liner notes - aaamc.sitehost.iu.edu

NO. 15 / 2010-2011

A R C H I V E S O F A F R I C A N A M E R I C A N M U S I C A N D C U L T U R E

liner notes

Opera froma Sistah’s

Point of View:The Angela

BrownCollection

2

Iwritethiscolumnasweenterintotheseconddecadeofthetwenty-firstcenturyandasIreflectonthepolitical,social,andculturalchangesthathavetakenplaceduringthefirsttenyearsofthisnewmillennium.Withinthiscontextofchange,ImarvelatthewaysinwhichAfricanAmericanscontinuetoexpandandredefinetheboundariesforartisticexpressions,revealingthediversityofmusicalcreativityamongthisgroup.Twomajorcollectionsacquiredin2010—theAngelaBrownCollectionandtheJamesSpoonerCollection—revealthewaysinwhichAfricanAmericansnegotiatetheirdualidentitiesasperformersinWesternclassicaltraditionsandhowtheyconstructanddefineblackidentitiesinpopularmusicgenresbroadlyviewedasnon-black. ThefirstinstallmentoftheAngelaBrownCollectionchroniclesthedevelopmentofthecareerofanoperasingerwhohasmaintainedherparticipationinandallegiancetotheAfricanAmericanmusicaltradition.ThiscollectioncaninspireotherswhomayhavebeenadvisedtochoosebetweentheworldofclassicalmusicandthatofAfricanAmericanvernaculartraditions.Angela’scontinuedsuccessshowsusthatonemusictraditiondoesnothavetobesacrificedfortheother.ItisindeedpossibletobeAngelaBrownthegospelsinger,AngelaBrowntheR&Borpopularmusicsinger,andAngelaBrowntheoperasinger. TheAngelaBrownCollectioncomplementsotherAAAMCholdingsthatdocumenttheroleofAfricanAmericanmusiciansinperformingandcomposingmusicfromtheWesternclassicaltradition,includingthePatriciaTurnerCollection,thePhylGarlandCollection,andtheBlackComposerCollectionofmanuscriptandprintedscores.WeanticipatefuturedonationsofmaterialsfromBrown,whorealizestheimportanceofarchivingmaterialsbeforetheybegintodeteriorateorareotherwisedamaged. Brownacknowledgedthatsomeofhermaterialswere“yellowingandtearingupinboxesinthebasement,”whichconvincedherthatthecollectionshould“bepreservednowsothatitcan

beofusetoothers.”AlthoughBrown’scareercontinuestoevolve,HeadofCollectionsBrendaNelson-Straussbelievesthat“startingthearchivingprocessnowisadvantageousfromanarchivist’sperspectivebecauseoftheopportunitytoevaluateandpreservematerialsinitially,thenannually,asnewmaterialsarecreated.IthinkthingsarelesslikelytofallthroughthecracksifwehaveamoreactiveroleindocumentingAngelaBrown’scareer.”WelookforwardtoourongoingrelationshipwithAngelaBrown(seeinsidestory). FollowingtheAAAMC’sNovember2009conference,Reclaiming the Right to Rock: Black Experiences in Rock Music,severaloftheparticipantsdonateditemsrangingfromCDstoposters.ThemostsignificantdonationcamefromJamesSpooner,whosefilmAfro-Punkwasscreenedduringtheconference(seeinsidestory).Thematerialsinthiscollectionexploretheissuesofraceandidentitythroughtheexperiences,perspectives,andinnovationsofAfricanAmericanpunkmusicians.Thecollectionestablishesthefoundationforresearchontheblackpresenceinpunkandrock.Wewelcomematerialsfrommusiciansdocumentingtheircontributionstothesetraditions. Ouronlinemusicreviewsite,Black Grooves(www.blackgrooves.org),isapproachingitsfifthanniversaryandcontinuestoreceiveaccolades.SinceJuneof2006,over600reviewshavebeenpublishedandthemajorityoftheCDs,DVDs,andbookshavebeenaddedtotheAAAMC’sholdings.BrendaNelson-Strausscontinuestoserveaseditor,andreviewersincludetheAAAMC’sgraduateandundergraduateassistantsaswellasourfull-timestaff,IUstudents,scholarsfromotheruniversities,andvariousguestcontributors.Wearegratefultotherecordlabelsandpublicistswhocontinuetosupportoureffortstopromoteblackmusic. WecontinuetoaddnewtitlestotheAfrican American Music in Global PerspectiveseriespublishedbytheUniversityofIllinoisPress.IampleasedtoannouncethereleaseofSongs in Black and Lavender: Race, Sexual Politics and Women’s MusicbyEileenHayes(seereviewinside).

aaamc missionTheAAAMCisdevotedtothecollection,preservation,anddisseminationofmaterialsforthepurposeofresearchandstudyofAfricanAmericanmusicandculture.www.indiana.edu/~aaamc

From the Desk of the Director

Table of Contents

From the Desk ofthe Director ......................................2

Featured Collection:Angela Brown ..................................4

In the Vault:Recent Donations .........................8

Featured Collection:James Spooner ..............................9

One-on-One withJames Spooner ...........................11 Fear of a Bleak Planet ..............14

From Records to Radio:Interview withKirkland Burke ..............................17

Music, Media & Museums ..22

AMGP Book Series ...................25

AAAMC FindingAids Online .....................................26

NO. 15 / 2010-2011

A R C H I V E S O F A F R I C A N A M E R I C A N M U S I C A N D C U L T U R E

liner notes

Opera from a Sistah’s

Point of View: The Angela Brown

Collection

AngelaBrown. PhotobyRoniEly.

On the Cover:

3

During2010,ourstaffworkedhardtomaketheAAAMC’scollectionsmoreaccessibleonline.Archives’AdministratorandProjectManagerRondaSewald,aidedbystudentassistantLevonWilliams,hasencodedanduploadedanumberofourarchivalfindingaidsthroughIU’sDigitalLibraryProgram(seeinsidestory),andwecontinuetoaddourholdingstoIUCATandWorldCat.Atpresent,themajorityoftheAAAMC’sbooks,videos,andDVDsarediscoverablethroughIUCAT,whileCDcatalogingisongoing.WithassistancefromgraduatestudentAnnShaffer,allofthecommercialrecordingscollectedinsupportoftheblackrockconferencewerealsocataloged. TheAAAMCnowhasaFacebookpage,whichweusetodrawattentiontoevents,albumreleases,andothernewsrelatedtoAfricanAmericanmusicandculture.Allthosewhoengageinsocialnetworkingareencouragedto“like”usandtorecommendourFacebookpagetotheirfriends.Thisisoneofthebestwaysforustoconnecttothepublicandspreadthewordaboutourcollectionsandactivities. AnotherdevelopmentoverthepastyearhasbeenthephysicalexpansionoftheAAAMC’soperationalspace.Since1994,wehavesharedspaceintheSmithResearchCenterwiththe

BlackFilmCenter/Archive.WhentheBFC/ArelocatedtotheWellsLibrarylastsummer,thevacatedspacewasallocatedtotheAAAMC,allowingfortheadditionofnewmediastudios,ascreeningroom,andanenlargedreadingroomarea.Postersthatwereproducedduringthecreationofthetravelingexhibit,Rock, Rhythm & Soul: The Black Roots of Popular Music,nowlinetheentrancehallandhavebeenabighitwithvisitors.TheAAAMChasrecentlyengagedinstrategicplanningwiththeArchivesofTraditionalMusictoworktowardsrelocatingtotheWellsLibrary. TheAAAMC’sstaffcontinuestobeactiveprofessionallyandtoprovideleadershipinthefieldofarchivingandrecordedsoundpreservation.RondaSewald’sinvolvementintheIU-EADWorkingGroupresultedintherecentdeliveryofouronlinefindingaids.AsmemberoftheAssociationforRecordedSoundCollections’(ARSC)DACSforArchivalSoundRecordingsSubcommittee,shedesignedandconductedtwosurveys—oneforcatalogersandoneforresearchers—thatexploredthechallengesofcreatingandusingdescriptivecatalogrecordsforsoundrecordings.Thesurveyswereformallydistributedthroughmultipleacademicandprofessionallistservsandreceivedover300responsesinlessthan

twomonths.ShefurthercontributedtoARSCbycontinuingherservicewiththeTravelGrantCommittee.SewaldalsopublishedashortcommentarypieceintheDecember2010issueofAnthropology Newsentitled“TheUntidyRealityofComplaintsaboutMusic:ReexaminingthePowerRelationsofSonicDisputes.” BrendaNelson-StrausscontinuesherworkontheLibraryofCongressNationalRecordedSoundPreservationPlan,whichwillbepublishedin2011.ShealsoservesastheConferenceManagerforARSCandinthatcapacityorganizedthe2010conferencelastMayinNewOrleans,andpresentedapaperontheLOCproject.Inaddition,sheservesasthechairoftheBlackMusicRoundtablefortheMusicLibraryAssociation.Overthepastyear,sherepresentedtheAAAMConthefollowingcommittees:CouncilofHeadLibrarians,IULibrariesArchivesandSpecialCollectionsMonth,CatalogingCongress,MediaPreservationAdvisoryBoard,andtheSpecialCollectionsTaskForce. MyprofessionalactivitiesincludedgivingtalksonvariousblackpopularmusictopicsatCreightonandPurdueUniversities,theUniversityofHouston,andScrippsCollege.AhighlightoftheyearwasmypresentationwithHowardDodson(DirectoroftheSchomburgCenterforResearchinBlackCulture),“CurtisMayfield:TheMan,TheMusic,TheMovement,”fortheNationalBlackArtsFestivalinAtlanta.TheprogramwasbroadcastonC-SPAN3.OtherhighlightswereservingasconsultantforthedevelopmentofapermanentexhibitionfortheMuseumofAfricanAmericanMusic,Art&Culture(Nashville)andontheadvisorycommitteefortheRhythmandBluesprogramofthe2011SmithsonianFolklifeFestival. IconcludebywelcomingLoganWestbrooks,formermusicindustryexecutivewiththeCBSRecordDivisionoftheColumbiaBroadcastingSystem,Inc.andfounderofSourceRecords,asthenewestmemberoftheNationalAdvisoryBoard.HewillbefeaturedinthenextissueofLiner Notes.

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On July 1, 2005, the world lost another African American musical legend—Luther Vandross, who began his professional ca-reer in the 1970s as a background singer for many renowned artists and as a vocalist on commercial jingles. In the 1980s he quickly advanced to superstar status as a soloist and balladeer. Even when hip-hop dominated the American soundscape in the 1990s, Van-dross remained popular among the masses, a testimony of the power and influence of his songs. A gifted songwriter-performer, he is best known for his smooth vocal timbre and passionate delivery of love songs, as well as his spectacular live performances that featured an array of stage props. The tropi-cal scenery (inclusive of palm trees); living room, bedroom, and dining room furniture; and the elegant formal gowns worn by his background singers gave each song its own personal touch. Vandross simply was a clas-sic act. Similar to other musical legends such as Ray Charles, who died in 2004, Vandross’s live performances, original compositions, and distinctive vocal style will remain central to the American soundscape through his re-cordings, videos, radio and television com-mercials, and movie soundtracks (see tribute inside). As the AAAMC continues to document the contributions of nationally renowned African American musicians, we also rec-ognize the need to acknowledge Indiana artists. While some of the musicians from our state have received national and inter-national acclaim—such as David Baker, Wes Montgomery, Freddy Hubbard, J. J. John-son, Ketra “Keke” Wyatt, Kenneth “Baby-face” Edmonds, After 7, The Jackson 5 (also known as The Jacksons), LaMar Campbell, Rodney Bryant, and Al Hobbs—there are many other locally acclaimed artists that are not well known outside of Indiana. The goal of the AAAMC is to document the lives and careers of these unsung legends who con-tributed to the development of a vibrant musical scene in Indiana (including popular, religious, and concert forms of musical ex-pression) since the 1940s. To this end, the AAAMC has launched an oral history proj-ect in partnership with the Indiana Histori-cal Society (IHS) that focuses on Indianapo-lis soul and funk musicians. This project is an extension of our collaboration with IHS on the exhibition "Soul and Funk: the Nap-town Sound", which highlights the role of Indianapolis musicians and their supporters in the production of the local “Naptown” sound of the 1960s and 1970s. The exhibit opened on March 12, 2005, and will be on display through December 31, 2005 (see story inside). As a second phase of this project, the AAAMC will also collect the personal narra

tives of Indiana musicians who specialized in religious and contemporary popular forms. In our ongoing acquisition of materials, the AAAMC targets traditions that are un-derrepresented in the scholarship on African American music. A form in particular in need of further study is electronic dance music. Although the early styles of this music were created primarily by African Americans, the role of these pioneers is rarely acknowledged. The AAAMC is now engaged in developing a collection of electronic dance music—in-cluding disco, house, and techno—as part of a project spearheaded by graduate assistant Denise Dalphond, who is currently writing a masters thesis on the topic (see story inside). Beginning in 2006, patrons will be able to identify the commercial recordings, vid-eos, and books housed in our collection by searching IUCAT, Indiana University’s on-line library catalog. This initiative is under the direction of Brenda Nelson-Strauss, Head of Collections (see inside story). The AAAMC is also pleased to announce the launching of a book series in conjunction with the University of Illinois Press. Co-ed-ited by Research Associate Mellonee Burnim and myself, Black Music in Cultural Perspective is designed to generate increased attention on such underrepresented topics in African American music scholarship as transnation-alism, religious music, popular music, wom-

en in music, music criticism, musical aesthet-ics, and regional studies. The series will also promote the publication of biographies and autobiographies of African American mu-sicians in an effort to document more fully the contributions of individual artists to the development and proliferation of African American music. Two books are currently in production for the series: New Perspectives on the Blues, edited by David Evans; and Black Women and Music: More than the Blues, edited by Eileen M. Hayes and Linda F. Williams. These are scheduled for release in 2006. Since the mid-1990s, the AAAMC has col-laborated with the African American Arts Institute and the School of Music to spon-sor “Extensions of the Tradition,” a concert series initiated by former Research Associ-ate Dr. William Banfield that showcases the works of African American composers. Our 2006 concert is slated for February 26, 2006, at 4:00 p.m. in the IU School of Music’s Auer Hall. The program will be announced at a later date. A corresponding exhibit is also planned for display in the Cook Music Library. Over the past year, the staff of the AAAMC participated in several publica-tion projects and professional conferences. Head of Collections Brenda Nelson-Strauss attended the Music Library Association an-nual conference in Vancouver, B.C. (Febru-ary 2005) and the Association for Recorded Sound Collections conference (in her ca-pacity as president of ARSC) in Austin, Texas (March 2005). At the spring meeting of the Midwest Archives Conference held in Chicago in May 2005, she assisted in or-ganizing a session on “Spreading the Gos-pel: Documenting African American Reli-gious Music” and presented a paper during this session on “Arizona Dranes and Early Gospel Music Recordings.” Other speakers included Suzanne Flandreau of the Center for Black Music Research and John Russick, Curator of the Chicago Historical Society.

continued on p.2

From the Desk of the Editor

PortiaK.MaultsbywithAngelaBrownandCharlesSykes.PhotocourtesyIUJacobsSchoolofMusic.

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Featured Collection:Soprano Angela Brown Donates Personal Papers

PhotobyRoniEly.

“I am very excited that the dream of having an Angela Brown collection is coming true through the IU Archives of African American Music and Culture. It is awe-inspiring to think that young people will be able to learn from my life’s work as it unfolds. Hopefully they will be inspired by my ‘highs’ and learn from my ‘lows.’ A huge thanks to the AAAMC for deeming me worthy of being a part of such a prestigious collection. I am grateful and humbled for this to be in my home state of Indiana.” —Angela Brown

InOctober2010,renownedoperasingerAngelaBrown,analumnaofIU’sJacobsSchoolofMusic,donatedhercollectionofpersonalpapersandmemorabiliatotheAAAMC.Sofar,theArchives’staffhasprocessedsixboxesofmaterialsspanningtheperiodbetween1992—whenBrownbeganperformingrecitalsaccompaniedbytheDeanEmeritusoftheJacob’sSchoolofMusic,CharlesWebb—throughherpresentcareerontheinternationaloperastage.AcompletefindingaidtothecollectionwillsoonbeavailableontheAAAMC’swebsite.ThewiderangeofmaterialsdonatedbyBrowninclude:

• Aprogramfromher1996recitalinBulawayo, Zimbabwe

• Thank-youlettersfromfifthgradestudentswho attendedarehearsalofVerdi’sUn Ballo in MascheraattheOperaCompanyofPhiladelphia

• AcassettetapeoftheMarch2,1997,Metropolitan OperaNationalCouncilWinnersconcertatwhich shesang“Opatriamia”fromAida

• AcopyofthefrontpageoftheNew York Times proclaimingher2004MetropolitanOperadebut asAida“atriumph”

• PressclippingsdocumentingherroleasCillain theDetroitOpera’s2005worldpremierofRichard Danielpour’sMargaret Garner,whichisbasedon thestoryofafugitiveslave

• ImagesofBrownperformingAidain2008atthe CapeTownOperainSouthAfrica

• AnofficialWhiteHouseproclamationforthe 2005NationalDayofPrayerandRemembrance fortheVictimsofHurricaneKatrina,alongwith photographsofBrownwithPresidentGeorgeW. BushandFirstLadyLauraBush

• Brown’s2009IndianaGovernor’sArtsAward

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AselectionofhighlightsfromtheAngelaBrownCollection(SC155).

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Introduction of theAngela Brown Collection

ThedonationoftheAngelaBrownCollectionwasrecognizedduringapressconferenceandluncheononOctober14,2010,priortoBrown’sfirstIUperformanceofherwittysoloshow,Opera from a Sistah’s Point of View.ThefollowingremarksbyPortiaMaultsbyandKarenHansonareexcerptedfromthepressconference.

AAAMC Director Portia K. Maultsby

IamhonoredtoannouncethattheformerIUJacobsSchoolofMusicalumnaandinternationallyrenownedoperasinger,AngelaBrown,hasdesignatedtheArchivesofAfricanAmericanMusicandCultureastheofficialandpermanentrepositoryforherpersonalcollection.ThisgiftwillexpandtheArchives’holdingsintheareaofAfricanAmericansinoperaaswellasinthebroaderfieldofEuropeanclassicalmusic.BeforedescribingtheAngelaBrownCollection,IwillmakeafewremarksabouthermusicalexperiencespriortoherwinningtheMETAuditionsin1997,whichlaunchedherprofessionalcareer. Asayouth,Ms.Brownbegansinginggospelmusicinhergrandfather’schurchinIndianapolis.AftergraduatingfromCrispusAttucksHighSchoolin1982,shesanginmusicalsandatdinnertheatersinIndianapolis.ShealsoappearedontheIndianapolistelevisionseriesHitmakers Showcasein1984,singing“AndIAmTellingYou,IAmNotGoing”fromtheBroadwaymusicalDreamgirls,popularizedbyJenniferHolliday[aDVDofthisperformancewaspreviouslydonatedtotheAAAMCbytheshow’sproducer,PaulMiddlebrook,Sr.].

In1986,atagetwenty-one,Ms.BrownbeganherstudiesinclassicalmusicasastudentofGingerBeazleyatOakwoodUniversityinHuntsville,Alabama.Fouryearslater,in1991,shecametoIUexpectingtobe“alittlefishinabigpond.”Instead,underthetutelageofIUDistinguishedProfessorVirginiaZeani,sheendedupbeing“thebigfishinthebigpond.” WhilestudyingandperformingleadrolesinoperasatIU,Ms.BrownmaintainedherallegiancetotheAfricanAmericanmusicaltradition.Fortwoyears,shewasanactivememberoftheAfricanAmericanChoralEnsembleunderthedirectionofJamesEarlMumford.Forsixyears,sheservedasvocalcoach,occasionalleadvocalist,choreographer,seamstress,andmake-upartistfortheIUSoulRevue,apopularmusicensembleintheAfricanAmericanArtsInstitutewhichisofferedasaclassthroughtheDepartmentofAfricanAmericanand

“Angela seemed to have every attribute that any bandleader or music venue could ever want. She was exceptionally bright. She was a quick study. She could learn material fast and still perform it well. She was ever so versatile. She could sing opera, art songs, or soul and gospel with equal ease. I always held the greatest respect for her because of that.... Above and beyond her singing, I always felt that she was kind. That may be the greatest gift of all—to have a world class skill and still be a giving person. Whatever awards or recognition she gets, she is more than worthy of it!”

—Dr. Mike Woods, former director of the IU Soul Revue

GraduateAssistantsLangstonWilkinsandRaynettaWigginsprocessingtheAngelaBrownCollection.

AngelaBrownwithDeanEmeritusCharlesWebb.PhotobyKarenHudson,courtesyofIUJacobsSchoolofMusic.

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AfricanDiasporaStudies.Ms.Brown’sversatilityasaperformerintwodistinctmusicalrealmscapturedmyattentionwhenImetherin1993.Ihavefollowedhercareerwithgreatinterestandpridesincethattime.Thus,IampleasedthatshehaschosentheArchivesofAfricanAmericanMusicandCultureascustodianformaterialsthatdocumentherevolvinglife’swork. ThefirstinstallmentoftheAngelaBrownCollectionchroniclesthedevelopmentofherprofessionalcareerandcommunityserviceactivitiessinceleavingIU.Itconsistsprimarilyofphotographs,posters,programs,soundrecordings,pressclippings,promotionalmaterials,correspondence,certificates,andawards.ThesematerialsdocumentherdualmusicalidentityintheEuropeanclassicalandAfricanAmericanvernaculartraditionsaswellasherinnovativeapproachtodiversifyingtheaudienceforopera.Ms.Brown’sperformance,Opera from aSistah’s Point of View,scheduledforSaturday(October16,2010),isillustrativeofthisapproach. Angela,thefirstinstallmentofyourcollectionisafascinatingjourneythroughyourdistinguishedcareerofnearlytwodecades.BrendaNelson-StraussandRondaSewald,theArchives’full-timestaff,andI,lookforwardtoarchivingandsharingthisjourneyasitcontinuestoevolvewiththebroadestpossibleaudience.

IU Provost and Executive Vice President Karen Hanson

OnbehalfoftheBloomingtoncampus,itisagreatpleasuretoaccepttheAngelaBrownCollection.MickeyMaurer,themanforwhomourSchoolofLawisnamed,wroteaboutMs.Browninhisbook19Stars of Indiana:“WithavoicethatreachestheheightsandwithrootsthataresetdeepinHoosiersoil,AngelaBrownhasneverlostsightofhergoalandhasnevergivenup.She’sadivawithaheartasbigandassoftashermagnificentvoice.”ThegiftwereceiveheretodaydemonstratesthatAngela’sheartistrulyasbigandassoftashermagnificentvoiceandweareverygratefultoreceiveit....OneofthechiefaimsoftheAAAMCistodocumentperformersofAfricanAmericanmusicinIndiana.Sothiswonderfulcollectionofmaterials,whichchroniclesthedevelopmentofthecareerofanartistwhoserootsaresetdeepinHoosiersoil,isamostwelcomeaddition....[TheAngelaBrownCollection]reallydoesrepresentanexceptionalopportunityforourstudents,forourscholars,tostudyoperafromtheperspectiveofanAfricanAmericanperformer,andIknowthatthematerialsinthecollectionwillinspiremanyfuturegenerationsofstudents....It’sagenerousdonationandwe’redelightedtoacceptthecollectionfromoneofourreally,reallyoutstandingalumni.

PhotobyRoniEly.

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Angela Brown Collection: Programs,pressclippings,photographs,recordings,correspondence,andmemorabilia(seefeaturearticle)

Logan Westbrooks Collection:Photographs,posters,recordcompanyfiles,andpersonalpapersrelatedtotheblackmusicindustryandSourceRecords

CD/DVD/Book Donors:

In the Vault: Recent Donations

The AAAMC welcomes donations of photographs, film and video, sound recordings, music, and research materials on all aspects of African American music.

ACM360ArtistsAllegroMusicGroupAlligatorAMTPRArcheophoneArhoolieArtSoulBallin’EntertainmentBearFamilyBellamyGroupBlackFilmCenter/ArchivesBiz3BlakeZidell&AssociatesBlindRaccoonBurke,BrandonCapitalEntertainmentCenterforBlackMusicResearchCherryRedCommunityMusic,Inc.ConcordMusicGroupDaCapoDeaconDelmarkDeltaGrooveDept.56DLMediaDocumentRecordsDominoDumhiDupetit,GuillaumeDust-to-DigitalEagleRockEntertainmenteByrdCommunicationsEMIGospelEntertainmentOneEpitaphFatPossum

FlipswitchFlutronixForcedExposureForeignExchangeFourQuartersGIAGodChaserzGoldDustGoldVillageEntertainmentGritHeadsUpHofrichter,J.HoughtonMifflinHarcourtIdelsohnSocietyiHipHopDistributionInfinityInstituteofSacredMusic,YaleUniv.IntegrityIslandDefJamJahWorks!K7RecordsLafiyaMusicLegacyLewis,RonLightRecordsLN&WM.C.RecordsMackAvenueMalacoMaultsby,CarlMaultsby,PortiaMerlisforHireMonkeyMediaInc.MVDNacionalNashvillePublicityGroupNonesuch

OklahomaHistoricalSocietyPFAPlugResearchPressHereReelMusicRhymesayersRock,Paper,ScissorsRojas,JuanSebastiánRounderSacksandCo.Saunders,JesseSecretStashSecretlyCanadianSewald,RondaShanachieShoreFireShrapnelRecordsSLGSmithsonianFolkwaysSoulganicStefanGrossman’sGuitarWorkshopTaseisMediaGroupTelarcTheMasterPlanTrilateralLLCTumTyscotUniversityofIllinoisPressUniversalMusicGroupW&WWarpWaxPoeticsWise,RaymondWoods,MichaelVerityYonasMedia

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Featured Collection

NotlongaftertheReclaiming the Right to RockconferencehostedinNovember2009(seeLiner Notes,no.14),artistandfilmmakerJamesSpoonermadeaconsiderabledonationtotheAAAMC.Thecollectionconsistsofmaterialsfromhistwofilms,whichexploreissuesofraceandidentityasexperiencedbySpoonerandotherblackAmericansinthepredominatelywhitepunkmusicscene.Amongthesematerialsareover200miniDVcassettesofuneditedinterviewsandperformancesfeaturedinhisaward-winningdocumentaryAfro-Punk(2003),aswellasproductiondocumentsfromhissecondfilm,White Lies, Black Sheep (2007).AlsoincludedisasizeableassortmentofmagazinesandfilmfestivalcataloguesfeaturingSpoonerand/orhisfilms,inadditiontoCDsbypunkbandswithblackperformers.TheCDsrangefromcommerciallyreleasedalbumstoself-producedprojects.SomeoftherareritemsincludeanEPbyFromChimpan-AtoChimpan-Z,The Maryland IndependentbyCutlery,andafewprojectsfromtheNewYork-basedgroupApolloHeights. WhilelivinginPanamaandCalifornia,Spoonerwasintroducedtopunkmusicthroughhisheavyinvolvementinskateboardingculture.AftermovingtoNewYorkwithhismotherinhisearlyteens,hemetotherpeopleofcolorparticipatinginpunkrockandbecamemoreinvolvedinthemusic.Duringhisearlytwenties,however,Spooner

Documenting “The Other Black Experience”:The James Spooner Collection

CDsfromtheJamesSpoonerCollection(SC154).

FlyerannouncingtheworldpremiereofWhite Lies, Black Sheep.

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becamedissatisfiedwithpunkandbeganstrugglingwithissuesofidentity.Inhisfrustration,hebegantoplaceblameonthemusicthathefelthad“raised”himwhileneveraddressingtheissueshefacedasablackperson. ThemovieAfro-PunkgrewoutofSpooner’sdesiretoexposepunkandtoholdpunkcultureaccountableforitslackofinclusion.Thedocumentaryfeaturesnonarration,butratheriscomposedsolelyofinterviewswithAfricanAmericanpunkperformersandenthusiasts.ThefilmfeaturesindividualsfrommanylocationsacrossAmericaandincludesappearancesbymorepopularperformerssuchasmembersofFishbone,Tamar-kali,andMoeMitchell(leadsingerofCipher).Intervieweesaddressissuesrangingfromtheirinteractionwithotherblacksinthepunkrockscenetotheprocessofdevelopingtheirownidentities.Severalartistsalsosharedetailsabouttheirintroductiontopunkrockaswellasthewayinwhichtheiridentitiesinformtheirproductionofandrelationshiptomusic. Afro-Punkwonnumerousaccolades,includingtheRoxburyFilmFestival’s2003HenryHamptonAwardforExcellenceinDocumentaryFilmmakingaswellastheBestFeatureLengthDocumentaryAwardatthe2004JamericanFilmFestival.Thefilmwassubsequentlywellreceivedandhasbeenscreenedatuniversities,colleges,highschools,andfilmfestivalsaroundtheworld.Billedas“themoviethatsparkedthemovement,”Afro-Punk’spopularityhasledtothedevelopmentofagrowingonlinecommunityofAfro-punkmusicenthusiastswhodiscussandpromoteAfro-punkartists,music,andculture.Thefilmalsoledtotheestablishmentin2005ofanannualAfro-Punkfestival,whichincludesperformancesandfilmscreenings. FollowingthesuccessofAfro-Punk,SpoonerwroteanddirectedanotherfilmarticulatingtheissuesandemotionsofAfricanAmericansinpunk.White Lies, Black SheepfollowsthemaincharacterAJasheclasheswithhisfather,discovershisidentity,andnavigatesthepredominantlywhiteAmericanpunkscene.SpoonerstatesthatitaddressesmanyofthesameissuesexploredinAfro-Punkbut“tellsoneindividual’sexperienceandgivesavoicetoalotofwhitepeople,which

Afro-Punkdoesn’tdoatall.”White Lieswasfilmedasadocumentary.Onlyafewofthemaincharacterswereplayedbyactors,whiletherestofcastgenerallyplayedthemselves.Spoonerconsideredthismethodtobemoremanageableandforgiving,consideringhissmallbudgetforproduction.Hiscollectionincludesmaterialsfromthisfilmsuchascastingmaterials,breakdownsheetsusedduringfilming,andsomesmallpropsfromtheproduction. TheJamesSpoonerCollectionisapartofthesubstantialeducationalandresearchmaterialsthatweregeneratedbytheReclaiming the Right to Rockconference.TheseexclusivematerialsprovideinsightintoSpooner’sprocessoffilmcreationandofferraredocumentationoflesserknownandup-and-comingAfricanAmericanmusicians.Bydocumentingblackrockmusic,thisnewAAAMCcollectionprovidesimportantinformationonanotherofthemultiplefacetsoftheblackexperienceinAmerica.

The James Spooner Collection (SC 154), which includes copies of Afro-Punk and WhiteLies,BlackSheep, is open for onsite research, and a finding aid will soon be available online. Only a portion of the interview and performance videos have been transferred to DVD for access purposes; we hope to make the remainder available in the near future.

—RaynettaWiggins,AAAMCGraduateAssistant

Upper left:ArarecopyofTamar-kali’sdebutalbum.Above:FlyerannouncingJapanesedebutofAfro-Punk.

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one-on-one

On November 13th, 2009, black rock scholar Maureen Mahon (Associate Professor, Department of Music, New York University) interviewed director and filmmaker James Spooner as part of the AAAMC’s documentation of the participants in the ReclaimingtheRighttoRockconference . In this interview, Spooner discusses the inspiration behind his film Afro-Punk and the impact that it’s had on audiences.

Maureen Mahon: Wheredidyougrowup,andwhatwasyourfamilycircumstance?

James Spooner:MyparentsmetinNewYorkCity.Myfather’sfromSt.LuciaintheWestIndies.MymomisfromSt.Louis;she’sawhiteladyfromtheMidwest.Theymet,andsubsequentlyIwasborninNewYork.WemovedbacktoSt.LuciaacoupleoftimesandthenbacktoNewYork.WhenIwassix,mydadgotajobinSouthernCaliforniaintheMojaveDesert,sowemovedthere.ItwaslikewemovedfromFlatbushtothetumbleweeds.Ihadadecentchildhood.MyparentsgotdivorcedwhenIwasaroundeight,butwestayed

inCalifornia.Igotintoskateboarding.Ididn’tsurfbecausewelivedhoursfromthebeach,butIwaslikeaCaliforniakidwannabe.SoIwasintothosethingswithoutnecessarilythinkingofthemasalternative.ItwasjustcoolCaliforniastuff.

TheninseventhgradewemovedtoPanama.Mymom’sateacher,andshegotajobthere,andaboutthattimeIgotreallyinvolvedinskateboarding.IhadbeenlisteningtorapmusicforaslongasIcanremember.ThatwasthemusicIgravitatedtowards,buthangingoutwithallofthoseskatersinPanama,IstartedfindingandappreciatingbandsthatIdidn’tknowwerepunkrockatthetime.IeventuallyfoundBlackFlag,TheMisfits—“Punk101”asIcallit.WhenwemovedbacktoCaliforniatwoyearslater,Iwasineighthgrade,andthefirstthingIdidwasbuyBlackFlag’sWasted AgainandSexPistolsandMisfitsandstufflikethat.Iidentifiedasapunkrockerandreallywantedpeopletoknowthat.SoIwaslookingforpunkrockfriends,andactuallythefirstpunkrockkidImetwasthisblackdudenamedTraviswhowasthecoolestkidintheschool.Iwasjustlike,“Iwanttoknowthatkid.”Itdidn’ttakemorethanaweekorso,andweendedupbecomingfriends.Hegotmeintomoremusicandstuff.

with Afro-PunkDirector and FilmmakerJames Spooner

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Somyintroductiontopunkrockwasactuallyasablackkid.Itdidn’toccurtomethatIwasn’tsupposedtobeintopunk.ButveryquicklyIlearnedthatthetownwasreallyjustblatantlyracist—kidswearingswastikastoschoolandstufflikethat.Evenbeinglight-skinnedandethnicallyambiguous,Iwasstillcalledthingslike“niggerlips”bypunkrockers.Soitcausedsomeinternalconfusionforme,andIdefinitelyhadsomeboutswithself-hateintermsofmyimage.IthinkmymomstartedtoseethatIwashangingoutwithkidswhowore“SpeakEnglishordie”T-shirts,andpartlyforthatreasonshedecidedthatitwouldbegoodforustomovebacktoNewYork.

WemovedtoNewYorkthesummerbeforemysophomoreyearofhighschool.Ihadbeeninvolvedinpunkrockfortwoyearsatthatpoint,andinstantlyNewYorkwasawholeotherworld.Therewerekidsfromallkindsofbackgroundsthere.Ihadagroupoffriends,someofwhomareinAfro-Punk,anditwasexcitingthattheywereblackpunkrockers.Lookingback,Itendtorealizethatalotofmyfriendswerepunkrockersofcolor,butwedidn’twanttotalkaboutrace.

NewYorkCityhasareallytoughhardcorescene.Itwasveryviolent.Theywereemulatinggangsterrapin

alotofways,andwhenitcametobeingatoughguyattheshows,itjustwasn’tforme.Iwasstraightedgeatthetime,andtherewasthishugestraightedgesceneintheTri-Statearea,soIfoundmyselfoutinJerseyorBostonorPennsylvaniaorDelawareeveryweekendofmyjuniorandsenioryears.Istartedarecordlabel,andIputoutsomeofthosebands.Ijustbecamereally,reallyentrenchedintheDIYpunkrockscene.Ireallybelievedthatyoucoulddowhateveryouwanted.Iembracedthatfreedomandliberationthatpunkrockgivesyouasakid.

MM: Whatwasitaboutpunkmusicthatattractedyou?

JS: Youknow,whenyou’retwelveyearsoldandyou’resittingtherewatchingskateboardvideoslikethey’retheBible,you’rejusttotallyabsorbingeverything.Atthattime,whichwaslikethelate’80s,punkrockwasthesoundtrackforanythingskateboarding.Therewasnohiphoporanything.Therewasnogenreblendingatall.Itwaspunkandskateboarding—that’sit.IrememberwhatreallydiditformewasthislittleknownskateboardvideocalledOhio Skateout,whichwasaskateboardingcompetition.Allofthekidswhowereskatingweredoingittopunkmusic,andithadalittletitlecardatthebottomofeachsessionsayingwhothebandswere.SoI’mrealizingafterdevouringthismovieoverandoverandover,thatIreallylikeBlackFlag.IreallydigtheDescendants.SoI’mhearingthisstuff,andIwanttoskatetoitinmygaragesoIcanpretendthatI’mTommyGuerreroorsomething.Atfirstyouhavetobuildupapaletteoratoleranceforsomeofthosesounds,butoncethebugbitmeandIwasabletounderstandwhattheyweresayingbetweenthescreams,thenitbecameanotherenjoyablesoundjustlikeanyother.I’dsaythatit’sprettymuchlikeanyothermusic.Youjusthavetobuildupanearforit.

MM: HowdidyoucometomakethefilmAfro-Punk?

JS: WhenIwasabouttwenty,theall-agespunkrockscenewasn’tspeakingtomeanymore.AtthatpointIwaslivinginSeattle,anditwasreally,reallyhardtoseebandsthereatthetime.Idivorcedmyselffromit,andoverthenextfewyearsjuststartedtryingtoappreciateotherkindsofmusic.ImovedbacktoNewYorkwhenIwastwenty-two.ThenIwasfullyimmersedinthedirtyrock’n’rollscene.Thattookitstollonme,butIfoundmyselfaskingquestionsaboutmylifeandhadthisdesiretogobackhometoSt.Lucia.Myfatherwaslivingthereatthetime,andIdon’tknowwhatledmetowanttogotoSt.Lucia,butsomethingwascallingme.Iwent,andIcanreallysaythatthatwasadecisivemomentinmylife.IthoughtmaybeallofthosekidsinhighschoolwhoweresayingIwastrying

Amanofmanytalents,Spoonerdemonstrateshisskillsasatattooartist.

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tobewhiteandalloftheblackkidswhoyelledatmeonthestreetorphysicallythreatenedmebecauseIwaswearingtightpants—[Ithought]maybethosekidswereright.I’mlookingatmylifeatthatpoint,andIreallydidn’thaveanyblackfriends.

MM: Sowhatweretheyrightabout?

JS: Iwasaskingmyselfifmaybetheywereright—maybeIwastryingtobewhite.MaybeIdidn’tknowwhoIwas.IwasintothiswhiteboyshitandobviouslyI’mtryingtobewhiteandallofthisstuffandIdon’treallyhaveaconnectionwithmyfamily.MaybeIamtryingtobewhite.

Ididn’treallyknowwhatitmeanttobeblackatthattime.IthinkthatkindofdrovemetogohometoSt.Lucia.IfeltlikeIwouldgothereandeverybodywouldbelike,“Oh,welcomehome.”Igottherudeawakeningthatalmosteverybody[has]whogrowsupinAmericabutisfromsomeplaceelse….TothemIwasAmericanand,evenmore,Iwaswhite….Ihadbrothersandsisterswhowerelike,“Oh,IalwaysknewIhadawhitebrother.”Theyweresoexcitedtomeetme,itwasn’tlikeadisoranything,butitwasdrivingmecrazybecauseIwaslike,“Waitaminute,wehavethesamedad.”Ithinkatthatpoint,IhadtoprovethatIwasblack—ifnottotheworld,atleasttomyself.IthinkinthatangerIhad,Iputalotoftheresponsibilityformysituationonthepunkrockscene.Ifeellikeitraisedme.ThethingsthatIwasinvolvedin,thewaythatIthought,itwaslikemymomraisedmeuntilIwasthirteenandthenpunkrocktookover.Iwasavegan.Ihelpedwomengetintoabortionclinics.Iprotestedthecircus.Iwasdoingallofthisstuffforeverybodybutme.Thepunkrockscenehasneversaidtome,“Hey,man,whataboutyouasablackperson?Let’stalkaboutthat.”Wecouldtalkaboutfeminismandgayrightsoranimalrights,butnoonewantedtotalkaboutraceatall.Thefarthestthatconversationwouldgowas“FuckNazis.”It’slike,“Great,butcanwetalkaboutsomethingthat’srelevanttooursituation?”

Sothat’swhereAfro-Punkcamein.Iwantedtoexposepunkrockforwhatitisandholditaccountable.Ijuststartedtalkingtopeopleallaroundthecountryandbothgendersandeverygenerationhadthesamestory.Fourteen-year-oldsandforty-five-year-oldsweretellingmethesamestory.Clearlyitwassomethingthatneededtobeaddressed.

MM: Couldyouparaphrasewhatthe“samestory”is?

JS: Well,everybodywasaccusedofbeingwhiteortryingtobewhite,whetheritwasdoneasaninsultbyblackpeopleorasacomplimentfromwhitepeople—“You’renotblackblack.”Thatwasdefinitelynumberone.Andthentherewereallkindsofotherthingsthatarecoveredinthefilm,likebeingablackkidandseeinganotherblackkidatashowandnotbeingsureifyoushouldtalktothemornot.Wealsocoveredissueslikehowyourfamilydealswithyou.Alotofthestuffthatpunkrockersdealwithiscompoundedandmademorecomplicatedbyalloftheseissuesofrace.WhatIfoundwasbasicallywhatIalwaysknew:thatpunkrockisareflectionofsociety.Clearlyweliveinaracistsociety.Thepunksceneisgoingtoberacist,too,andit’sgoingtodealwithraceinthesamewaythatAmericadealswithrace,whichistotrytoignoreitsexistence.

TheotherthingthatIfoundisthatItotallyhaveablacklifeexperience.Irememberatonescreeninginparticular,someonestoodupwhohadnothingtodowithpunkrockatall,andshesaid,“ThismovieshouldhavebeencalledThe Other Black Experiencebecauseeverythingyou’retalkingaboutiswhatsomanyofusdealwith.”Noonetalksaboutitbecauseit’snotthemainstreamexperience;it’stheotherblackexperience.Itseemslikethereareonlythetwoexperiences:there’sthemainstreamandthenthere’severybodywhochoosestodosomethingelse.Forblackpeople,sometimesthatsomethingelseisjustgoingtocollegeorjusthavingalegitimatejoborsomething.It’sunfortunatetosay.

MM: Whatdoyouthinktheimpactofthefilmhasbeen?

JS: Iknowthatonanindividuallevelthefilmhaschangedpeople’slives.OnewomaneventoldmethatafterseeingAfro-Punk,shenolongerthinksaboutcommittingsuicide.Soclearlyvalidationisthekey[issue]here.IthinkonagranderscaleAfro-Punk,thefilm,hasmadeitslittlemark.Itisdefinitelyoneofthethosefilmsthatsomebodyisgoingtobetalkingabouttwentyyearsdowntheline,justlikeItalkaboutOhio SkateoutchangingmylifeorthefirsttimeIheardBlackFlag.It’soneofthosethingsthatchangedpeople’slives,andthat’samazing.I’mpsychedtobealifechanger.

The video of this interview and the unedited transcript are available as part of the AAAMC’s ReclaimingtheRighttoRock:BlackExperiencesinRockMusic Collection (SC 151). For more information on this collection, see LinerNotes, no. 14 (2009-2010) or contact the AAAMC staff.

—TranscripteditedbyDaveLewis,AAAMCGraduateAssistant

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Fear of a Bleak Planet:Rapping about Race, Poverty, and the Environment

OnOctober4,2010,theAAAMChostedadiscussionpanelandexhibitentitledFear of a Bleak Planet: Rapping about Race, Poverty, and the Environment.ModeratedbyAAAMCgraduateassistantLangstonWilkins,thepanelfeaturedhiphopscholarsCherylKeyesandFernandoOrejuela.Dr.KeyesisProfessorofEthnomusicologyintheDepartmentofEthnomusicologyatUCLA,andherbookRap Music and Street Consciousness(UniversityofIllinoisPress)receivedaCHOICEOutstandingAcademicTitleawardin2004.Dr.OrejuelaisaSeniorLecturerintheDepartmentofFolkloreandEthnomusicologyandadjunctfacultyintheDepartmentofAfricanAmericanandAfricanDiasporaStudiesatIU.HeiscurrentlycompletingatextbookonhiphopculturetobepublishedbyPrenticeHall.

TheeventwasorganizedaroundtheIUThemesterProgram’s2010theme“Sustain·ability:ThrivingonaSmallPlanet.”TheAAAMCchosetoexamineissuesofsustainability—includingsocialandracialequality,economicneeds,andenvironmentalracism—throughthelensofhiphop.Theoverarchinggoalwastopresenthiphopasacomplexcultural,social,andpoliticalmovementthatemergedduringthepost-civilrightserawhentheurbaneconomywasonasteepdecline,governmentalsupportprogramswerebeingdismantled,drugabusewasontherise,andviolentcrimeratesreachedalarmingheights.Throughthepanelandexhibit,theAAAMCsoughttoillustratehow,outofthisincreasinglydesolatelandscape,rapmusicaroseasavoiceofprotest,offeringcommentaryonthebleakenvironmentandsocio-politicalissuesaffectinginner-citycommunities.

Left to right: Langston Wilkins, Cheryl Keyes, Fernando Orejuela. Photo by Anna Batcheller.

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The Panel

Duringthepanel,Wilkins,Keyes,andOrejuelaexaminedvariousthemesofsustainabilitywithinhiphop.Theirengagingdiscussionhelpedtoreinterpretenvironmentalactivismasadvocacyforblightedurbancommunities.Formattingtheirdiscussionaroundaseriesofmusicvideosspanningthreedecadesofhiphop,thepanelistsdrewconnectionsamongthevideos’visual,lyrical,andsocio-musicalimpacts. OpeningwithGrandmasterFlash’s“TheMessage,”thetrademarksynthriffsetthetonebothonthestreetswherepoliticallyconscioushiphopfirsttookholdandforthediscussioninthelecturehall.Thevideo’sstreetviewofghettolifedramatizesandexemplifiesthelyrics’messageandinner-citysentiments:“It’slikeajungle.SometimesitmakesmewonderhowIkeepfromgoingunder.”Describingthesongasapivotalmomentforhiphop,Orejeulaexplainedhow“TheMessage”turnedpoliticaldiscourseintocommercialsuccess.Keyesaddressedthesong’senvironmentalthemes,pointingtoitscommentaryoninner-cityviolence,policebrutality,andwhatshetermed“theeconomicsofthe’hood.” ThenextvideodiscussedbythepanelistswasDooDat’s“TheDreamReborn,”whichfeaturesthememorableline“Mypresident’sblackbuthe’sgoinggreen.”ByinterlacingimagesofBarackObamaandMartinLutherKing,Jr.withfootageofurbanrenewalprojects,DooDat’svideolinkstheGreenMovementtotheCivilRightsMovement—bothofwhich,heremindsus,dependoncommunityleadership.WhileOrejeulabemoanedthefact

thatthedemographicsofthoseaffectedbyurbanpollutionhaven’tchangedsince1982,Keyesofferedanexplanation:environmentalracism.Sheexplainedhowblackcommunitieshavelongsufferedtheeffectsofindustrialwastefromnearbytrainyards,sewagesystems,andtrashdumps. Femaleartistswerealsopartofthevanguardofprogressivehiphop,asdemonstratedbyLaurynHill’svideo“EverythingisEverything.”Asarecordneedleplaysoverthegroovesofeverydaystreetlife,Hillsingsofbetterdayswiththenaturalistictrope“afterwintermustcomespring.”Orejeulaunpackedthemeaningofthisvideo,claimingthatthedepictionofthecityasaspinningrecordrepresentsmusic’spowerovertheenvironment.Keyesdescribedhiphopsamplingasaformofculturalrecyclingandnotedthesong’sresemblancetoDonnyHathaway’s“TheGhetto”andStevieWonder’s“IWasMadetoLoveHer.” Thefinalvideo,ArrestedDevelopment’s“Greener,”juxtaposesvisualimagesofalushgreenhouseagainstthelyric’simageryofurbandumping.Whilethesong’scontentwastopical,Orejuelacriticizedthisselectionas“adultcontemporaryrap,”explainingthatitdidnotspeaktothemajorityofhiphopartistsorlisteners. Thepaneldiscussedtheenvironmentalcurrentswithinmainstreamandfringehiphopalike.Inadditiontochallengingperceptionsthathiphopandrapareprimarilyconcernedwithviolenceandconspicuousconsumption,thepanelalsochallengedaudienceperceptionsaboutenvironmentalism.Environmentalismisnotjustaboutfightingtoprotectplaces;itisalsoaboutfightingforthepeoplewhoinhabitthem.

Left to right: Ronda L. Sewald, Brenda Nelson-Strauss, Langston Wilkins, Cheryl Keyes, Portia K. Maultsby, Fernando Orejuela. Photo by Anna Batcheller.

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The Exhibit

Followingthepanel,theAAAMChostedanopeningreceptionfortheFear of a Bleak Planetexhibit,whichwascuratedbyLangstonWilkinswithassistancefromfellowgraduateassistantRaynettaWigginsandAAAMCHeadofCollectionsBrendaNelson-Strauss.ThefirstsectionoftheexhibithighlightedR&Bandsoulrecordsfromthe1970sthathelpedestablishthefoundationsfortheconsciousstreaminhiphop,includingalbumsbyMarvinGaye(What’s Going On),CurtisMayfield(There’s No Place Like America Today)andWar(The World Is a Ghetto). ParttwopresentedaregionalsurveyofhiphopalbumsnotablefortheirsociopoliticalcommentaryandincludedshelvesdedicatedtoreleasesfromtheEastandWestCoastsandtheSouthbyartistssuchasEricB.&Rakim,IceCube,andtheGetoBoys.Theexhibitalsohighlightedunderground,female,andinternationalhiphopartistswhoserhymesconveysociopoliticalmessages,aswellasactivist-orientedreleasessuchastheRap the VoteMixtape,504Boyz’sHurricane Katrina: We Gon’ Bounce Back,andPublicEnemy’s“BlackSteelintheHourofChaos.”Hiphop’splacewithintheGreenMovementwasrepresentedbySeasunz+J-Bless’sEarth AmplifiedandPhilDaAgony’sThink Green. TheexhibitwasondisplayintheBridgwatersLoungeoftheNeal-MarshallBlackCultureCenterfromOctober4throughNovember17,2010.WiththeexceptionofseveralLPsgenerouslyloanedbyDJTopSpeed,allmaterialfeaturedintheexhibitishousedattheAAAMCandisavailableforresearch.Theexhibit,panel,andopeningreceptionweregenerouslysponsoredbytheCollegeofArtsandSciences’ThemesterProgram,theCollegeArts&HumanitiesInstitute,

andtheOfficeoftheVicePresidentforDiversity,Equity,andMulticulturalAffairs.BotheventswerealsoapartoftheUniversityLibraries’ArchivesandSpecialCollectionsMonth.

—BetsyShepherd,graduatestudentinFolkloreandEthnomusicology,andLangstonWilkins,AAAMCGraduateAssistant

Fear of a BleakPlanet Playlist

The following videos were featured either duringthe panel or the exhibit opening:

• Grandmaster Flash, “The Message” (1982)• Lauryn Hill, “Everything Is Everything” (1999)• Dr. Octagon, “Trees” (2006)• Mos Def, “New World Water” (2002)• Doo Dat, “The Dream Reborn: My President Is Green” (2009)• Doo Dat, “Behind the Video ‘The Dream Reborn’” (2009)• Seasunz + J.Bless, “Global Warning” (features Stic.Man from Dead Prez) (2010)• Biz Markie, “Earth Day” (for the 40th anniversary of Earth Day) (2010)• Talib Kweli & Hi-Tek, “Ballad of the Black Gold” (2010)• Arrested Development, “Greener” (2010)• Tem Blessed, “Now Is the Time” (2010)• Shamarr Allen, Dee-1, Paul Sanchez, and Bennie Pete, “Sorry Ain’t Enough No More” (about the BP oil spill) (2010)

StudentsexaminingtheFear of a Bleak Planetexhibitduringtheopeningreception.PhotobyAnnaBatcheller.

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Kirkland Burke is currently co-owner of the Mondy-Burke-Smith Broadcasting Network along with business partners Elijah Monday, Jr. and Darren Smith. The MBS Broadcasting Network’s holdings include Christian-Gospel radio stations KCAT-AM in Pine Bluff, Arkansas, and WJIW-FM in Greenville, Mississippi. Burke holds a bachelor’s degree from Chicago State University and worked for twenty-five years as both local and Midwest regional promotion manager for Warner Bros. Records. In the following phone interview with AAAMC Director Portia K. Maultsby, Burke discusses his experiences at Warner from 1975-2000; relations between Warner, Elektra, and Atlantic; and the role of radio in music sales. Burke is a member of the AAAMC’s National Advisory Board.

Portia Maultsby:Let’stalkfirstaboutyourbackgroundbefore yourpathledintothemusicindustry.

Kirkland Burke:AsBillCosbywouldsay,“Istartedoutasachild.”IstartedtakingpianolessonsinChicagowhenIwasthreeyearsold.Mybrotherwasfive,andhewastakinglessons.Whereverhewent,Iwasrighttherewithhim.MymotherthoughtIwastooyoung,buttheteachersaid,“No,hecanlearn!”andIplayedintomyteens.MybrotherandIusedtodotwo-pianoduets.Thatgeneratedmyinterestinmusic,butIneverthoughtaboutmusicasacareer.

AfterIgotoutoftheNavyin1968,IwenttoChicagoStateUniversity,andthenIwentintoeducation.IwasteachingatHolyAngelsRomanCatholicSchoolinChicagowhenIhadaproblemwithmythroatandwasputonvocalrestforseveralmonths.Duringthesummerjustafterthat,Iwasledintothemusicbusiness.IusedtoworkwithHerbKent,whowasthelocaldiscjockeyatWVONinChicago.Iwouldhelphimwithhispersonalappearances.HeknewIwasn’tworkingthatsummer,sohecalledandaskedifI’dbeinterestedindoingrecordpromotion.Afriendofhisneededsomeonetohelpwiththetravelpart—goingtoWisconsinandIndiana—topromoterecords.AndthatwasreallyhowIgotintothatpartofthebusiness—workingindependentlydoingpromotion.

PKM: Andthisparticularpersonwasworkingasan independentpromoter?

KB: Yes,[hisnamewas]BillLasly,andherepresentedseverallabelsincludingOvationRecords,whichwas

basedinGlencoe,Illinoisatthattime.TheyhandledtheWaltDisneylineandhadvariousbluesandjazzartists.IrepresentedPYERecordsoutofLondon.OneofthefirstrecordsIgotontheradiowasatunecalled“SadSweetDreamer”bytheSweetSensations.IthinktheremayhavebeenanAmericangroupbythatsamename,butthisgroupwasoutofManchester,England.

PKM: Asarecordpromoter,wheredidyoutaketherecords?

KB: Iwenttotheradiostations.Remember,backthenwehadjazzradioandR&Bradio,andwealsohadFMradio,whichwasemergingfromundergroundradio.TheOvationlabelalsohadfolkmusic.Soyouwenttodifferentradiostationsdependingonwhattheformatwas.Thisisaround1972,sodiscohadnotreallyexplodedoutawayfromtheEastCoastyet.Thatwasstilltocome.

PKM: HowlongwereyouwithBillLasly,andwheredidyougoafterleavinghiscompany?

KB: Iwaswithhimforacoupleofyears,andthenlateinthesummerof1975IgotanothercallfromHerbKentwhoaskedmeifIwasinterestedinworkingforamajorlabel.Itoldhim,“definitely,”becausethewholereasonforstayingwithanindependentlabelwastohopefullybeconsideredforapositionatamajorlabel.HerbsaidthatWEA,whichwasWarnerElektraAtlantic,hadalocalpositionthathadbeenopenforalmostayear,andhetoldmethathe’dmentionmynametoRonEllison,whowastheregionalrepforWarneratthetime.Ronhadseenmeatworkatthestations,andhethoughtthatitwouldbeagoodpositionforme.ThatfollowingSunday,Ihada

From Recordsto Radio:Interview withKirkland Burke

PhotocourtesyofKCAT-AM.

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meetingwithRonandtheAtlanticregional[marketingdirectorinChicago],EddieHolland.WesatdownandhadbreakfastattheoldQueenoftheSeaRestaurant,andtheyexplainedwhatthejobentailed.

AndthatishowIjoinedthecompany.Thebranchmanagerwasoutoftownforafewweeks,andRonneededsomebodyrightawaybecausethenewLarryGrahamprojectwascomingout,soIactuallyworkedforacoupleofweeksontheWarnerBros.productbeforeIwaseventechnicallyhired.

PKM: AndhowlongwereyouwithWarnerBros.?

KB: IwaswithWarnerCommunicationandTimeWarnerfromAugust1975untilDecember2000.IstartedoutrepresentingallthreelabelswithintheWEACorporation.Thenin1978,whenRonleftandwenttoMercuryRecords,Iwaspromotedtoregional.Intheinterim,asWarnergotmoreandmoreblackmusic,itwasbecomingtoomuchforoneperson.Theydideventuallysplit,andIwasgivenachoicebetweenworkingexclusivelyforAtlanticRecordsorforWarner.IdecidedtostaywithWarner.

PKM: SoyouwerethefirstAfricanAmericanpromoterwith WEA?

KB: Oh,no,no,no.Iknowthattherewasoneotherlocal personbeforeIgotthere.

PKM: Butattheregionallevel...

KB: No,RonEllisonwasregional.Hewastheonewhoreallyhiredmewiththecompany.NowhemayhavebeenthefirstintheMidwestbecauseWarnerBros.wasrelativelynewintoblackmusicatthattime.Infact,whenIstartedwithWEA,Atlanticreallyhadthebulkoftheproduct—thebigjazzcatalogandthebigR&Bcatalog.WarnerBros.hadPaulKelly,whohadarecordoutcalledHooked, Hogtied, & Collared.CandiStatonwasalsoonthelabelandGrahamCentralStation,whichwasLarryGraham’sgroup.DavidSanborn,thejazzsaxophonist,hadjustrecentlybeensignedbecausetherewasn’taseparatejazzdepartmentatthattime.

Top:GrahamCentralStation,circa1973(SC111).Bottom:CandiStaton,1979(SC8).

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PKM: WhatwouldyousaywerethechallengesofworkingwithWarnerduringthisperiodastheyweredevelopingablackmusiccatalog?

KB: Thebiggestchallengeprobablywastheperceptionthatwewerearockmusiccompany.That’swhatpeoplethoughtofwhentheythoughtofWarnerBros.becausethelabelhadFleetwoodMac,RodStewart,andallthat.ThefirstgoldrecordforthedepartmentwasGrahamCentralStation’salbumAin’t No Bout-A-Doubt It.ThatwasthefirstprojectIworkedonforWarnerBros.,andthatwasmyfirstgoldrecordwiththem.

PKM: WhatledtothesigningofblackartistsonWarner?WasthatpredicateduponthesuccessofLarryGraham?Wasitbecauseofthecompetitionfromotherlabels?WhatwastheimpetusforWarnerBros.todevelopthisdepartment?

KB: Itprobablywasthein-housecompetitionwithinWarnerCommunications.Elektrareallyhadnoblackproductatthattime.OnAtlantic,theSpinnersreallywereexploding,andtheywereturningouthitafterhit.ArethawasonAtlantic.TheyhadtheColtranecatalog.EverythingintermsofblackmusicwithinthecompanywasontheAtlanticlabel.Soatthatpoint,WarnerBros.wasjustgettingintoit.

PKM: Sobetween1975and2000,howwouldyoudescribetheevolutionofblackmusicwithinthemajorlabels,becausepriortothattimeonlyAtlantichadanysignificantblackproduct.HowdidWarnerandElektraevolve?Whatwasthemotivation?

KB: Iwouldsaythemotivationwasmoney,naturally.It’salwaysaboutthemoneytemperedwiththemusic,dependingonwho’srunningthecompanyandthecompanyphilosophy.Themusicissecondarytothemoney.Insome[companies],themoneyistheonlything;inothers,it’sthecombinationoftheartformandtherevenue.Warnerwasanartist-orientedcompanyatthattime.BythatImeantheylookedoutfortheartistfirst.Theneedsoftheartistwereconsideredparamount.

PKM: BetweenwhenyoujoinedWarnerBros.in1975andwhenyouleftin2000,didtheyformallycreateablackmusicdivision?

KB: Yes.MyfeelingisthatitwasnotgoodforWarnerBros.Beforetherewasaseparatedivision[intheearly1990s],youwerejustpartoftheWarnerRecordsfamily,soallthemoneywasgoingintoonepot.Nobodyishottwelvemonthsoutoftheyear;nobodyishotforextendedperiods.Iftheblackdepartmentishot,thenmaybecountrymusiciscold,butsomebody’sstillhot,sothere’sneveralotofheatonyoubecauseyou’renotstandingallbyyourself.Nowyousinkandswimtotallyonyourown.

PKM: DidtheexecutiveofWarner’snewblackmusicdivisionhavehiringpower,orwasitprimarilyapromotionaldivision?

KB: ThesigningswerealwaysuptotheA&Rdepartment.IthinkwhathurtblackmusicalotwasthattheA&Rpeopletendedtobelawyers.TheywerenotreallywhatanA&Rpersonwassupposedtobe,whichwassomeonewhocouldgoin,sitdownwiththeartists,andactuallygetsongsthatmatchedthatartists’talent.IthinkwhenyoustartedseeingA&Rassomebodywhocouldsignthebestdeal,thequalityofblackmusicstartedtodropoff.ThesuccessofMotownwasmatchingtherightsongwriterwiththerightsingerandtherightproducerwiththatsingerorgroup.SowhatSmokeyRobinsonwroteforMaryWellsmaynothaveworkedforMarthaandtheVandellas.IfyougobackandlookatMotown,alotofthehitrecordswererecordedbyseveralgroups.Theymayhavesaid,“Okay,thesethreeartistswillrecordthissong,andnowwe’llseewhichonedoesthebestjob.”

PKM: Whatchangesdidyouseeasapromoterworkingwithblackproductbetween1975and2000?

KB: Everythingchanged.Radiochanged.Therecordcompanychanged.Iwouldalmostsayyoustartedtonoticeabigchangearound1977,whichhitwithFMradio.WithFMradio,newpeoplewerecomingin.Thesewerenewstations.Oneofthebigthingsthenewfolksstarteddoingwasplayingalbumsatnight,uninterrupted.Whentherecordcompanieswentto

MBSco-ownerElijahMondyandPineBluffKCATradiopioneerJ.B.Scanlon.PhotocourtesyofKCAT-AM.

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themandtoldthemthiswaskillingrecordsales,theirresponsewas,“I’mnotintherecordbusiness.”Buttheywereintherecordbusiness,becauseiftherecordbusinessdiesandthere’snogoodmusiccomingout,nobody’slisteningtoyourradiostation.Theyplayedalotofmusicbecausetheydidn’thavethecommercialloadthattheAMstationshad.Theystartedhiringdeejaysthatwerenotpersonalitydeejays.Thatmeanttheybasicallyweregivingyouthenameofthesong,thetemperature,andthetime,whereasonold-styleradiothedeejaycouldselltherecord.Theycouldmakeyoulikearecordthatyouprobablycouldn’tstandwhenyoufirstheardit.

PKM: WerethedeejaysmovingintoFMradiostillblackdeejays?

KB: Atthatpointsomewere,someweren’t,becausenowyou’reonthefringesoftheconglomeratesbuyingupthestations.Peoplewhowerebuyingthestationswerereallyinterestedinonething:thebottomline.Youalsohadpeoplecomingintothebusinesswhowerenotassensitivetotheoverallpicture.Blackradiogeneratedjobsintherecordindustry;therecordindustrygeneratedjobsattheretaillevel.Atthistime,Chicagohadmoreblack-owned,one-stoprecorddistributorsthananywhereinthenation.Thesewereblack-ownedbusinessesemployingblackpeople.Andthatslowlystartedtovanish.

PKM: Becausethemajors,theconglomerates,beganbuyingupandcontrollingthesaleofmusic?

KB: Well,thewholebusinessstartedtoshift.Therecordbuyingpublicisreallyaverysmallsegmentofthepopulation.WhenIfirststarted,agoldrecordwasonly250,000copiessoldandaplatinumrecordwashalf-a-million.Thenallofasuddeninthelate1970s,albumsalesexploded,andtheychangedtheclassificationtohalf-a-millionalbumsforgoldandamillionforplatinum,andtherewasagreatperiodofunbelievablesales.Priortothat,theothershiftwastheemphasisfrom45rpmtoLPsales.The45wasreallyjustamarketingtooltosellthealbum.WarnerBros.’focuswasalwaysonsellingthealbum,anditprobablyhadtodowiththefactthattheyweresoheavyintorockmusicwheretheyhadbigalbumsales.

PKM: Whatchangesoccurredwiththeexplosionofdisco?

KB: Ithinkwhendiscohit,nobodyknewwhattodo.Theystartedflyinginanybodywhotheythoughtwasadiscoartist.Itseemedlikeyouweregettinga12-inchdiscorecordeveryweek.TherewerealotofthingsthatwerebigontheEastCoastthatjustnevermadeitinMiddleAmerica.WeneverreallyhadthebigexplosionofdiscothattheEastCoasthad—westillkeptthatR&Bpace.Onestationevenflippedand

wenttoanall-discoformat,anditdidn’twork.

PKM: WhatimpactwouldyousaydiscohadonAfrican Americanmusicandtraditionalartists—on ArethaFranklin,DianaRoss,andCurtisMayfield,for example?

KB: Italmostkilleditoffbecausediscowasaboutthemusic;itwasn’tsomuchabouttheartistsasitwasaboutthebeat,youknow,howmanybeatsperminute.Discowasmusic—andI’llputthisasdelicatelyasIcan—discowasmusicforpeoplewhoreallycouldn’tdancesotheycouldgetoutonthedancefloorandlookhalfwaydecent.

PKM: WhatlevelofinvolvementdidWarnerhavewithdisco?

KB: Theyneverreallywentintoitfullforce.WarnerdidsignadistributiondealwithRFCRecords,whichwasownedbyRayCaviano,andprobablytheirbiggestactwasChange.LutherVandrosswasactuallydoingtheleadsinginginthatgroup.Theyalsohadthetune“Searching”andacoupleofbigdiscohits.RFCwasastraightdiscolabel.That’salltheydid.Thethingwithdiscoisthatnowyouhadwhiteartistsdoingdiscomusic,andbecauseofthebeat,blackstationsstartedplayingit.

PKM: Whatwasyourgreatestachievementasapromoter?

KB: Therewasalwaysasenseoffulfillmentinseeinganartistgofromunknowntostarorsuperstar—seeingsomeonelikePrincegoingfromstationsout-and-outrefusingtoplayhisrecordstohavingstationsbeggingforexclusiverightsonhisnextsingleorwantingtogiveawayhisnextalbum.AndIrememberPrince’sfirstalbum.TheCalifornia[branch]wasexcited.Theykeptsayingtheyhadsomethingspecial,butnobodyknewhewasgoingtobethatspecial.Irememberwhentheyfirstsignedhim,everybodywenttoMinneapolistoseehimperformand—likeitofteniswhenyoufirstseeashowcase—fromapromotionstandpointpeoplethought,“WherecanIgetthisrecordplayed?”Andsometimesyoulookatanewartistshowcaseandyouthink,“Boy,Ihopetheydon’texpectmetogetthatplayed!”becausewhatthey’replayingisnotinlinewithwhat’shappeninginradio.Wegotmoreofthosethanwedidthingsyouwouldhearandthink,“Ican’twaittogotoradiowiththat.”

UntilafterPurple Rainexploded,Prince’srecordswerewhatwecall“workrecords.”Youhadtoworkhisrecordsontheradio.Noneofhismusicwasautomatic.Even“WhenDovesCry”wasnotplayedrightaway.Alotofstationsdidn’twanttoplayit.Idon’tknowifyourealizethis,butthatsonghasnodruminit.Andsomeprogrammerslisteningfor

21

thatbeatweregoing,“Where’sthedrum?”Andthenthey’regoing,“Whendovescry?What’shetalkingabout?”Anditgottothepointwhereeverybodywastryingtopsychoanalyzehislyricsandsaying,“Ineedtoknowwhathe’stalkingaboutbecauseIdon’twanttofindoutlateron...”SoevenasbigasPrincewas,hewasnotanautomatic[success].

PKM: Iwanttoreturntotheearlierquestionaboutwhitepromoterspromotingatwhiteandblackstations.

KB: Thereweresomeartiststhatweworkedacrosstheboardandotherartiststhatdidnotgetworkedatpopradiountiltheyreachedacertainsalesplateauwherethepopstationscouldnolongerignorethem.Ishouldsaythecompanycouldn’tignorethefinancial benefitofnotworkingthatrecordatpopradio.

PKM: Earlyon,whenyoufirststartedworkingforWarnerBros.,wastherejustonedivisioninsteadofthepopdivisionversustheblackmusicdivision?

KB: ItwasthepopdepartmentandtheR&Bdepartmentandthecountrydepartment.Becausethefocuswasonbuildingtheartists’careerandthemoney,iftheythoughtarecordwouldworkonanotherformat,you’dgiveitashot,seewhatyoucouldget.There’salwaysthatunderlying,unspokenthingthatyouknowissaidwithoutbeingsaid:ifawhiteartistisplayedonablackradiostation,that’saslotthat’sknockingablackartistoutfrombeingontheair.

PKM: Andisthereversetrue?

KB: Theymighthavefeltthatway,butIthinkoneoftheunderlyingreasonswasthattheydidn’twanttoplayblackartists.It’ssoobviousnowwithwhathashappenedwiththeadventofvideo.Theydidn’twantyoungteenagegirlsinMontanaorNebraskaorChicagogoingcrazyandscreamingoverblackartists.EverybodyforgetsMTVinitiallywouldn’tplayablackartist.Whentheyfirststartedout,theyplayedagroupoutofEnglandthatwasintegrated,andIthinkthefirstactualall-blackgroupthatwasinanykindofrotationontherewasMusicalYouth—the“PasstheDutchie”song.

PKM: I’veseenthatseveraltimes.

KB: AndI’llshowyouhowbaditwas.Whenthepop stationherefirststartedplaying“BeatIt,”theydidn’t sayitwasMichaelJackson,theyweresayingitwas EddieVanHalenandMichaelJacksonbecauseEddie VanHalendidtheguitarsolo.

Following some discussion of Burke’s radio stations, which broadcast a Christian-Gospel format, Maultsby asks if there is anything else he wants to mention. Burke replies:

KB: Ithinkthecolorline,asitgotblurred,changedalotofthingsinthebusiness.Myunderstandingisthatthereasontherewereblackpromotionpeoplewasthatblackprogramdirectorsstartedtellingtherecordcompanies,“Ifyoudon’tsendsomebodyblacktopromotetherecords,don’tsendtherecordsin.”Theprogramdirectorshadtoseesomeblackpeoplegettingthesejobs,andiftheyhadn’ttakenastand,itwouldn’thavehappened.Andthenastimewenton,theyoungergenerationcamein,andtheydon’tknowthestruggle.Idon’twanttosay,“Theydon’tcare,”it’sjustthattheydon’tknoworunderstandit.Sotothem,theydon’tcarewho[promotestherecord].Alltheyknowis,“justsendmethemusic.”There’snounderstandingthatwhenI’mstrong,you’restrong.Thatprotectedalotofpeople’sjobs.Therewerepeoplethattherecordcompanieswouldhavefired,buttheywereafraidofstationsdroppingtheirrecords.Ifsomebodydidnotgettreatedfairly,theydidn’thaveaproblemwithdrawingtheirenthusiasmforthatcompany’sproduct.

—TranscripteditedbyDaveLewis,AAAMCGraduateAssistant

BurkewithLeroneBennett,Jr.,author,socialhistorian,andexecutiveeditorofEbonymagazine,2007.PhotobyDebraMeeks.

22

OnNovember1,2010,theDepartmentofFolkloreandEthnomusicologyandtheDepartmentofRecreation,Park&TourismStudiesco-hostedatwo-hourlecturebyDonnaLawrenceandRachelGrimesentitledMusic,Media & Museums: Storytelling in Public Spaces.AdditionalsponsorsincludedtheMathersMuseumofWorldCultures,theDepartmentofCommunicationandCulture,theAnthropologyDepartment,andtheAAAMC. Lawrenceisanaward-winningproducerofmultimediaproductionsformuseumexhibitsandtheCreativeDirectorforLawrenceProductions.Hercompanycreatesmediaexperiences,whichextendfarbeyondyourstandardcinematicfeature,fortheatricalenvironmentsandvisitorattractionsintheUnitedStatesandabroad.Forinstance,theAlaskaNativeHeritageCenterishometoLawrence’s“StoriesGiven,StoriesShared,”apiecewhichfeaturessevenloopedvideosonthenativeculturesofAlaska.Periodicallythroughouttheday,thesevenscreenssynchronizetoformasingle,unifiedimagedepictingalocalnaturalenvironmentorculturalconcept.Theopeningmultimedia

pieceforthe“FreedomRising”exhibitattheNationalConstitutionCenter(Philadelphia,PA)combinesfilmandvideoprojectionwithamonologuebyaliveactor.Otherproductionsinvolvepanoramicvideoandexpandingordropdownprojectionscreens. Giventhenatureofthemultimediaexperiencescreatedbyhercompany,Lawrencedoesn’tseemtheleastbitintimidatedbythefast-pacedconsumermediaformatsthatarevyingfortheattentionofyoungaudiences.EveninaworldofiPodsand3Dcinema,360°panoramicscreenswithsurroundsoundremainexotic.Hermixofmultilevelstorytelling,stellarimages,carefullycraftedsoundtracks,andimmersivemediahasprovencapableofcaptivatingandenrapturingeventhemostunrulyofgradeschoolaudiences. Lawrence’sworkhasreceivedawardsinalmosteverynationalandinternationalfestivaldedicatedtospecialformat,documentary,orpermanently-installedmedia,includingtheSundanceFilmFestival,theInternationalDocumentaryAssociation,theNewYorkFestivals,andtheAAM’sMuseAwards,amongmanyothers.LawrencewaselectedtotheProducer’sHallofFamebytheAssociationforMulti-MediaInternational(AMI)andhasbeenaguestpanelistattheAnnualMeetingoftheAmericanAssociationofMuseums(AAM)aswellastheAmericanAssociationofStateandLocalHistory.SheholdsbachelorsandmastersdegreesinmusicfromtheUniversityofTexasandtheNewEnglandConservatory,andshestudiedattheUCLAInstituteofEthnomusicologywithspecialemphasesonLatinAmericanandAfricanAmericanmusictraditions.

Music, Media & Museums: Storytelling inPublic Spaces

DonnaLawrence(frontcenter)andRachelGrimes(thirdfromtheright)withmembersoftheDepartmentofFolkloreandEthnomusicology.PhotobyAnnaBatcheller.

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Dueinparttohermusicalbackground,eachofLawrence’screationsbeginswiththesoundtrack,whetherit’sthroughthecarefullyselectedinterviewexcerptsthatmakeup“TheMotownSound”and“KentuckyShow!”ortheintentionallycongruentmusicalsoundtracksforthefiveloopedprojectionsthatmakeupthe“JourneyofLife”exhibitattheMuseumofWorldReligionsinTaipei,Taiwan.Fromthere,shedrawsonherexperienceasastillphotographertoselectravishingimagesthatfurthertellandembellishthestory.Bothsonicallyandvisuallybreathtaking,it’snowonderwhyLawrence’sworkcanbringabusloadoffourthgraderstoaninstantandattentivestandstill. RachelGrimesisoneofLawrence’slong-termcollaboratorsandservedasherfellowpresenterforthisevent.GrimesisaLouisvillecomposerandpianistwithadegreeincompositionfromtheUniversityofLouisvilleSchoolofMusic.ShefirstcollaboratedwithLawrencebyperformingresearchfor“KentuckyShow!”andhassinceprovidedoriginalmusic,arrangements,andmusicresearchonanumberofotherprojectsincludingtheMuseumofWorldReligionandJefferson’sWorld(Monticello). Duringthepresentation,Grimesmentionedthat“JourneyofLife”wasoneofhergreatestchallengesasacomposer.Sincetheaudiofromeachofthedistinctvideoswasalwaysaudibletoexhibitvisitors,sheneededasoundtrackthatcapturedthetraditionalmusicsoftheculturesrepresentedbytheexhibitwhileavoidinganuttercacophonyofsound.Thesolution?Allfivepiecesaretiedtogetherbyabasedronewitheachpiecemakinguseofa

differentmelody,texture,orsetofinstrumentationtohelpdistinguishitfromitsneighbors. InadditiontoscintillatingteasersformanyofLawrence’sprojects,audiencemembersweretreatedtoapreviewofanewmultimediainstallationcurrentlyscheduledtoopenattheNewYorkHistoricalSocietyinNovember2011.IfthisexhibitfollowsthepatternestablishedbyLawrenceandGrimes’previousworks,itpromisestobearealtreat. ProductionmaterialsandvideofootageofLawrence’sproductionsarehousedattheAAAMCaspartoftheDonnaLawrenceCollection(SC61)andfillanimportantroleinproductionandpublicsectorcoursesofferedbytheDepartmentofFolkloreandEthnomusicology.Amongthehighlightsofthecollectionarematerialsrelatedtothefollowingproductions:

• TheMusic as Metaphordocumentaryforthe“FromVictorytoFreedom:Afro-AmericanLife,1945–1965”exhibitionattheAmericanMuseumandCulturalCenter(Wilberforce,OH)

• Motown Sound,whichistheaudiovisualportionofthe“MotownScene”createdinconjunctionwiththeMotownExhibitionattheMotownHistoricalMuseumandHenryFordMuseum(Detroit,MI)

• The“FreedomRising”exhibitfromtheKimmelTheaterExperienceattheNationalConstitutionCenter(Philadelphia,PA)

—RondaL.Sewald

DonnaLawrenceconverseswithIUstaff/facultymembersCorneliaFales,MelloneeBurnim,andCharlesSykes.PhotobyAnnaBatcheller.

24

ImmediatelyprecedingtheNovember1stMusic, Media & Museumslectureandpresentation,Dr.PortiaMaultsby’sMediaProductionsclasshadtheopportunitytoholdaQ&AsessionwithmultimediaproducerDonnaLawrenceandcomposerandmusicresearcherRachelGrimes.MediaProductionsstudentsspentthefirsthalfoftheFall2010semesterlearningaboutvariousrolesavailabletofolkloristsandethnomusicologistsinthepublicsector,focusingontheindustriesofdocumentaryandcommercialfilm,publicmediaproductions,andmuseumsandotherculturalinstitutions.Concentratingonissuesofminorityrepresentationandculturallysensitiveprogramming,thegraduateandundergraduatestudentswereexposedtoreadingsonthemissions,methods,andphilosophiesofthesevariousindustries.Highlyinteractive,thecourseincludedguestspeakers,filmscreenings,andfieldtripstoboththe“AmericaIAm”exhibitinCincinnati,Ohio,andDonnaLawrence’sproductionstudiosinLouisville,Kentucky. DuringthemonthsofSeptemberandOctober,studentswerepreparingtobeginproductionontheirownmultimediaprojects,andsothisvisitfromLawrenceandGrimeswasespeciallywell-timed.LawrenceandGrimeskickedofftheQ&Asessionbyrelayingthestoriesofhowtheycametoworkinthefieldofcreatingmultimediainstallationsandsoundtracksforculturalinstitutions.Lawrencebeganhercareerinpublicradio.Herpassionforcreatingculturalprogrammingwasfurtheredwhenshebegantoworkinfilm.“Thesynergyofwhathappenedwhencertainmusicwascombinedwithcertainvisualimageswasjustexhilarating,”

sherecalled.GrimesspokeonhowshebalancesherlifeasatouringandfreelancemusicianwithherworkasaresearcherandcomposerfortheLawrenceProductionscompany.Bothwomenagreedthattheyareunableto“tearthemselvesawayfrommusic.” OnestudentaskedLawrencehowshehandlessensitiveissuesofculturalrepresentationinherproductions.Lawrence’sadvicewasto“findaguru—someonefromtheculture,whocantalkaboutthatculturearticulately.Someonewhoisadeepscholarofthesubjectmatter,butalso‘in’theculture.”Lawrence,overseeingacoreteamofadozenpeopleandapproximatelyahundredadditionalcontractstaffforeachproject,facesthechallengeofmakingsurethatherproductionteamandresearchersareabletopresentthemosttruthfulrepresentationofacommunity,despitethefactthathertrustedteamwillnotalwaysbe“oftheculture.” Whenaskedaboutdealingwithcommunitycomplexitiesanddisagreementswithincommunities,Lawrenceadvocatedforworkingwithmuseumsthatalreadyhavefosteredstrongrelationshipswiththecommunityanditsleaders.Shenotedthatinherfield,themostimportantpersonalqualitytoholdisthatofbeing“agoodlistener,”aqualityshesaysallowslargecollaborativeteamsworkingonpublicpresentationsto“gettoaplaceofunderstanding.”LawrenceandGrimesendedwithsomegeneraladviceforthestudents,notingthatthemostimportantthingisthatindividualsstriveto“beinafieldwhereyoucanbringinspirationtowhatyoudo.”

—JosephineMcRobbie,graduatestudentin

FolkloreandEthnomusicology

with Donna Lawrence and Rachel Grimes

Q&A Session

PhotobyAnnaBatcheller.

25

AsthenewestadditiontotheAfrican American Music in Global Perspectiveseries,EileenHayes’sSongs in Black and Lavender: Race, Sexual Politics, and Women’s Music(2010),isawide-rangingandincrediblywittyadditiontotheethnomusicologicalliterature.Basedonfieldworksheconductedfromtheearly1990stothemid-2000s,Hayes’sbookinvestigatesthewomen’smusicmovementintheUnitedStates.Hayespositswomen’smusicasanimportantsiteforthedevelopmentofblackfeministthoughtsincethe1970s,aswellasanongoingmusicalscenethatcanilluminatethecontinuedandmulti-layeredintersectionsofgender,feminism,andrace. AlthoughherwritingisclearandconciseasshemakesthecaseforexaminingtheexperienceofAfricanAmericansinwomen’smusic,themoststrikingaspectofthisbookisherwritingstyle.Hayesishilariousandcongenial,nomatterwhathertopic.Forexample,whiledoingfoodprepworkattheMichiganWomyn’sMusicFestival,Hayesadmitsalittlecrushonherinstructor.Hayesthencontinues:“TheuncompensatedphysicallaborofmyAfricanAmericanancestorsnotwithstanding,Irememberthinkingthatunderourinstructor’ssupervision,Icouldhuskcornfortherestofmylife.”IshouldnoteherethatHayesmakesthesestatementsasa“straight,black,and,arguably,old-schoolfeministactivist,”areminderthataresearcher’sidentityandheridentity-basedresearchinterestsarenotalwaysthesame(areminderthatthisreviewershamefacedlyneededwhilereadingthiswork). IdonotleadwiththediscussionofHayes’stonetodiminishtheacademiccontributionsherbookmakes.Hayesexaminesthephenomenonofwomen’smusicfromanumberofvantagepoints:sheinvestigateswomen’smusicasaphenomenonassociatedwith(mostlywhite)musicfestivalslikeMichiganandthe“all-blacklesbiancultural,musical,andpoliticalretreat”calledSistahfest.Hayesdepictswomen’smusicasrootedin1970sfeminismandmarkedbythelegacyofAfricanAmericanwomen’smusicandpolitics.Shealsoexaminesitasascenewhoseedgescanbemappedbyexaminingthewaysinwhichmale-to-femaletranssexualsanddragkings,particularlyAfricanAmericankings,aresituatedwithinit.Hayesaccomplishesthistaskthroughinterviewswithwomen’smusicfestivalattendees,veteranandupcomingartists,andwomenwhowork“behindthescenes”atfestivals.Excerptsfromtheseinterviewsliberallypepperthebook. Theorganizationofeachchapteraroundadifferentfacetofthewomen’smusicscenecanmakethebookfeelslightly

choppy,althoughtherearecertainlythematicthreadsthatrunthroughoutthetext.Theoneitemforwhichthisreviewercontinuallypinedwasaccompanyingaudiomaterial.WhileHayes’sbookdescribesindetailthesoundofthemanyperformersandgenressheincludes,immediateauditorygratificationandHayes’scuratorialearwouldhavebeenpreferabletoGooglesearching. Theseminorissuesaside,Songs in Black and Lavenderishighlyrecommended,particularlyforscholarsandfansofAfricanAmericanpopularmusicsandethnomusicologistsworkingwithgenderandfeministscholarship.BecauseHayes’swritingisapproachableandmanyofherchapterscanstandasindependentworks,selectionsfromthebookwouldfunctionwellinundergraduatesyllabi.SongsinBlackandLavenderisanimportant—andlarge—stepinilluminatingtheinterconnectionsinblackfeminismandthewomen’smusicmovementintheUnitedStates.

The AMGP book series is published by University of Illinois Press and edited by Portia K. Maultsby and Mellonee V. Burnim.

—DaveLewis,AAAMCGraduateAssistant

AMGP Book Series: Songs in Black and Lavender

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ThroughtheassistanceoftheIndianaUniversityDigitalLibraryProgram(DLP),theAAAMCisnowabletodigitizeitscollectionfindingaidsandprovideonlineaccesstoitem-levelinventories.Afterseveralmonthsofpreliminarywork,thefirstfindingaidswentliveinJune2010. TheonlinefindingaidsareencodedinEAD(EncodedArchivalDescription),anXMLstandardspecificallydesignedtomakethesearchivalinventoriescomputerfriendly.OncethefilesareuploadedtotheDLP’swebsite,usersnolongerneedtowaitfortheAAAMCstafftosendthemacopyoftheExcelspreadsheetforacollection;theycangostraighttothefindingaidandbrowsetheitemdescriptions. TheDLP’swebsitealsoallowsuserstoperformafulltextsearchwithinacollectionoracrossmultiplecollectionsheldbyIndianaUniversity.OtherIUinstitutionsthatcurrentlyhavefindingaidsavailablethroughthesiteincludetheCenterfortheStudyofHistoryandMemory,theLillyLibrary,theUniversityArchives,theWorkingMen’sInstitute,andtheFolklore,PoliticalPapers,andLiberianCollections.Inadditiontoperformingfulltextsearches,userscanalsobrowseIU’sfindingaidsbycreator,subject,andrepositoryname. Encodingarchivalfindingaids,particularlythoseforcollectionswithextensiveaudiovisualmaterialsand/oritem-levelcontentnotes,canbealaborintensiveprocess.Sinceeachfindingaidtakesaweektoseveral

monthstoencode,userswillstillneedtocontactourstaffaboutobtaininginventoriesformanyofourcollections.We’llbecontinuouslyuploadingnewfilestothewebsiteoverthenextfewmonths,however,andfindingaidsforseveralofourmorepopularcollectionsarealreadyavailableincludingthefollowing:

Portia K. Maultsby Collection(MusicIndustryInterviewseries)http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAB9025

Michael Lydon Collectionhttp://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAB9026

Karen Shearer Collectionhttp://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAB9514

Reclaiming the Right to Rock: Black Experiences in Rock Music Collectionhttp://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAB9846

Black Radio: Telling It Like It Washttp://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAC0316

SpecialthanksgoesouttoMetadataLibrarianJennRileyforhelpinguswiththepreliminaryworknecessaryforbringingourfindingaidsonlineandtoAAAMCstudentassistantLevonWilliamsforencodingthefindingaidfortheKarenShearerCollection.

Formoredetailsonthisproject,contacttheAAAMCstaff,orvisittheDLP’sfindingaidwebsiteathttp://webapp1.dlib.indiana.edu/findingaids/welcome.do.

—RondaL.Sewald

AAAMCFinding AidsNow Available

Online

AlBell,ExecutiveVPofStax/VoltRecords(SC8),andB.B.King(SC129),arefeaturedintheMaultsby,Shearer,andBlackRadiocollections.

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ExcerptfromonlinefindingaidavailablethroughtheIndianaUniversityDigitalLibraryProgram’swebsiteshowingtheentriesforthefirsttwointerviewsinthePortiaK.MaultsbyCollection,MusicIndustryInterviewsseries.

National AdvisoryBoardHarryAllenMichelleT.BooneReginaHarrisBaiocchiLouiseBullard-GarrettKirklandR.BurkeCharlesH.DeBowIIIMurrayFormanReebeeGarofaloLuveniaA.GeorgeSuzanE.Jenkins

BobbyL.JonesReginaJonesMichaelLydonDebbieMayBarryA.MayoMichaelMcAlpinTomReedRobertE.RosenthallPatriceRushenLeonardS.ScottAllanSlutskyLindaTilleryLoganWestbrooksOllyW.Wilson

AAAMC Staff:Portia K. Maultsby, DirectorBrenda Nelson-Strauss,HeadofCollectionsRonda L. Sewald,ArchivesAdministrator- ProjectManagerDave Lewis, GraduateAssistantRaynetta Wiggins, GraduateAssistantLangston Wilkins,GraduateAssistantStudent Assistants: MelodyBarham,RachelWiedner,LevonWilliams,AnnShaffer

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