies. If you are interested in viewing the contents of the miniDVs,\n please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series: Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee): Raised on a\n variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n with a brain, I figured it was my job to champion them because they made great Black\n music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n in Charlotte, N.C., and has contributed to numerous publications, including Paper , Harp , Village Voice , Popmatters.com , and the San Francisco Bay\n Guardian . She supported Afrofuturism by editing Rip It Up : The Black Experience in Rock 'n' Roll (2004), noted for\n being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n organized and mounted a Southern rock symposium titled Radio\n Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n readers to take pride in the history of Black rock, to \"attempt to conserve it,\n don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee): Self-described \"Black\n rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n Bold as Love , which focuses on exploring,\n celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n series, Bold as Live , which creates new opportunities\n for audiences to discover Black rock through shows, lectures, and discussions. He\n has worked professionally in the Black rock scene since the early 1990s, when he\n became Director of PR for the Black Rock Coalition. Following this, he went into\n artist management, working for Capitol Records and representing alternative Black\n artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n background in marketing, Rob's interest lies in providing context for audiences\n (particularly Black audiences) to understand and enjoy what they're hearing in Black\n rock, and to help Black rock artists find ways to make Black rock matter in the\n marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n 2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer) is author of\n Rockin Out : Popular Music in the USA and has\n been a professor at the College of Public and Community Service at U Mass Boston\n since 1978. He is also affiliated with the American Studies Program. Professor\n Garofalo is an internationally known scholar of popular music studies who has\n written numerous articles on music and politics, racism, censorship, and the\n globalization of the music industry and has lectured widely on a broad range of\n subjects relating to the operations of the music industry. At CPCS he has been\n spearheading the Community Media and Technology Major—a cutting edge media and\n technology program designed to encourage a combination of technical proficiency and\n social vision. ","Andy Hollinden (moderator/interviewer) teaches at the\n Jacobs School of Music at Indiana University, where he has developed several courses\n on popular music that have become widely favored by students on the campus. Such\n courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n addition to Hollinden's professorial duties, he composes and produces music for\n videos and has performed and recorded with numerous rock bands. So far, he has\n written and produced seven CDs of his own music: Moving Earth\n from There to Here (1994), Boot rouge et\n swabs (1996), Heat to Fragrance (2000),\n Begging's Not Endearing (2002), Stick It in Your Sound Hole (2004), Trust Yourself (2006), and Grieve\n for the Living (2008). As one of the moderators for this conference,\n Hollinden brings a broad historical awareness of the roots of rock music, which is\n centered in the African American cultural tradition, along with the understanding of\n musical, racial and political negotiations between Black and White musicians who\n have been associated with the genre. ","Maureen Mahon (moderator/interviewer) is an associate\n professor in the Department of Music at New York University. A cultural\n anthropologist, her research interests include African American history and culture;\n the construction and performance of race and gender in music; and the relationship\n between race, class, generation, and culture. She is the author of Right to Rock : The Black Rock Coalition and the Cultural\n Politics of Race (Duke University Press, 2004) and has published\n articles on African Americans and rock music in academic venues and at EbonyJet.com . Her current research on the music and\n legacy of Black women in rock examines the intersection of gender, race, sexuality,\n and music production. She has held fellowships from the National Science Foundation,\n the Ford Foundation, and the American Association of University Women and has taught\n at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee): A graduate of Howard\n University, Moe Mitchell has established himself as an activist and musician in the\n underground punk scene. His band Cipher, founded in 1996, is committed to opening\n critical spaces in underground music to reawaken the legacy of dissent in today's\n hardcore, weaving together elements of hardcore and metal with melodicism and\n politically radical lyrics to form a provocative, probing treatment of race, gender,\n and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n documentary Afro-punk , which explored issues of race\n identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n wanted to bring something new to underground music. Elements of hardcore and metal\n are woven with politically radical lyrics to form a provocative, probing treatment\n of race, gender, and class. Cipher's most recent album, Children of God's Fire (2005), was released to critical acclaim as \"an\n unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n pharmaceutical industry.\" Cipher released their second album, The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee) is one of the founders as\n well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n been making big waves on the New York scene for about three years. In that short\n time they've ventured out even further to slam heads, rock houses and muddy the lily\n white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n just may be the best-kept secret in music right now. Their album Searching for Rick Rubin (2008) explores classic hip-hop\n songs originally produced by studio legend Rick Rubin, re-imagined in Game\n Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee) is a filmmaker and\n fine artist. His award-winning debut feature documentary Afro-punk has screened at festivals in the U.S. and abroad, including\n the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n program for high school students on race identity by the New Museum in New York, and\n has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n Theatre Collective in New York, where he created new media works with a\n choreographer. Prior to working in film, he was a sculptor, whose work showed in\n galleries in New York and Seattle. He has also been an editor and an editing\n consultant. More recently, Spooner made his narrative film debut with White Lies, Black Sheep (2007). ","Stew (panelist/interviewee) is a Tony Award-winning\n singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n both of which were formed in the early 1990s. By the turn of the millennium, The\n Negro Problem was enjoying considerable success, receiving Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n The Public Theater to produce the musical Passing\n Strange , which has had successful runs at the Berkeley Repertory\n Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n recently, Spike Lee directed a film version of Passing\n Strange , which is receiving glowing praise at film festivals and aired\n on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n the Composer grant for a new multi-media work Making\n It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n performance in 2010. Stew’s recorded output includes Post\n Minstrel Syndrome (1997), Joys and\n Concerns (1999), Guest Host (2000),\n The Naked Dutch Painter (2002), Welcome Black (2002), Something\n Deeper than these Changes (2003), and the cast album of Passing Strange (2008). ","Tamar-kali (panelist/interviewee): \n Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n while performing with the band Funkface. Shortly thereafter, she became the front\n woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n strength as a woman in a male-dominated genre led to creative conflict and compelled\n her toward her own expression as a songwriter and vocalist, which resulted into her\n eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n vocal range allows her to execute warm, round, dark and raspy tones from low to high\n registers upon demand. She also performs with the string quartet Psycho Chamber\n Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n and composed specifically for strings by Tamar-kali. Along with leading her diverse\n ensembles and heading up her own production company, Flaming Yoni Productions,\n Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n Fishbone. In addition to appearing in the film Afro-punk , Tamar-kali has been featured in Vibe , Fader and Village Voice magazines. ","Greg Tate (panelist) is an American author who has spent\n the last two decades formulating a critical language that has redefined African\n American cultural theory and writing. An essayist and long time staff writer for\n Village Voice , Tate has published widely, with\n writings on art, music, and culture appearing in The New York\n Times , Rolling Stone , The Washington Post , Spin , Artforum , The\n Nation , DownBeat , and Africa-based\n magazines such as Glendora Review and Chimurenga . The impact of Tate's writing lies in the\n seminal productive tensions he navigates between post-structural theory and Black\n cultural nationalism, academia and street culture. Tate has been inspired by Black\n innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n constitutes authentic Black culture, and has inscribed a new radical trajectory that\n is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n continues to challenge cultural hegemony, writing on everything from hip-hop to\n YouTube . His books include Flyboy in the Buttermilk (1992), Midnight\n Lightning : Jimi Hendrix and the Black Experience (2003), and Everything but the Burden : What White People Are Taking from\n Black Culture (2003). He is also a founding member of the Black Rock\n Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n manner. ","Kamara Thomas (panelist/interviewee), along with Matt\n Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n in New York City, the pair began performing regularly as a duo. All along, they were\n crafting the sound and songs that would form the foundation for a colossal rock band\n influenced by the strident English three- and four-pieces of the '70s, the dark pop\n and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n rock. The band's first full-length album, Soft\n Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n group many fans and critical acclaim from publications including The New Yorker , Spin ,\n Rolling Stone , Brooklyn\n Vegan , and Pitchfork . Even more so, the\n band's live show quickly drew heaps of attention and gained a steady reputation\n among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n In spring 2010 Earl Greyhound released their sophomore album Suspicious Package . ","Suzanne Thomas (panelist/interviewee): A real deal blues\n guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n started out as an abandoned biracial child in South Korea, where she lived in an\n orphanage until an American family adopted her into the States at five. She began\n studying organ at the age of six and, as fate would have it, Thomas was given her\n first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n abandoned dental school at Ohio State to attend music school in Los Angeles. After\n time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n and played in Japan, France, and New York at various music festivals and events\n including the Manhattan Music Center. Thomas currently performs with her band The\n Blues Church. ","Linda Tillery (panelist/interviewee): Before becoming a\n prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n began her singing career in the 1960s with the gender and racially integrated\n psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n the Family Stone. After two albums with that band, Tillery released her solo debut,\n Sweet Linda Divine , on CBS in 1970 to\n enthusiastic reviews and high praise. She spent most of the 1970s singing and\n playing drums on over forty albums, including those by Mary Watkins and Teresa\n Trull. Having become a staff musician and producer at Olivia Records, Tillery\n released her second solo album, a self-titled effort, on the label in 1978,\n garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n subsequent years, Tillery collaborated with female musical powerhouses including\n June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n Olivia Records 10th anniversary album, Meg/Cris Live at\n Carnegie (1983). In 1985, Tillery released Secrets on her own 411 label which returned her to center stage. In\n recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n branched out into radio, film, theater, and television commercials. She has worked\n for the National Endowment for the Arts and appeared with artists ranging from\n Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n outlet for her desire to perform the traditional spiritual music of African American\n slaves and their descendants. ","Ike Willis (panelist/interviewee) first met Frank Zappa\n while studying political science at Washington University. Willis volunteered to\n help with the concert committee just so he could get a backstage pass to meet Frank\n Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n on Zappa's albums Joe's Garage , Tinsel Town Rebellion , and You\n Are What You Is . He also played the title character and narrator in\n Zappa's off-Broadway musical, Thing-Fish . Willis'\n distinct baritone vocals coupled with his melodic guitar style continues to solidify\n the musical legacy of Frank Zappa, which Willis promotes not only through his own\n music, but also via performances with ensembles around the world that perform Frank\n Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n Music\u003c/title\u003e brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n hosted a two-day conference on Black rock on the Indiana University-Bloomington\n campus. The conference and related activities were open to local and regional\n musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n Music brought together Black rock musicians from different generations\n and regions with music critics and scholars to discuss the socio-political history,\n musical developments, and the future of Black rock. The main component of the\n conference was a set of three panels, each exploring one of the following topics: 1)\n the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n of Black rock in the United States, including representatives from the East and West\n Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n create \"a united atmosphere conducive to the maximum development, exposure, [and]\n acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n units and organizations at Indiana University to arrange a series of film\n screenings, concerts, and workshops, which were hosted on the Bloomington campus\n during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n the IU Union Board Concert, and one-on-one interviews with each of the panelists\n (minus Greg Tate), a number of volunteers assisted with documenting the conference\n and conference-related events. The professionally videotaped footage consists of\n high definition QuickTime files provided by IU's Radio and Television Services\n (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n files in a variety of formats. Also included in the collection are a number of\n internal documents produced by AAAMC staff members during the production of the\n conference, including publicity materials, contract templates, grant materials, and\n planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n The conference and related activities were open to local and regional musicians,\n scholars, students, and brought together Black rock musicians from different\n generations and regions with music critics and scholars to discuss the\n socio-political history, musical developments, and the future of Black rock.\n "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n (AAAMC)","Indiana University, Archives of\n African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n Services","IU Soul Revue","Monroe County Public Library, Community\n Access Television Services","Students enrolled in Telecommunications\n T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in English . 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Bentley Historical Library"],"collection_ssim":["University Committee on the Use and Care of Animals (University of Michigan) records, 1979-2003"],"extent_ssm":["8 folders"],"extent_tesim":["8 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":20,"parent_access_restrict_tesm":["Access to the records is restricted under the Executive Officers records policy."," The University of Michigan. University Committee on the Use and Care of Animals record group includes restricted material in the following categories:","\n Executive Officers Records -- Boxes 1-9\n ",""],"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":[1997],"containers_ssim":["box 4"],"accessrestrict_html_tesm":["\u003cp\u003eER RESTRICTED until \u003cdate normal=\"2026-07-01\" type=\"restriction\"\u003eJuly 1, 2026\u003c/date\u003e\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["ER RESTRICTED until July 1, 2026"],"_nest_path_":"/components#0/components#18","_nest_parent_":"umich-bhl-0728_aspace_a7eea5411a2ef038d1077ae525da4cfa","_root_":"umich-bhl-0728","timestamp":"2025-02-18T23:13:23.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-0728","title_ssm":["University Committee on the Use and Care of Animals (University of Michigan) records"],"title_tesim":["University Committee on the Use and Care of Animals (University of Michigan) records"],"ead_ssi":"umich-bhl-0728","unitdate_ssm":["1979-2003"],"unitdate_inclusive_ssm":["1979-2003"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["0728 Bimu 2"],"text":["0728 Bimu 2","University Committee on the Use and Care of Animals (University of Michigan) records, 1979-2003","Animal welfare.","Laboratory animals.","Access to the records is restricted under the Executive Officers records policy."," The University of Michigan. University Committee on the Use and Care of Animals record group includes restricted material in the following categories:","Executive Officers Records -- Boxes 1-9","","Periodic additions to the records are expected.","The University Committee on the Use and Care of Animals (UCUCA) was established in 1965 to advise University of Michigan research officials on matters related to the use of animals in research and education. It formed out of the Unit for Laboratory Animal Medicine (ULAM) at the Medical School, and was the formal extension of the Animal Care Committee. Combined with the Animal Care Unit, the UCUCA helped to continue the humane treatment of animals regulated by the Laboratory Animal Welfare Act of 1966."," Beginning in 1986, the Committee was required to approve all use of vertebrate animals on campus. Currently, its responsibilities include reviewing applications for the use of animals in research, training, or testing, updating university policies for the treatment of animals, inspecting animal facilities in accordance with these policies, providing training for people working with animals, and advising the Office of the Vice President for Research on matters related to the use of animals in research and education. The Committee also serves to ensure University of Michigan compliance with federal animal welfare regulations through the submittal of reports to the American Association for Accreditation of Laboratory Animal Care (AAALAC) the Office of Laboratory Animal Welfare (OLAW), and the United States Department of Agriculture (USDA).","The University Committee on the Use and Care of Animals (UCUCA) records consist of meeting minutes and agendas, annual reports and reports of USDA inspections. The records are divided into two series: Meeting Minutes and Agendas and Reports. 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A recipient of the distinguished alumni award, Mays has been involved\n with the Indiana University Foundation.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["Born in 1945, William G. Mays is a 1968 Indiana University alumnus who received\n his MBA degree from the university in 1973. He went on to establish his own\n multi-million dollar business. Mays speaks of his days as a student at the\n university in the nineteen sixties and his experiences with racism, fellow\n African-American students, and the Greek system. In addition, he recalls the\n assassination of president John F. Kennedy, the Vietnam War, and the repercussions\n of both. A recipient of the distinguished alumni award, Mays has been involved\n with the Indiana University Foundation."],"_nest_path_":"/components#114","_nest_parent_":"ohrc072","_root_":"ohrc072","timestamp":"2025-02-18T23:03:26.449Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ohrc072","title_ssm":["Indiana University Oral History\n Archive"],"title_tesim":["Indiana University Oral History\n Archive"],"ead_ssi":"ohrc072","unitdate_ssm":["1991-1998"],"unitdate_inclusive_ssm":["1991-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["ohrc072"],"text":["ohrc072","Indiana University Oral History\n Archive, 1991-1998",". .","This collection contains 194 interviews conducted over 7 years. All interviews consist\n of audio tapes and typed transcripts, as well as collateral materials. ","This project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. This\n project was funded by President Emeritus John Ryan.","Interviews are housed in Radio-TV Building, Room 314.\n Copies of interview transcripts are also held by the IU Libraries University Archives.\n Contact archives@indiana.edu for more information. For other locations housing the\n interviews from this project, please contact the Center for Documentary Research and\n Practice office.","Indiana University Center for Documentary Research and Practice","Indiana University Center for the Study of\n History and Memory","Bloomington National Bank","Indiana University Inter-fraternity Council","Indiana University Office of Risk Management","Indiana University School of Law","United States Student Association","Arthur R. Metz Foundation","Indiana University Department of Chemistry","Little 500","Proctor and Gamble","Purdue University","student foundation","Houghton College","National Association of Schools of Music","New York University","North Texas State University","South Central College","Westminster Choir College","Yale University","","Army ROTC","Athletic Department","School of Health, Physical Education, and Recreation","Indiana University Foundation Board","board of trustees","Lilly Endowment","Phi Kappa Psi","Alumni Association","Indiana Department of Public Welfare","Indiana State Chamber of Commerce","Indiana Vocational Technical College","alumni club","Bloomington School of Law","Investment Committee","Standard Life Insurance Company","IUPUI","United States Air Force","Chicago-Kent Law School","FBI","IUPUI School of Law","IUPUI University Library","United States Department of Justice","Indiana University Alumni Association","Indiana University School of Medicine","Green Feathers","Indiana University School of Business","Red Cross","Indiana University Kokomo","Indiana University","Center for Studies of Law in Action","Indiana State Police","Indiana State Police Academy","Indiana University Department of Criminal Justice","Indiana University Department of Police Administration","Northwestern University","Indiana Conference of Higher Education","Indiana University Credit Union","Indiana University Division of Undergraduate Development","Stillman College","Neal Marshall Cultural Center","Omega Psi Chi","American Legion","Indiana University Business Office","Treasurer's Office","Indiana University Lilly Library","United States Navy","Hoosiers for Higher Education","University Apartments","Fair Play for Cuba Committee","Indiana University Foundation","International Business Forum","University of Indianapolis","faculty council","Indiana University Department of Comparative Literature","Indiana University South Bend","Indiana University Collins Living-Learning Center"," Indiana University Department of English","Kinsey Institute for Research in Sex, Gender, and\n Reproduction","Indiana University Southeast","Indiana University School of Medicine ","Sigma Chi","American Chemical Society ","Central High School ","Cornell University","Indiana Daily Student","Indiana University School of Dentistry","Johns Hopkins University","National Science Foundation","Indiana University Athletic Committee","Indiana University Men's Club","National Collegiate Athletic Association","Architectural Committee","Union Board","Board of Aeons","Inland Container Corporation","Krannert Charitable Trust","Association of Universities for Research in Astronomy,\n Incorporated","Goethe Link Observatory","Harvard Observatory","Indiana University Department of Astronomy","Indiana University Kirkwood Observatory","Lawrence Fellowship","Lowell Observatory","Seymour High School","Brookings Institute","Harvard University","Legal Services Corporation","Stanford University","Board of Trustees","Indiana University Northwest","Indiana University Department of Philosophy","Indiana University School of Music","American Life Convention","Harvard Law School","John Hancock Company","Ku Klux Klan","American Council on Education","Transylvania University","Army Air Corps","Concordia University-St. Paul","ERIC","Reader's Digest","School of Public and Environmental Affairs","University of Minnesota","Bowling Green University","Indiana State Music Association","Notre Dame","Yale","Indiana University student union board","Phi Gamma Delta"," Indiana University Student Association","Center on Philanthropy","Middle Way House","MTV","Women's Wheels","American Broadcasting Company","Hofstra University","Juilliard Conservatory","New School for Social Research","Pittsburgh Symphony Orchestra","Sigma Alpha Epsilon","London University","Sheffield University","University of Maryland","University of California at Santa Barbara","Indiana University Kokomo School of Business","University of Michigan","Carnegie Mellon University","Ohio State University ","Phi Betta Kappa","University of Pittsburgh","Western College for Women","Indiana State University","Indiana University-Purdue University Fort Wayne","General Electric Company","Lazarus Department Store","Studebaker Corporation","Beta Gamma Sigma","dean's advisory committee","Phi Beta Kappa","Hoosier 100","Black Student Union","Common Cause","Indiana University Student Association","Alpha Chi Omega","Woodburn Guild","General Motors Corporation","Neal Marshall Black Culture Center","New York Jets","Earlham College","Indiana University East","Iowa State University","Lockheed Corporation","MIT","IUPUI School of Law ","Columbia University School of Law","Air Force ROTC","Ivy Tech State College","Yale Law School","Enhancing Minority Attainment Conference","Lehman College","National Endowment for the Humanities","Indiana University Medical Center","Armstrong Cork Company","Indiana University School of Business ","Thatcher Glass Company","United Way of America","Columbia University","Kabul University","Neal Marshall Cultural Center ","Beta Theta Pi","Detroit Lions","I-Men's Association","Johnson Creamery","Indiana University Bloomington","Indiana University Hospital","Riley Hospital","Beekman and Bogue","Cotton and Franklin ","Interborough Rapid Transit Company ","Indiana University Department of Computer Science","Mini University","Purdue University ","Ford Motor Company","University of Evansville","College of William and Mary","Vassar College","Indiana University Fort Wayne","Purdue Universit","Indiana University Audio Visual Department","Indiana University Department of the Extension Division","Gay Straight Alliance","Indiana University Faculty Council","Sigma Nu","Indiana University Association of Women Students","Jordan River Review","Black Film Center/Archive","Case Western Reserve University","NAACP","Department of Radio and Television","Department of Telecommunications","WTIU","Indiana General Assembly","Indiana University Black Student Union","Indiana University Department of Geology","UCLA","Michigan State University","Fellowship of Christian Athletes","Progressive Reform Party","Students for a Democratic Society","Supreme Court","United States Army","Officers Candidate School","Department of History","Kappa Alpha Psi","Indiana University Human Genome Diversity Project","California Institute of Technology","Indiana University Department of Speech","Indiana University Department of Theater","St. Cloud University","University of Pennsylvania","Barter Theater","Booth Theater","Brown County Playhouse","Department of Theatre","Indiana University of Pennsylvania","Maurer School of Law","Indiana Univeristy Foundation","ROTC","Upjohn Company","Creighton College","Psi Iota Xi","Simpson College","University of Iowa","Sphinx Club","Indiana University Student Athletic Board","Indiana University Law School","Varsity Club","Center for Strategic and International Studies","Republican Party","Bloomington Community Foundation"," board of trustees","Bristol-Myers","Mead Johnson and Company","National Association of College and University Business\n Officers","Wayne State University","Little United Nations Assembly","City University of New York","Foster Quad Black Student Association","Echo Press","Guggenheim Foundation","National Endowment for the Arts","University of Colorado, Boulder","University of Nebraska","McKinney School of Law","West Georgia College","Peace Corps","Bloomington World","Marching Hundred","Dow Chemical Company","Kinsey Institute","University of Buffalo","University of Chicago","Computing Center","Department of Computer Science","Hewlett-Packard","Texas Instruments","University Computing Services","Xerox Corporation","Indiana Commission on Higher Education","University of Detroit","Indiana University Department of German","Indiana University Institute for Advanced Study","Sigma Alpha Nu","Blue Key","Claude Rich Scholarship","Monroe County Youth Shelter","Acacia","Lindley Hall","University of Ghana","athletic committee","Bob Knight Endowment","Friends of Music","Indiana University School of Journalism","City Securities Corporation","Indiana University Student Foundation","Merrill Lynch and Company, Incorporated","School of Business","University of California, Berkeley","Army Airways Communication System","Indiana University Department of Speech Communication","Barnes and Thornburg","Barnes, Hickam, Pantzer and Boyd","Big House Coalition","Independent Party","Indiana University All-Campus Party","Indiana University Board of Aeons","Organized Party","Oxford University","Westmont College","Indiana University Groups Student Support Services ","American Studies Program","Concordia Seminary","Indiana University Department of Religious Studies","Lutheran Church-Missouri Synod","New York University School of Law","Association of Governing Boards of Universities and Colleges","Ball Corporation","Ball State University","School of Education Alumni Association","Baldwin-Wallace College","Detroit Institute of Technology","Sienna Heights College","Washburn University","AT\u0026T","Eli Lilly and Company","Indiana Bell","Twelfth Man Club","Association of Women Students","Bloomington Hospital","Mid-West Business Administration Association","Human Relations Committee","Illinois State Department of Education","VISTA","Bloomingfoods","Bowes Tailoring","Clerical Workers’ Union","Communications Workers of America","Department of Chemistry","Department of German","School of Music","Shimer College","Sunflower Bakery","University of Wisconsin Madison","Whole Earth Co-Op","Boy Scouts of America","National Guard","Alpha Tau Omega"," Indiana University Department of Management","University of Michiga","Wayne State","Grace Commission","Lambda Chi Alpha","Shortridge High School","Women's Air Force","Getz","Conrad","Krannert","Russell","Finkel","Huffman","Jacobs","Grossman","Tobias","McGreevey","Kraemer, Peter","Kinsey, Alfred C.","Newman, George","Voegelin, Carl F.","Freedman, Jean","Baker, John","Boyd, Roselle","Clapacs, Terry","Cross, Pat","Ehrlich, Ellen","Ehrlich, Thomas","Floyd, Ralph","Knight, Bob","Ryan, John W.","Biddle, Ward G.","Briscoe, Herman T. \"Kay\"","Day, Harry","Hope, Bob","McGlasen, Tom","Metz, Arthur R.","Muhler, Joseph","Pawner, Nelson","Showalter, Grace M.","Stahr, Elvis J.","Wells, Herman B","Appel, Willie","Einstein, Albert","Webb, Charles","Chamberlain, Phillip","Mobley, Tony","Remley, Mary","Stoner, Richard B.","Armstrong, William","Bell, Gregory","Campbell, Milt","Crimmins, Bernie","Dumas, Charles","Mays, Willie","Miller, Jean","Esarey, Logan","Hennel, Cora","Hinkam, John","Meredith, James","Read, Tom","Barker, Clare Wright","Sutton, Joseph Lee","Georges, Robert A.","Bryan, William Lowe","Hill, John","Lead, Roy","Hunt, Virgil","Miller, Herbert","Edlin, George","Gambill, Chris","Gros Louis, Kenneth R.R.","Gross, Robert","Jordan, Dean","Gray, Don","Gucker, Frank G.","Hudson, Herman","Ross, Jimmy","Deiss, Charles Frederick","Fisher, L.L.","Franklin, Joe","Buley, Roscoe Carlyle","Lynch, William Orlando","Akins, Claude","Church, Harold","Franzen, Carl","Rinnick, Red","Anderssohn, John","Briscoe, Herman","Cavanugh, Dean","Kohlmeier, Alfred","Ryan, John","Stahr, Elvis","Sutton, Joe","Wells, Herman","Wilkie, Wendell","","Brenneman, Bill","Parker, Keith","Sonneborn, Tracy","Weimar, Arthur M.","Work, Jim","Kennedy, John Fitzgerald","King, Martin Luther, Jr.","Danzig, Steve","Chaitin, Gil","Flannigan, Clifford","Frenz, Horst","Mitchell, Briand","Solt, Mary Ellen","Weisstein, Ulrich","Bryan, Charlotte Lowe","Collins, Ralph","Hershey, Amos S.","Kabisch, Ernest Bernard","Morrison, Sarah Parke","Visher, Stephen Sargent","Braden, Sam","Pinnell, George","McCaig, Dick","Harmon, Paul","Ritchey, James O.","Kinsey, Clara M.","Lyons, Robert","Mathers, Frank Curry","McCollum, E.V.","Payne, Fernandus","Shriner, Ralph","Cookson, Thomas A.","Cathcart, Jimmy","Edwards, Edward D.","Harper, Fowler V.","Nelson, Alice","Aller, Lawrence","Cogshall, Wilbur A.","Cuffey, Jim","Russell, Henry Norris","Shapley, Harlow","Townsend, Prescott","Wells, Agnes E.","Williams, Kenneth P.","Ball, George A.","Chayes, Abram","Hand, Learned","Bell, Joshua","Bernstein, Leonard","Cohen, Jere Michael","Eissler, David","Jung, Christian","Kemp, Gretchen ","Powell, Bill","Shoemaker, Raymond L.","Oberholtz, Madge","Remy, William H.","Stephenson, David Curtis","Brown, Sylvia","Orescanin, Dan","Confucius","Wright, Wendell W. \"Whack\"","Sheehan, Steven","Bemis, Samuel Flagg","Benns, Lee","Bryan, William Lowe ","Buley, Roscoe Carlyle ","Byrd, Cecil","Byrnes, Robert F. ","Castle, William R., Jr. ","Curtis, Lewis","Dulles, Foster Rhea ","Friedman, Larry","Grant, James ","Grossberg, Michael","Gucker, Frank Thomson ","Jameson, J. Franklin","Kaplan, Larry","Kohlmeier, Albert Ludwig","Kunz, Diane","Lowengrub, Mort","O’Neil, Bob","Stark, Lloyd","Truman, President Harry","Wells, Herman B.","Winther, Oscar Osburn","Bain, Wilfred C.","Carmichael, Hoagy","McMillin, Alvin N. \"Bo\"","Rich, Claude T.","Willis, Hugh","Baker, David","Elliot, Peggy","Hershey, Marjorie","Moody, Michael","Stein, Stephen","Wiggins, William","Wise, Larry","Heineman, Charles","Kessler, James B.","Lofton, Guy","Bain, Wilfred","Bennett, Robert Russell","Ellington, Duke","Horney, Karen","Carter, Gwendolyn","Carter, James Earl, Jr.","Fonda, Jane","Mayberry, Phil","Barber, Cesar","Calinescu, Matei","Gottesman, Ronald","Naremore, James","Rabkin, Gerald","Weisstein, Ulrcih","Work, James","Berkvam, Michael","Billant, Antoinette","Carr, Diana","Hope, Quentin","Michael, Keith","Pfohl, Russell","Will, Samuel","Carmony, Donald","Benns, Frank Lee","Daugherty, Rosemary","Lundin, C. Leonard","Perguson, Dee","Mee, John","Cady, Ed","Bayh, Evan","Helmke, Paul","Udall, Stewart Lee","Bair, Ed","Bonham, Russ","Davidson, Ernie","Hanson, Bob","Parmenter, Charlie","Schafer, Riley","Shull, Harrison","Weurkert, Ernest","Hefner, Ray","Welsh, Matthew E.","Clinton, Hillary Rodham","Clinton, William Jefferson","Marsh, Elisabeth","Klotman, Phyllis","Lowengrub, Morton","Maultsby, Portia","Point, John","Torchinsky, Alberto ","Weidman, Leah E.","Mendel, Bernardo","Patterson, Robert P.","Sandberg, Carl","Sembower, Charles J.","Senour, Frank","Whiteman, Paul","O'Neil, Robert","Friedman, Dan","Prosser, Frank","Shapiro, Stu","Wand, Mitchell","Winkle, David","Franklin, Benjamin","Heighway, George \"Dixie\"","Homestead, Raleigh","Driver, Harold Edson","Merriam, Alan","Purdue, John","Bittner, Walter","Cavanaugh, Robert Emmet","Norman, Hugh","Ferrell, Robert H.","Hale, Will Taliaferro","Chavez, Linda","Dyson, Michael Eric","Bachelor, Joe","Hayes, Billy","Hoover, J. Edgar","Riley, James Whitcomb","Robinson, Sid","Breedan, Bill","Cabot, Nick","Douglas, Paul H.","Minton, Sherman","Roosevelt, Franklin Delano","Truman, Harry S.","Bowen, Otis R.","Christenson, Carroll","Eschbach, Jess","Gavit, Bernard Campbell","Kellogg, Winthrop Niles","Wallace, Leon","Wildermuth, Ora L.","Ferentinos","Counsilman, James \"Doc\"","Simic, Curt","Bidney, David","Kendall, Bonnie","Voegelin, Florence","Michael, R. Keith","Heppner, Hubert","Michael, Marion","Norvelle, Lee","Porterfield, Robert","Johnson, Wendell","Cortis, Eugene","Halkovich, Steve","Swygert, Luther","Bush, George, Sr.","Clinton, Bill","Dunn, Mike","Eisenberg, Paul","Carter, Byrum","Greenley, Betty","Remak, Henry H.H.","Kerr, Clark","Laird, Byron","Porter, John","Annon, Charles","Beckmann, Max","Black, Wendell","Bowie, Theodore","Lowe, Marvin","Megrew, Alden","Pozzatti, Dorothy","Shahn, Ben","Smith, Henry","Wolle, Muriel","Bowen, Otis","Kessler, Jim","Shirley, Janet","Bryan, William","Cravens, John","Kinsey, Alfred","Pyle, Ernie","Mueller, Joseph","Ottison, Skyler","Rau, John","Wenworth, Jack","Howe, Irving","Hagstrom, Stanley","Martin, Wayne","Purdom, Paul","Springer, George","Whitney, Dedaimia","Winkel, David","Wise, David","Wrubel, Marshall","Young, Steve","Bunke, Harvey C.","Evans, Maurice Blakemoore","Gallaway, Jesse James","Hitler, Adolf","Ittner, Robert","Osthus, Carl","Stout, Selatie Edgar","Voss, Bert John","Zucker, Edward","Heighway, George \"Dixie\" ","Brand, Myles","Lombardi, John","Nixon, Richard Milhous","Robinson, Eileen","Sippers, Mary","Crooks, Ed","Hesberg, Ted","Pointer, Nelson","Yeagley, Jerry","Peterson, John","Richardson, Ray","Burton, Bob","Harvey, Bill","Sperber, Murray","Daugherty, Jack","Errenpreis, Irvin","Wallace, George C.","Yelling, Sam","Allen, Robert E. Barton","Millisen, Robert","Snoddy, George Samuel","Atkins, Tom","Bingham, Barry","Blase, David","Donovan, Mike","Edmundson, Frank","Hanson, Norwood Russell","Huston, Tom","Kemp, Gretchen","Link, Goethe","Oswald, Lee Harvey","Owen, Kent","Polk, Jim","Scriven, Michael","Shaffer, Robert","Tesich, Steve","Ferrell, Bob","Gooker, Frank","Ahlstrom, Sydney","Brown, Joseph","Edwards, Jonathan","May, Bill","Sampley, Paul","Stein, Frederick Carl","Stein, Irene Kroggel","Gilliat, Neal","Hewett, Charles Mason","Tobias, David","Kinzer, Bill","Willbern, York","Brown, Stan","Williams, Ed","Coppage, Jim","Foster, Bronja","Holschuh, Albrecht","Johnson, Steve","Leivant, Daniel","Robertson, Ed","Shiner, Jack","Hutchins, Robert","Kuntz, Ed","Ratliff, Willie","Shepard, Randall","Bartley, E. Ross","Gildea, Bob","Johnson, Lyndon Baines","Clüver, Claus","Haeberle, Bill","Bowman, Slyvia","Buhner, Jack","Cohen, Dan","Daghlian, Phil","Gros Louis, Ken","Harrell, Charlie","Higgins, Smith","Reiberg, Rufus","Materials are in English"],"unitid_tesim":["ohrc072"],"normalized_date_ssm":["1991-1998"],"normalized_title_ssm":["Indiana University Oral History\n Archive, 1991-1998"],"collection_title_tesim":["Indiana University Oral History\n Archive, 1991-1998"],"collection_ssim":["Indiana University Oral History\n Archive, 1991-1998"],"repository_ssm":["Indiana University, Center for Documentary Research and Practice"],"repository_ssim":["Indiana University, Center for Documentary Research and Practice"],"creator_ssm":["Indiana University Center for the Study of\n History and Memory"],"creator_ssim":["Indiana University Center for the Study of\n History and Memory"],"creator_corpname_ssim":["Indiana University Center for the Study of\n History and Memory"],"creators_ssim":["Indiana University Center for the Study of\n History and Memory"],"acqinfo_ssim":["Oral history interviews conducted by the Indiana University Center for the Study of\n History and Memory from 1968 to the present, with particular focus on the history of\n twentieth-century America and the Midwest."],"has_online_content_ssim":["false"],"physdesc_tesim":[". ."],"extent_ssm":["194 interviews Audiotapes, transcripts, and collateral\n materials"],"extent_tesim":["194 interviews Audiotapes, transcripts, and collateral\n materials"],"date_range_isim":[1991,1992,1993,1994,1995,1996,1997,1998],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 194 interviews conducted over 7 years. All interviews consist\n of audio tapes and typed transcripts, as well as collateral materials. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["This collection contains 194 interviews conducted over 7 years. All interviews consist\n of audio tapes and typed transcripts, as well as collateral materials. "],"abstract_html_tesm":["\u003cabstract label=\"Abstract\" encodinganalog=\"520\"\u003eThis project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. This\n project was funded by President Emeritus John Ryan.\u003c/abstract\u003e"],"abstract_tesim":["This project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. This\n project was funded by President Emeritus John Ryan."],"physloc_html_tesm":["\u003cphysloc label=\"Physical Location\"\u003eInterviews are housed in Radio-TV Building, Room 314.\n Copies of interview transcripts are also held by the IU Libraries University Archives.\n Contact archives@indiana.edu for more information. For other locations housing the\n interviews from this project, please contact the Center for Documentary Research and\n Practice office.\u003c/physloc\u003e"],"physloc_tesim":["Interviews are housed in Radio-TV Building, Room 314.\n Copies of interview transcripts are also held by the IU Libraries University Archives.\n Contact archives@indiana.edu for more information. For other locations housing the\n interviews from this project, please contact the Center for Documentary Research and\n Practice office."],"names_ssim":["Indiana University Center for Documentary Research and Practice","Indiana University Center for the Study of\n History and Memory","Bloomington National Bank","Indiana University Inter-fraternity Council","Indiana University Office of Risk Management","Indiana University School of Law","United States Student Association","Arthur R. Metz Foundation","Indiana University Department of Chemistry","Little 500","Proctor and Gamble","Purdue University","student foundation","Houghton College","National Association of Schools of Music","New York University","North Texas State University","South Central College","Westminster Choir College","Yale University","","Army ROTC","Athletic Department","School of Health, Physical Education, and Recreation","Indiana University Foundation Board","board of trustees","Lilly Endowment","Phi Kappa Psi","Alumni Association","Indiana Department of Public Welfare","Indiana State Chamber of Commerce","Indiana Vocational Technical College","alumni club","Bloomington School of Law","Investment Committee","Standard Life Insurance Company","IUPUI","United States Air Force","Chicago-Kent Law School","FBI","IUPUI School of Law","IUPUI University Library","United States Department of Justice","Indiana University Alumni Association","Indiana University School of Medicine","Green Feathers","Indiana University School of Business","Red Cross","Indiana University Kokomo","Indiana University","Center for Studies of Law in Action","Indiana State Police","Indiana State Police Academy","Indiana University Department of Criminal Justice","Indiana University Department of Police Administration","Northwestern University","Indiana Conference of Higher Education","Indiana University Credit Union","Indiana University Division of Undergraduate Development","Stillman College","Neal Marshall Cultural Center","Omega Psi Chi","American Legion","Indiana University Business Office","Treasurer's Office","Indiana University Lilly Library","United States Navy","Hoosiers for Higher Education","University Apartments","Fair Play for Cuba Committee","Indiana University Foundation","International Business Forum","University of Indianapolis","faculty council","Indiana University Department of Comparative Literature","Indiana University South Bend","Indiana University Collins Living-Learning Center"," Indiana University Department of English","Kinsey Institute for Research in Sex, Gender, and\n Reproduction","Indiana University Southeast","Indiana University School of Medicine ","Sigma Chi","American Chemical Society ","Central High School ","Cornell University","Indiana Daily Student","Indiana University School of Dentistry","Johns Hopkins University","National Science Foundation","Indiana University Athletic Committee","Indiana University Men's Club","National Collegiate Athletic Association","Architectural Committee","Union Board","Board of Aeons","Inland Container Corporation","Krannert Charitable Trust","Association of Universities for Research in Astronomy,\n Incorporated","Goethe Link Observatory","Harvard Observatory","Indiana University Department of Astronomy","Indiana University Kirkwood Observatory","Lawrence Fellowship","Lowell Observatory","Seymour High School","Brookings Institute","Harvard University","Legal Services Corporation","Stanford University","Board of Trustees","Indiana University Northwest","Indiana University Department of Philosophy","Indiana University School of Music","American Life Convention","Harvard Law School","John Hancock Company","Ku Klux Klan","American Council on Education","Transylvania University","Army Air Corps","Concordia University-St. Paul","ERIC","Reader's Digest","School of Public and Environmental Affairs","University of Minnesota","Bowling Green University","Indiana State Music Association","Notre Dame","Yale","Indiana University student union board","Phi Gamma Delta"," Indiana University Student Association","Center on Philanthropy","Middle Way House","MTV","Women's Wheels","American Broadcasting Company","Hofstra University","Juilliard Conservatory","New School for Social Research","Pittsburgh Symphony Orchestra","Sigma Alpha Epsilon","London University","Sheffield University","University of Maryland","University of California at Santa Barbara","Indiana University Kokomo School of Business","University of 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Interviews by Maultsby, 1979-1989\u003c/item\u003e\n \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. 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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. The subsequent records of TEACH Michigan remain with the organization.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization."],"userestrict_html_tesm":["\u003cp\u003eDonor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_85c28ec7f064d103fc6a1b17b4c73c99\"\u003eOrganization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools.\u003c/abstract\u003e"],"abstract_tesim":["Organization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4f9a3a50370f108b16342d0e56be5abb\"\u003eOffsite storage; prior notification required for access\u003c/physloc\u003e"],"physloc_tesim":["Offsite storage; prior notification required for access"],"names_coll_ssim":["Michigan Center for Charter Schools.","TEACH Michigan.","TEACH Michigan Education Fund.","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N.","DeWeese, Paul N.","DeWeese, Paul N."],"names_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N."],"corpname_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund."],"persname_ssim":["DeWeese, Paul N."],"language_ssim":["English","The materials are in English."],"total_component_count_is":279,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-014","timestamp":"2025-02-18T23:13:12.778Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_2d3b2413fbc6cc80fa560db2efdc3386"}},{"id":"ohrc072_d1e15615","type":"Interview","attributes":{"title":"McKinney, Frank E., Jr. March 24, 1992","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/ohrc072_d1e15615#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eBorn in 1938, Frank E. McKinney is a 1961 Indiana University alumnus and 1962 graduate alumnus as well as an Olympic medal-winning swimmer. He came to Indiana University with the renowned swimming coach, Jim Counselman; with the blessing and help of Herman B Wells, they built up the best swimming program of the Big Ten universities. A former member of the Indiana University board of trustees, McKinney discusses his thoughts on the governance, academic schools, and administration of Indiana University. In addition, he speaks of his initiation of architectural planning committees on the Indiana University campuses. Finally, McKinney comments on his ideas as to the relationship between the American economy and the future of Indiana University.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/ohrc072_d1e15615#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"d1e15615","ref_ssm":["d1e15615","d1e15615"],"id":"ohrc072_d1e15615","title_filing_ssi":"McKinney, Frank E., Jr. March 24, 1992","title_ssm":["McKinney, Frank E., Jr. March 24, 1992"],"title_tesim":["McKinney, Frank E., Jr. March 24, 1992"],"normalized_title_ssm":["McKinney, Frank E., Jr. March 24, 1992"],"text":["McKinney, Frank E., Jr. March 24, 1992","Indiana University Oral History\n Archive, 1991-1998","91-088","30 pages; 2 tapes, 1 7/8 ips, 106 minutes;\n index, 1 VHS","American economy","architectural planning","Indiana University administration","swimming","Olympics","Open","Born in 1938, Frank E. McKinney is a 1961 Indiana University alumnus and 1962\n graduate alumnus as well as an Olympic medal-winning swimmer. He came to Indiana\n University with the renowned swimming coach, Jim Counselman; with the blessing and\n help of Herman B Wells, they built up the best swimming program of the Big Ten\n universities. A former member of the Indiana University board of trustees,\n McKinney discusses his thoughts on the governance, academic schools, and\n administration of Indiana University. In addition, he speaks of his initiation of\n architectural planning committees on the Indiana University campuses. Finally,\n McKinney comments on his ideas as to the relationship between the American economy\n and the future of Indiana University.","Interviews are housed in Radio-TV Building, Room\n 314. Copies of interview transcripts are also held by the IU Libraries University\n Archives. Contact archives@indiana.edu for more information. For other locations\n housing the interviews from this project, please contact the Center for\n Documentary Research and Practice office."],"component_level_isim":[1],"parent_ssim":["ohrc072"],"parent_ssi":"ohrc072","parent_ids_ssim":["ohrc072"],"parent_unittitles_ssm":["Indiana University Oral History\n Archive, 1991-1998"],"parent_unittitles_tesim":["Indiana University Oral History\n Archive, 1991-1998"],"parent_levels_ssm":["collection"],"unitid_ssm":["91-088"],"repository_ssim":["Indiana University, Center for Documentary Research and Practice"],"collection_ssim":["Indiana University Oral History\n Archive, 1991-1998"],"physdesc_tesim":["30 pages; 2 tapes, 1 7/8 ips, 106 minutes;\n index, 1 VHS"],"creator_ssim":["Freedman, Jean"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Interview"],"level_ssim":["Interview"],"sort_isi":116,"corpname_ssim":["board of trustees","Indiana University Foundation","Purdue University"],"persname_ssim":["Freedman, Jean","Counsilman, James \"Doc\"","Edwards, Edward D.","Ryan, John W.","Simic, Curt","Wells, Herman B"],"access_subjects_ssim":["American economy","architectural planning","Indiana University administration","swimming","Olympics"],"access_subjects_ssm":["American economy","architectural planning","Indiana University administration","swimming","Olympics"],"accessrestrict_html_tesm":["\u003cp\u003eOpen\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Status"],"accessrestrict_tesim":["Open"],"scopecontent_html_tesm":["\u003cp\u003eBorn in 1938, Frank E. McKinney is a 1961 Indiana University alumnus and 1962\n graduate alumnus as well as an Olympic medal-winning swimmer. He came to Indiana\n University with the renowned swimming coach, Jim Counselman; with the blessing and\n help of Herman B Wells, they built up the best swimming program of the Big Ten\n universities. A former member of the Indiana University board of trustees,\n McKinney discusses his thoughts on the governance, academic schools, and\n administration of Indiana University. In addition, he speaks of his initiation of\n architectural planning committees on the Indiana University campuses. Finally,\n McKinney comments on his ideas as to the relationship between the American economy\n and the future of Indiana University.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["Born in 1938, Frank E. McKinney is a 1961 Indiana University alumnus and 1962\n graduate alumnus as well as an Olympic medal-winning swimmer. He came to Indiana\n University with the renowned swimming coach, Jim Counselman; with the blessing and\n help of Herman B Wells, they built up the best swimming program of the Big Ten\n universities. A former member of the Indiana University board of trustees,\n McKinney discusses his thoughts on the governance, academic schools, and\n administration of Indiana University. In addition, he speaks of his initiation of\n architectural planning committees on the Indiana University campuses. Finally,\n McKinney comments on his ideas as to the relationship between the American economy\n and the future of Indiana University."],"physloc_html_tesm":["\u003cphysloc label=\"Physical Location\"\u003eInterviews are housed in Radio-TV Building, Room\n 314. Copies of interview transcripts are also held by the IU Libraries University\n Archives. Contact archives@indiana.edu for more information. 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","This project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. 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University School of Business","Red Cross","Indiana University Kokomo","Indiana University","Center for Studies of Law in Action","Indiana State Police","Indiana State Police Academy","Indiana University Department of Criminal Justice","Indiana University Department of Police Administration","Northwestern University","Indiana Conference of Higher Education","Indiana University Credit Union","Indiana University Division of Undergraduate Development","Stillman College","Neal Marshall Cultural Center","Omega Psi Chi","American Legion","Indiana University Business Office","Treasurer's Office","Indiana University Lilly Library","United States Navy","Hoosiers for Higher Education","University Apartments","Fair Play for Cuba Committee","Indiana University Foundation","International Business Forum","University of Indianapolis","faculty council","Indiana University Department of Comparative Literature","Indiana University South Bend","Indiana University Collins Living-Learning Center"," Indiana University Department of English","Kinsey Institute for Research in Sex, Gender, and\n Reproduction","Indiana University Southeast","Indiana University School of Medicine ","Sigma Chi","American Chemical Society ","Central High School ","Cornell University","Indiana Daily Student","Indiana University School of Dentistry","Johns Hopkins University","National Science Foundation","Indiana University Athletic Committee","Indiana University Men's Club","National Collegiate Athletic Association","Architectural Committee","Union Board","Board of Aeons","Inland Container Corporation","Krannert Charitable Trust","Association of Universities for Research in Astronomy,\n Incorporated","Goethe Link Observatory","Harvard Observatory","Indiana University Department of Astronomy","Indiana University Kirkwood Observatory","Lawrence Fellowship","Lowell Observatory","Seymour High School","Brookings Institute","Harvard University","Legal Services Corporation","Stanford University","Board of Trustees","Indiana University Northwest","Indiana University Department of Philosophy","Indiana University School of Music","American Life Convention","Harvard Law School","John Hancock Company","Ku Klux Klan","American Council on Education","Transylvania University","Army Air Corps","Concordia University-St. Paul","ERIC","Reader's Digest","School of Public and Environmental Affairs","University of Minnesota","Bowling Green University","Indiana State Music Association","Notre Dame","Yale","Indiana University student union board","Phi Gamma Delta"," Indiana University Student Association","Center on Philanthropy","Middle Way House","MTV","Women's Wheels","American Broadcasting Company","Hofstra University","Juilliard Conservatory","New School for Social Research","Pittsburgh Symphony Orchestra","Sigma Alpha Epsilon","London University","Sheffield University","University of Maryland","University of California at Santa Barbara","Indiana University Kokomo School of Business","University of Michigan","Carnegie Mellon University","Ohio State University ","Phi Betta Kappa","University of Pittsburgh","Western College for Women","Indiana State University","Indiana University-Purdue University Fort Wayne","General Electric Company","Lazarus Department Store","Studebaker Corporation","Beta Gamma Sigma","dean's advisory committee","Phi Beta Kappa","Hoosier 100","Black Student Union","Common Cause","Indiana University Student Association","Alpha Chi Omega","Woodburn Guild","General Motors Corporation","Neal Marshall Black Culture Center","New York Jets","Earlham College","Indiana University East","Iowa State University","Lockheed Corporation","MIT","IUPUI School of Law ","Columbia University School of Law","Air Force ROTC","Ivy Tech State College","Yale Law School","Enhancing Minority Attainment Conference","Lehman College","National Endowment for the Humanities","Indiana University Medical Center","Armstrong Cork Company","Indiana University School of Business ","Thatcher Glass 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Education Alumni Association","Baldwin-Wallace College","Detroit Institute of Technology","Sienna Heights College","Washburn University","AT\u0026T","Eli Lilly and Company","Indiana Bell","Twelfth Man Club","Association of Women Students","Bloomington Hospital","Mid-West Business Administration Association","Human Relations Committee","Illinois State Department of Education","VISTA","Bloomingfoods","Bowes Tailoring","Clerical Workers’ Union","Communications Workers of America","Department of Chemistry","Department of German","School of Music","Shimer College","Sunflower Bakery","University of Wisconsin Madison","Whole Earth Co-Op","Boy Scouts of America","National Guard","Alpha Tau Omega"," Indiana University Department of Management","University of Michiga","Wayne State","Grace Commission","Lambda Chi Alpha","Shortridge High School","Women's Air Force","Getz","Conrad","Krannert","Russell","Finkel","Huffman","Jacobs","Grossman","Tobias","McGreevey","Kraemer, Peter","Kinsey, Alfred 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D.","Harper, Fowler V.","Nelson, Alice","Aller, Lawrence","Cogshall, Wilbur A.","Cuffey, Jim","Russell, Henry Norris","Shapley, Harlow","Townsend, Prescott","Wells, Agnes E.","Williams, Kenneth P.","Ball, George A.","Chayes, Abram","Hand, Learned","Bell, Joshua","Bernstein, Leonard","Cohen, Jere Michael","Eissler, David","Jung, Christian","Kemp, Gretchen ","Powell, Bill","Shoemaker, Raymond L.","Oberholtz, Madge","Remy, William H.","Stephenson, David Curtis","Brown, Sylvia","Orescanin, Dan","Confucius","Wright, Wendell W. \"Whack\"","Sheehan, Steven","Bemis, Samuel Flagg","Benns, Lee","Bryan, William Lowe ","Buley, Roscoe Carlyle ","Byrd, Cecil","Byrnes, Robert F. ","Castle, William R., Jr. ","Curtis, Lewis","Dulles, Foster Rhea ","Friedman, Larry","Grant, James ","Grossberg, Michael","Gucker, Frank Thomson ","Jameson, J. Franklin","Kaplan, Larry","Kohlmeier, Albert Ludwig","Kunz, Diane","Lowengrub, Mort","O’Neil, Bob","Stark, Lloyd","Truman, President Harry","Wells, Herman B.","Winther, Oscar Osburn","Bain, Wilfred C.","Carmichael, Hoagy","McMillin, Alvin N. \"Bo\"","Rich, Claude T.","Willis, Hugh","Baker, David","Elliot, Peggy","Hershey, Marjorie","Moody, Michael","Stein, Stephen","Wiggins, William","Wise, Larry","Heineman, Charles","Kessler, James B.","Lofton, Guy","Bain, Wilfred","Bennett, Robert Russell","Ellington, Duke","Horney, Karen","Carter, Gwendolyn","Carter, James Earl, Jr.","Fonda, Jane","Mayberry, Phil","Barber, Cesar","Calinescu, Matei","Gottesman, Ronald","Naremore, James","Rabkin, Gerald","Weisstein, Ulrcih","Work, James","Berkvam, Michael","Billant, Antoinette","Carr, Diana","Hope, Quentin","Michael, Keith","Pfohl, Russell","Will, Samuel","Carmony, Donald","Benns, Frank Lee","Daugherty, Rosemary","Lundin, C. Leonard","Perguson, Dee","Mee, John","Cady, Ed","Bayh, Evan","Helmke, Paul","Udall, Stewart Lee","Bair, Ed","Bonham, Russ","Davidson, Ernie","Hanson, Bob","Parmenter, Charlie","Schafer, Riley","Shull, Harrison","Weurkert, Ernest","Hefner, Ray","Welsh, Matthew E.","Clinton, Hillary Rodham","Clinton, William Jefferson","Marsh, Elisabeth","Klotman, Phyllis","Lowengrub, Morton","Maultsby, Portia","Point, John","Torchinsky, Alberto ","Weidman, Leah E.","Mendel, Bernardo","Patterson, Robert P.","Sandberg, Carl","Sembower, Charles J.","Senour, Frank","Whiteman, Paul","O'Neil, Robert","Friedman, Dan","Prosser, Frank","Shapiro, Stu","Wand, Mitchell","Winkle, David","Franklin, Benjamin","Heighway, George \"Dixie\"","Homestead, Raleigh","Driver, Harold Edson","Merriam, Alan","Purdue, John","Bittner, Walter","Cavanaugh, Robert Emmet","Norman, Hugh","Ferrell, Robert H.","Hale, Will Taliaferro","Chavez, Linda","Dyson, Michael Eric","Bachelor, Joe","Hayes, Billy","Hoover, J. Edgar","Riley, James Whitcomb","Robinson, Sid","Breedan, Bill","Cabot, Nick","Douglas, Paul H.","Minton, Sherman","Roosevelt, Franklin Delano","Truman, Harry S.","Bowen, Otis R.","Christenson, Carroll","Eschbach, Jess","Gavit, Bernard Campbell","Kellogg, Winthrop Niles","Wallace, Leon","Wildermuth, Ora L.","Ferentinos","Counsilman, James \"Doc\"","Simic, Curt","Bidney, David","Kendall, Bonnie","Voegelin, Florence","Michael, R. Keith","Heppner, Hubert","Michael, Marion","Norvelle, Lee","Porterfield, Robert","Johnson, Wendell","Cortis, Eugene","Halkovich, Steve","Swygert, Luther","Bush, George, Sr.","Clinton, Bill","Dunn, Mike","Eisenberg, Paul","Carter, Byrum","Greenley, Betty","Remak, Henry H.H.","Kerr, Clark","Laird, Byron","Porter, John","Annon, Charles","Beckmann, Max","Black, Wendell","Bowie, Theodore","Lowe, Marvin","Megrew, Alden","Pozzatti, Dorothy","Shahn, Ben","Smith, Henry","Wolle, Muriel","Bowen, Otis","Kessler, Jim","Shirley, Janet","Bryan, William","Cravens, John","Kinsey, Alfred","Pyle, Ernie","Mueller, Joseph","Ottison, Skyler","Rau, John","Wenworth, Jack","Howe, Irving","Hagstrom, Stanley","Martin, Wayne","Purdom, Paul","Springer, George","Whitney, Dedaimia","Winkel, David","Wise, David","Wrubel, Marshall","Young, Steve","Bunke, Harvey C.","Evans, Maurice Blakemoore","Gallaway, Jesse James","Hitler, Adolf","Ittner, Robert","Osthus, Carl","Stout, Selatie Edgar","Voss, Bert John","Zucker, Edward","Heighway, George \"Dixie\" ","Brand, Myles","Lombardi, John","Nixon, Richard Milhous","Robinson, Eileen","Sippers, Mary","Crooks, Ed","Hesberg, Ted","Pointer, Nelson","Yeagley, Jerry","Peterson, John","Richardson, Ray","Burton, Bob","Harvey, Bill","Sperber, Murray","Daugherty, Jack","Errenpreis, Irvin","Wallace, George C.","Yelling, Sam","Allen, Robert E. Barton","Millisen, Robert","Snoddy, George Samuel","Atkins, Tom","Bingham, Barry","Blase, David","Donovan, Mike","Edmundson, Frank","Hanson, Norwood Russell","Huston, Tom","Kemp, Gretchen","Link, Goethe","Oswald, Lee Harvey","Owen, Kent","Polk, Jim","Scriven, Michael","Shaffer, Robert","Tesich, Steve","Ferrell, Bob","Gooker, Frank","Ahlstrom, Sydney","Brown, Joseph","Edwards, Jonathan","May, Bill","Sampley, Paul","Stein, Frederick Carl","Stein, Irene Kroggel","Gilliat, Neal","Hewett, Charles Mason","Tobias, David","Kinzer, Bill","Willbern, York","Brown, Stan","Williams, Ed","Coppage, Jim","Foster, Bronja","Holschuh, Albrecht","Johnson, Steve","Leivant, Daniel","Robertson, Ed","Shiner, Jack","Hutchins, Robert","Kuntz, Ed","Ratliff, Willie","Shepard, Randall","Bartley, E. Ross","Gildea, Bob","Johnson, Lyndon Baines","Clüver, Claus","Haeberle, Bill","Bowman, Slyvia","Buhner, Jack","Cohen, Dan","Daghlian, Phil","Gros Louis, Ken","Harrell, Charlie","Higgins, Smith","Reiberg, Rufus","Materials are in English"],"unitid_tesim":["ohrc072"],"normalized_date_ssm":["1991-1998"],"normalized_title_ssm":["Indiana University Oral History\n Archive, 1991-1998"],"collection_title_tesim":["Indiana University Oral History\n Archive, 1991-1998"],"collection_ssim":["Indiana University Oral History\n Archive, 1991-1998"],"repository_ssm":["Indiana University, Center for Documentary Research and Practice"],"repository_ssim":["Indiana University, Center for Documentary Research and Practice"],"creator_ssm":["Indiana University Center for the Study of\n History and Memory"],"creator_ssim":["Indiana University Center for the Study of\n History and Memory"],"creator_corpname_ssim":["Indiana University Center for the Study of\n History and Memory"],"creators_ssim":["Indiana University Center for the Study of\n History and Memory"],"acqinfo_ssim":["Oral history interviews conducted by the Indiana University Center for the Study of\n History and Memory from 1968 to the present, with particular focus on the history of\n twentieth-century America and the Midwest."],"has_online_content_ssim":["false"],"physdesc_tesim":[". ."],"extent_ssm":["194 interviews Audiotapes, transcripts, and collateral\n materials"],"extent_tesim":["194 interviews Audiotapes, transcripts, and collateral\n materials"],"date_range_isim":[1991,1992,1993,1994,1995,1996,1997,1998],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 194 interviews conducted over 7 years. All interviews consist\n of audio tapes and typed transcripts, as well as collateral materials. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["This collection contains 194 interviews conducted over 7 years. All interviews consist\n of audio tapes and typed transcripts, as well as collateral materials. "],"abstract_html_tesm":["\u003cabstract label=\"Abstract\" encodinganalog=\"520\"\u003eThis project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. This\n project was funded by President Emeritus John Ryan.\u003c/abstract\u003e"],"abstract_tesim":["This project is a compilation of interviews\n of subjects with strong ties to and memories of Indiana University, primarily at the\n Bloomington campus, including former students, faculty, and staff, among others. The\n information spans most of the twentieth century and deals with the administrations under\n presidents Herman B Wells, John Ryan, Thomas Ehrlich, and Myles Brand. The project\n occurred in two parts. The first round of interviews was with administrators, trustees,\n and other high-ranking members of the university hierarchy. The second round of\n interviews was with senior faculty from a number of departments in the College of Arts\n and Sciences. The project is a survey of Indiana University's history as a whole\n including information about various academic departments, athletics, student\n organizations, campus growth, and the university's growth in the twentieth century. This\n project was funded by President Emeritus John Ryan."],"physloc_html_tesm":["\u003cphysloc label=\"Physical Location\"\u003eInterviews are housed in Radio-TV Building, Room 314.\n Copies of interview transcripts are also held by the IU Libraries University Archives.\n Contact archives@indiana.edu for more information. For other locations housing the\n interviews from this project, please contact the Center for Documentary Research and\n Practice office.\u003c/physloc\u003e"],"physloc_tesim":["Interviews are housed in Radio-TV Building, Room 314.\n Copies of interview transcripts are also held by the IU Libraries University Archives.\n Contact archives@indiana.edu for more information. For other locations housing the\n interviews from this project, please contact the Center for Documentary Research and\n Practice office."],"names_ssim":["Indiana University Center for Documentary Research and Practice","Indiana University Center for the Study of\n History and Memory","Bloomington National Bank","Indiana University Inter-fraternity Council","Indiana University Office of Risk Management","Indiana University School of Law","United States Student Association","Arthur R. 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Leonard","Perguson, Dee","Mee, John","Cady, Ed","Bayh, Evan","Helmke, Paul","Udall, Stewart Lee","Bair, Ed","Bonham, Russ","Davidson, Ernie","Hanson, Bob","Parmenter, Charlie","Schafer, Riley","Shull, Harrison","Weurkert, Ernest","Hefner, Ray","Welsh, Matthew E.","Clinton, Hillary Rodham","Clinton, William Jefferson","Marsh, Elisabeth","Klotman, Phyllis","Lowengrub, Morton","Maultsby, Portia","Point, John","Torchinsky, Alberto ","Weidman, Leah E.","Mendel, Bernardo","Patterson, Robert P.","Sandberg, Carl","Sembower, Charles J.","Senour, Frank","Whiteman, Paul","O'Neil, Robert","Friedman, Dan","Prosser, Frank","Shapiro, Stu","Wand, Mitchell","Winkle, David","Franklin, Benjamin","Heighway, George \"Dixie\"","Homestead, Raleigh","Driver, Harold Edson","Merriam, Alan","Purdue, John","Bittner, Walter","Cavanaugh, Robert Emmet","Norman, Hugh","Ferrell, Robert H.","Hale, Will Taliaferro","Chavez, Linda","Dyson, Michael Eric","Bachelor, Joe","Hayes, Billy","Hoover, J. Edgar","Riley, James Whitcomb","Robinson, Sid","Breedan, Bill","Cabot, Nick","Douglas, Paul H.","Minton, Sherman","Roosevelt, Franklin Delano","Truman, Harry S.","Bowen, Otis R.","Christenson, Carroll","Eschbach, Jess","Gavit, Bernard Campbell","Kellogg, Winthrop Niles","Wallace, Leon","Wildermuth, Ora L.","Ferentinos","Counsilman, James \"Doc\"","Simic, Curt","Bidney, David","Kendall, Bonnie","Voegelin, Florence","Michael, R. Keith","Heppner, Hubert","Michael, Marion","Norvelle, Lee","Porterfield, Robert","Johnson, Wendell","Cortis, Eugene","Halkovich, Steve","Swygert, Luther","Bush, George, Sr.","Clinton, Bill","Dunn, Mike","Eisenberg, Paul","Carter, Byrum","Greenley, Betty","Remak, Henry H.H.","Kerr, Clark","Laird, Byron","Porter, John","Annon, Charles","Beckmann, Max","Black, Wendell","Bowie, Theodore","Lowe, Marvin","Megrew, Alden","Pozzatti, Dorothy","Shahn, Ben","Smith, Henry","Wolle, Muriel","Bowen, Otis","Kessler, Jim","Shirley, Janet","Bryan, William","Cravens, John","Kinsey, Alfred","Pyle, Ernie","Mueller, Joseph","Ottison, Skyler","Rau, John","Wenworth, Jack","Howe, Irving","Hagstrom, Stanley","Martin, Wayne","Purdom, Paul","Springer, George","Whitney, Dedaimia","Winkel, David","Wise, David","Wrubel, Marshall","Young, Steve","Bunke, Harvey C.","Evans, Maurice Blakemoore","Gallaway, Jesse James","Hitler, Adolf","Ittner, Robert","Osthus, Carl","Stout, Selatie Edgar","Voss, Bert John","Zucker, Edward","Heighway, George \"Dixie\" ","Brand, Myles","Lombardi, John","Nixon, Richard Milhous","Robinson, Eileen","Sippers, Mary","Crooks, Ed","Hesberg, Ted","Pointer, Nelson","Yeagley, Jerry","Peterson, John","Richardson, Ray","Burton, Bob","Harvey, Bill","Sperber, Murray","Daugherty, Jack","Errenpreis, Irvin","Wallace, George C.","Yelling, Sam","Allen, Robert E. Barton","Millisen, Robert","Snoddy, George Samuel","Atkins, Tom","Bingham, Barry","Blase, David","Donovan, Mike","Edmundson, Frank","Hanson, Norwood Russell","Huston, Tom","Kemp, Gretchen","Link, Goethe","Oswald, Lee Harvey","Owen, Kent","Polk, Jim","Scriven, Michael","Shaffer, Robert","Tesich, Steve","Ferrell, Bob","Gooker, Frank","Ahlstrom, Sydney","Brown, Joseph","Edwards, Jonathan","May, Bill","Sampley, Paul","Stein, Frederick Carl","Stein, Irene Kroggel","Gilliat, Neal","Hewett, Charles Mason","Tobias, David","Kinzer, Bill","Willbern, York","Brown, Stan","Williams, Ed","Coppage, Jim","Foster, Bronja","Holschuh, Albrecht","Johnson, Steve","Leivant, Daniel","Robertson, Ed","Shiner, Jack","Hutchins, Robert","Kuntz, Ed","Ratliff, Willie","Shepard, Randall","Bartley, E. Ross","Gildea, Bob","Johnson, Lyndon Baines","Clüver, Claus","Haeberle, Bill","Bowman, Slyvia","Buhner, Jack","Cohen, Dan","Daghlian, Phil","Gros Louis, Ken","Harrell, Charlie","Higgins, Smith","Reiberg, Rufus"],"language_ssim":["Materials are in English"],"total_component_count_is":193,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"ohrc072","timestamp":"2025-02-18T23:03:26.449Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/ohrc072_d1e15615"}},{"id":"ehll--wilsondoncollectiontwo_al_c05b52be1da221129442c30de0af68109cae1165","type":"File","attributes":{"title":"McLouth Steel Corp., Packing List, 1981","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/ehll--wilsondoncollectiontwo_al_c05b52be1da221129442c30de0af68109cae1165#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"al_c05b52be1da221129442c30de0af68109cae1165","ref_ssm":["al_c05b52be1da221129442c30de0af68109cae1165","al_c05b52be1da221129442c30de0af68109cae1165"],"id":"ehll--wilsondoncollectiontwo_al_c05b52be1da221129442c30de0af68109cae1165","title_filing_ssi":"McLouth Steel Corp., Packing List, 1981","title_ssm":["McLouth Steel Corp., Packing List, 1981"],"title_tesim":["McLouth Steel Corp., Packing List, 1981"],"normalized_title_ssm":["McLouth Steel Corp., Packing List, 1981"],"text":["McLouth Steel Corp., Packing List, 1981","Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection.","Box 4","Folder 33"],"component_level_isim":[2],"parent_ssim":["ehll--wilsondoncollectiontwo","al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_ssi":"al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","parent_ids_ssim":["ehll--wilsondoncollectiontwo","ehll--wilsondoncollectiontwo_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_unittitles_ssm":["Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection."],"parent_unittitles_tesim":["Don Wilson Collection\n \n1885-2015, and undated","Don Wilson Collection."],"parent_levels_ssm":["collection","Series"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"collection_ssim":["Don Wilson Collection\n \n1885-2015, and undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":129,"containers_ssim":["Box 4","Folder 33"],"_nest_path_":"/components#0/components#127","_nest_parent_":"ehll--wilsondoncollectiontwo_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","_root_":"ehll--wilsondoncollectiontwo","timestamp":"2025-02-18T23:25:40.103Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ehll--wilsondoncollectiontwo","title_ssm":["\nDon Wilson Collection\n \n1885-2015, and undated \n"],"title_tesim":["\nDon Wilson Collection\n \n1885-2015, and undated \n"],"ead_ssi":"ehll--wilsondoncollectiontwo","level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["\nMSS.\n"],"text":["\nMSS.\n","Don Wilson Collection\n \n1885-2015, and undated","Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan.","The collection is organized by size and format, and then in alphabetical and chronological order.","Biography:","Don Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections.","Collection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.","Items of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).","Photographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).","Blueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.","The 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don’s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson’s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.","Researchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.","Processing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke’s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies.","The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA).","Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs.","Wilson, Don.","The material is in English"],"unitid_tesim":["\nMSS.\n"],"normalized_title_ssm":["Don Wilson Collection\n \n1885-2015, and undated"],"collection_title_tesim":["Don Wilson Collection\n \n1885-2015, and undated"],"collection_ssim":["Don Wilson Collection\n \n1885-2015, and undated"],"repository_ssm":["Central Michigan University Clarke Historical Library"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"creator_ssm":["Wilson, Don."],"creator_ssim":["Wilson, Don."],"creator_persname_ssim":["Wilson, Don."],"creators_ssim":["Wilson, Don."],"acqinfo_ssim":["\nAcc # 74460, 74499, 75617 \n"],"access_subjects_ssim":["Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan."],"access_subjects_ssm":["Ferries--Michigan.","Ferries--Michigan, Lake.","Ferries--Great Lakes (North America)","Railroads--Michigan--History.","Railroads--Michigan--Planning.","Railroads--Abandonment--Michigan.","Railroads--History.","Railroads--United States--History.","Railroads--Employees.","Railroads--North America--Maps.","Blueprints.","Scrapbooks--Michigan."],"has_online_content_ssim":["false"],"extent_ssm":["11.5 cubic ft. (in 11 boxes, 3 slide boxes, 2 note card boxes of slides, 21 Oversized folder)"],"extent_tesim":["11.5 cubic ft. (in 11 boxes, 3 slide boxes, 2 note card boxes of slides, 21 Oversized folder)"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized by size and format, and then in alphabetical and chronological order.\u003c/p\u003e"],"arrangement_tesim":["The collection is organized by size and format, and then in alphabetical and chronological order."],"bioghist_html_tesm":["\u003cp\u003eBiography:\u003c/p\u003e","\u003cp\u003eDon Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections.\u003c/p\u003e"],"bioghist_tesim":["Biography:","Don Wilson (1937-2013) was a member of the Ann Arbor Railroad Technical and Historical Association (AARTHA). He was a veteran of the U.S. Army having served in Viet Nam and Thailand. He taught school for 30 years and coached several sports teams. He was also a member of the Chesaning-Brady Fire Department for 42 years. A copy of his obituary is found at the front of Box 1. The Clarke Historical Library houses several of his railroad and/or ferries collections."],"scopecontent_html_tesm":["\u003cp\u003eCollection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.\u003c/p\u003e","\u003cp\u003eItems of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).\u003c/p\u003e","\u003cp\u003ePhotographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).\u003c/p\u003e","\u003cp\u003eBlueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.\u003c/p\u003e","\u003cp\u003eThe 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don\u0026#x2019;s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson\u0026#x2019;s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.\u003c/p\u003e","\u003cp\u003eResearchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.\u003c/p\u003e","\u003cp\u003eProcessing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke\u0026#x2019;s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies.\u003c/p\u003e"],"scopecontent_tesim":["Collection, collected over time by Don Wilson, some of which he was given by other rail fans. The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, its reorganization, abandonment, and its ferries. Some ferry information is general such as Twin Screw Specs (Box 5), and there is information specific to the M.V. [Motor Vessel] Viking (originally Ann Arbor No. 7) and the City of Milwaukee. Formats include slides, photographs, negatives, photograph printing plates, blueprints, scrapbooks, photograph albums, speeches, notes, newspaper clippings and magazine articles, maps, digital scans and positive prints from those scans, a CD, and miscellaneous, related publications. Also included are some organizational records of the AARTHA. Other railroads documented to various degrees in the collection include: Central Michigan Railroad (CM); Detroit, Caro and Sandusky Railroad (DC and S); Detroit, Toledo, and Ironton Railroad; Grand Trunk Railway (GT); Green Bay and Western Railroad; H and E Railroad [probably the Huron and Eastern]; Manistique and Lake Superior Railroad; Michigan Interstate Railway Company; Michigan Northern Railway Company; Mid-Michigan Railroad; New York Central Railroad (NYC) and St. Louis Railroad (SLRR); New York Central State Railroad (NYCS); Norfolk and Western Railway Company; Northwestern Pacific Railroad; Penn Central Railroad; Southern Pacific Transportation Company; Tuscola, Saginaw Bay Railroad (TSBRR); Toledo, Owosso, and Flint Railroad (TOandFRR); Wabash Railroad, and Wisconsin Central Railroad.","Items of special interest to researchers may include: manifests of the M.V. Viking, February-August 1976, and AARTHA bylaws, meeting minutes, newsletter information, member lists, and other information (Box 1); reorganization information (see Vincent M. Malanaphy folders (Boxes 2, 4), Michigan Interstate Railway Co. and MI Rail System Rationalization Plan information (Box 4), AARR photographs (Boxes 2-3), Pamona Derailment Negatives, undated (Box 5).","Photographs, negatives, and history of a plethora of railroad related topics are found throughout the collection. There are three slide boxes and two note card boxes full of slides on railroads (Slide Boxes 1-5).","Blueprints include line, lever circuit controllers, and station design plans, styling and painting design, system maps, tracks and structures, equipment, station and train car blueprints, and property drawings.","The 2016 addition, Boxes 14-16 and Folder #21 (legal-size), 1.5 cubic feet from Don’s friend Don Maddock was organized by Maddock into the series of Abandonment Petitions and Michigan Interstate Era. Included are paper documents, scans and positive prints of some of Wilson’s negatives, a few other topical files, a CD, and three color photographs. The addition largely documents the reorganization and end of the AARR. Sale papers for the City of Milwaukee are included. Most of the 2019 addition papers are copies. Note: 2016 addition negatives are housed in print file negative preservers, not archival negative sleeves.","Researchers may be interested in knowing that there are several collections and many publications by and about the Ann Arbor Railroad in the Clarke, as well as other collections and published sources documenting other railroad companies.","Processing Note: The collection is organized by size and format, and then in alphabetical and chronological order. A few publications, two general railroad films, and a tote bag were returned to the members of the AARTHA. Some publications (24), both monographs and parts of serials, were cataloged separately and added to the Clarke’s collections. Some of the items are quite acidic or fragile, most of which were photocopied and the originals were withdrawn from the collection (.25 cubic ft. total). In a few cases, where entire folders were composed of very fragile tissue paper records or acidic records, the decision was made to leave the materials as they were without copying them. Numerous abbreviations were used by Mr. Wilson within the collection, which were replicated by the processors. Michigan was often abbreviated MI by Mr. Wilson and is used in this finding aid. See the Scope and Contents Note for abbreviations used for names of railroad companies."],"abstract_html_tesm":["\u003cabstract\u003eThe collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA).\u003c/abstract\u003e"],"abstract_tesim":["The collection mostly documents Michigan railroads, focusing on the Ann Arbor Railroad Company (AARR), related lines, and its ferries in many formats. Also included are some organizational records of the Ann Arbor Railroad Technical and Historical Association (AARTHA)."],"names_ssim":["Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs.","Wilson, Don."],"corpname_ssim":["Clarke Historical Library , Central Michigan University","Ann Arbor Railroad Company--History.","Ann Arbor Railroad Company--Planning.","Ann Arbor Railroad Technical and Historical Association.","Detroit, Toledo, and Ironton Railroad--History.","Tuscola and Saginaw Bay Railway Company.","American Bureau of Shipping.","Grand Trunk Corporation.","Penn Central Transportation Company.","New York Central Railroad Company.","Manistique and Lake Superior Railroad Company.","Wisconsin Central Railroad Company (1954-1960)","Wabash Railroad.","Michigan Interstate Railroad Company.","Ann Arbor No. 7 (Car ferry)","City of Milwaukee (Car ferry)","ConRail.","Michigan Northern Railway Company.","Norfolk and Western Rialway Company.","United States. Bankruptcy Court (Michigan : Eastern District)","Michigan. Dept. of Transportation.","Michigan. Dept. of Licensing and Regulatory Affairs."],"persname_ssim":["Wilson, Don."],"language_ssim":["The material is in English"],"total_component_count_is":310,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"ehll--wilsondoncollectiontwo","timestamp":"2025-02-18T23:25:40.103Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/ehll--wilsondoncollectiontwo_al_c05b52be1da221129442c30de0af68109cae1165"}},{"id":"VAB9025_VAB9025-00131","type":"Event","attributes":{"title":"McNicholas, Jackie","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025_VAB9025-00131#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9025-00131","ref_ssm":["VAB9025-00131","VAB9025-00131"],"id":"VAB9025_VAB9025-00131","title_filing_ssi":"McNicholas, Jackie","title_ssm":["McNicholas, Jackie"],"title_tesim":["McNicholas, Jackie"],"normalized_title_ssm":["McNicholas, Jackie"],"text":["McNicholas, Jackie","Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989","SEE: Lott, Robert and Jackie\n McNicholas ."],"component_level_isim":[3],"parent_ssim":["VAB9025","VAB9025-00001","VAB9025-00002"],"parent_ssi":"VAB9025-00002","parent_ids_ssim":["VAB9025","VAB9025_VAB9025-00001","VAB9025_VAB9025-00002"],"parent_unittitles_ssm":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989"],"parent_unittitles_tesim":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989"],"parent_levels_ssm":["collection","Series","Subseries"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Portia K. Maultsby\n Collection, 1981-1986"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Event"],"level_ssim":["Event"],"sort_isi":49,"parent_access_restrict_tesm":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"note_html_tesm":["\u003cp\u003eSEE: \u003cref target=\"VAB9025-00040\"\u003eLott, Robert and Jackie\n McNicholas\u003c/ref\u003e.\u003c/p\u003e"],"note_tesim":["SEE: Lott, Robert and Jackie\n McNicholas ."],"_nest_path_":"/components#0/components#0/components#46","_nest_parent_":"VAB9025_VAB9025-00002","_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9025","title_ssm":["Portia K. Maultsby\n Collection"],"title_tesim":["Portia K. Maultsby\n Collection"],"ead_ssi":"VAB9025","unitdate_ssm":["1981-1986"],"unitdate_inclusive_ssm":["1981-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 18G"],"text":["SC\n 18G","Portia K. Maultsby\n Collection, 1981-1986","African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories","Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.","Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.","Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.","The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated.","Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."," Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara","Materials are in English."],"unitid_tesim":["SC\n 18G"],"normalized_date_ssm":["1981-1986"],"normalized_title_ssm":["Portia K. Maultsby\n Collection, 1981-1986"],"collection_title_tesim":["Portia K. Maultsby\n Collection, 1981-1986"],"collection_ssim":["Portia K. 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Maultsby in 2008."],"access_subjects_ssim":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"access_subjects_ssm":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["169 audiocassettes"],"extent_tesim":["169 audiocassettes"],"physfacet_tesim":[" : analog, stereo + 5 document\n cases"],"date_range_isim":[1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eReference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eCurrently organized into one series and the following subseries: \u003clist\u003e\n \u003citem\u003eSubseries 1. Interviews by Maultsby, 1979-1989\u003c/item\u003e\n \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."],"names_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"corpname_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records"],"persname_ssim":["Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. (William\n Patrick)","Francis, Panama","Gamble, Kenny","Harris, Bill, 1916-1973","Henderson, Jocko","Higgins, Monk","Holeman, Jerry","Holland, Brian","Johnson, Evelyn","Jones, Shirley (Vocalist)","King, Alonzo","Lanier, Warren","Love, Billye","Love, Darlene","Love, Walt","Maults-By, Carl","McCoy, Sid","McRae, Joyce","Medlin, Joe","Moore, Sam, 1935-","Otis, Johnny, 1921-2012","Ott, Horace","Parker, Deanie","Reed, Tom","Rich, Jai","Rifkind, Jules","Rifkind, Roy","Roberts, Virgil","Roebuck, Richard","Russell, Albert, 1933-","Sanjek, Russell","Shaw, Larry","Silverman, Tom","Simms, Winki","Sims, August","Smith, Frankie","Smith, John","Stevenson, Mickey","Stone, J. B.","Stone, Jesse","Taylor, H. LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara"],"language_ssim":["Materials are in English."],"total_component_count_is":133,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9025_VAB9025-00131"}},{"id":"VAB9025_VAB9025-00048","type":"Event","attributes":{"title":"McRae, Joyce, undated","abstract_or_scope":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025_VAB9025-00048#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eInterview with Joyce McRae, artist manager; recorded in Los Angeles, California.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9025_VAB9025-00048#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9025-00048","ref_ssm":["VAB9025-00048","VAB9025-00048"],"id":"VAB9025_VAB9025-00048","title_filing_ssi":"McRae, Joyce, undated","title_ssm":["McRae, Joyce, undated"],"title_tesim":["McRae, Joyce, undated"],"normalized_title_ssm":["McRae, Joyce, undated"],"text":["McRae, Joyce, undated","Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989","INT 93","cass 1376","Preservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF) Production master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF) Compact disc(s): CDREF 238--CDREF 239","Interview with Joyce McRae, artist manager; recorded in Los Angeles,\n California."],"component_level_isim":[3],"parent_ssim":["VAB9025","VAB9025-00001","VAB9025-00002"],"parent_ssi":"VAB9025-00002","parent_ids_ssim":["VAB9025","VAB9025_VAB9025-00001","VAB9025_VAB9025-00002"],"parent_unittitles_ssm":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. Interviews by Maultsby, 1979-1989"],"parent_unittitles_tesim":["Portia K. Maultsby\n Collection, 1981-1986","Music Industry Interviews, 1979-1989","1. 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If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"altformavail_html_tesm":["\u003cp\u003e\n \u003clist\u003e\n \u003citem\u003ePreservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF)\u003c/item\u003e\n \u003citem\u003eProduction master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF)\u003c/item\u003e\n \u003citem\u003eCompact disc(s): CDREF 238--CDREF 239\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e"],"altformavail_heading_ssm":["Reference Copies"],"altformavail_tesim":["Preservation master file(s): 24 bit/96 kHz Broadcast Wave\n File (BWF) Production master file(s): 16 bit/44.1 kHz Broadcast Wave\n File (BWF) Compact disc(s): CDREF 238--CDREF 239"],"scopecontent_html_tesm":["\u003cp\u003eInterview with Joyce McRae, artist manager; recorded in Los Angeles,\n California.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content"],"scopecontent_tesim":["Interview with Joyce McRae, artist manager; recorded in Los Angeles,\n California."],"_nest_path_":"/components#0/components#0/components#47","_nest_parent_":"VAB9025_VAB9025-00002","_root_":"VAB9025","timestamp":"2025-02-18T23:02:31.631Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9025","title_ssm":["Portia K. Maultsby\n Collection"],"title_tesim":["Portia K. Maultsby\n Collection"],"ead_ssi":"VAB9025","unitdate_ssm":["1981-1986"],"unitdate_inclusive_ssm":["1981-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n 18G"],"text":["SC\n 18G","Portia K. Maultsby\n Collection, 1981-1986","African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories","Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.","Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.","Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.","The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated.","Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."," Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. 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LeBaron, 1935-2000","Thomas, Carla, 1942-","Thomas, Rufus, 1917-2001","Todd, David","Toussaint, Allen","Troutman, Larry, 1944-1999","Vickers, Carle","Ware, George","Waters, Maxine","Westbrooks, Logan H.","White, Granville","Wiggins, Willie","Williams, Deniece","Williams, Jean","Williams, Myrna","Witherspoon, Jimmy","Wonder, Stevie","Young, Earl"," B.R.E.","Stephens, Robert","Unidentified","Gross, Laura","Fox, Jon","Betty, Michael","Hinton, Milt","Mason, Barbara","Materials are in English."],"unitid_tesim":["SC\n 18G"],"normalized_date_ssm":["1981-1986"],"normalized_title_ssm":["Portia K. Maultsby\n Collection, 1981-1986"],"collection_title_tesim":["Portia K. Maultsby\n Collection, 1981-1986"],"collection_ssim":["Portia K. Maultsby\n Collection, 1981-1986"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Maultsby, Portia K."],"creator_ssim":["Maultsby, Portia K."],"creator_persname_ssim":["Maultsby, Portia K."],"creators_ssim":["Maultsby, Portia K."],"acqinfo_ssim":["Donated by Portia K. Maultsby in 2008."],"access_subjects_ssim":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"access_subjects_ssm":["African American musicians","Rhythm and blues musicians","African American sound recording executives and\n producers","Motown Record Corporation","Soul musicians","African American disc jockeys","Interviews (Sound recordings)","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["169 audiocassettes"],"extent_tesim":["169 audiocassettes"],"physfacet_tesim":[" : analog, stereo + 5 document\n cases"],"date_range_isim":[1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eReference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Reference copies and transcripts for most, but not all, of the audiocassettes in\n Series G, \"Music Industry Interviews,\" are available for in-house use at the\n Archives of African American Music and Culture, Indiana University. Please refer to\n the information included under each interview for details. If you would like to\n access an item without a reference copy and/or transcript, please contact our staff\n well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eCurrently organized into one series and the following subseries: \u003clist\u003e\n \u003citem\u003eSubseries 1. Interviews by Maultsby, 1979-1989\u003c/item\u003e\n \u003citem\u003eSubseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989\u003c/item\u003e\n \u003c/list\u003e\n \u003c/p\u003e","\u003cp\u003eEach subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Currently organized into one series and the following subseries: Subseries 1. Interviews by Maultsby, 1979-1989 Subseries 2. Interviews by Various Interviewers and Miscellaneous\n Recordings, 1979-1989","Each subseries is arranged alphabetically by interviewee's last name or the title in\n the case of non-interviews."],"bioghist_html_tesm":["\u003cp\u003ePortia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of \u003ctitle render=\"italic\"\u003eAfrican American Music : An Introduction\u003c/title\u003e, (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Portia K. Maultsby received a Ph.D. degree in Ethnomusicology from the University of\n Wisconsin--Madison, and is a professor emeritus in the Department of Folklore and\n Ethnomusicology, the former director of the Archives of African American Music and\n Culture, and a former adjunct professor of African American and African Diaspora\n Studies at Indiana University. She teaches historical and theoretical courses on\n African American music and culture in ethnomusicology. Her research topics have\n centered on Black religious and popular music and she has lectured and conducted\n workshops throughout the United States, as well as in England, The Netherlands,\n Russia, Cuba, Zimbabwe, and Malawi. She is co-editor of African American Music : An Introduction , (Routledge Press, 2006). She\n also has served as consulting scholar for PBS, BBC, and NPR productions on African\n American music. In addition to her scholarly work, Professor Maultsby is a keyboard\n player and the founding director of the IU Soul Revue, a touring ensemble\n specializing in the performance of African American popular music."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.\u003c/p\u003e","\u003cp\u003eAll interviews were conducted by Maultsby unless otherwise indicated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of 168 audiocassette recordings of interviews; complete or\n partial transcripts are available for many. The bulk of the interviews (138\n cassettes) were conducted in person by Maultsby between 1981-1986 as part of her\n research on the Black music industry. The interviews provide an aural documentation\n of the history and development of rhythm and blues music through the personal\n narratives of musicians, composers, producers, deejays, and record company\n executives. In particular, Maultsby's interviews trace the emergence of Black music\n divisions and the promotion of Black artists by major record labels. Other\n significant issues emphasized in the discussions are cultural identity, gender,\n appropriation, aesthetics, and the racially defined politics and marketing practices\n of the industry. Of equal importance are the stories told by musicians who\n profoundly shaped the development of rhythm and blues while redefining the direction\n of American popular music.","All interviews were conducted by Maultsby unless otherwise indicated."],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eSeries G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use.\u003c/abstract\u003e"],"abstract_tesim":["Series G, \"Music Industry Interviews,\"\n consists of transcripts and audiocassettes of interviews primarily conducted by\n Portia K. Maultsby between 1981-1986 as part of her research on the Black music\n industry. The remainder of the series in this collection are still in the process of\n being accessioned and are unavailable for general research and public\n use."],"names_ssim":[" Indiana University, Archives of African American Music and Culture (AAAMC) ","Stax Records","Philadelphia International\n Records","Maultsby, Portia K.","Alstin, Frank","Bailey, Lee, 1947-","Barnes, John","Barnum, Billie","Barnum, H. B.","Bartholomew, Dave","Bears, Sandra","Bell, Al","Byrd, Bobby, 1934-2007","Clark, Dave, 1942-","Davis, Richard","Fields, Richard \"Dimples\",\n 1941-2000","Foster, William P. 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