ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE

liner notesNO. 19 / 2014-2015

Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director...... 2 African American music in shaping in our Themester event,Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations...... 3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt...... 4 continued involvement in identifying staff, and community members. As potential contributors and securing a collaborative effort which engaged Featured Collection: collections. our student and full-time staff, as well Petrella Pollefeyt: With the unwavering support of as an invited scholar and our research First Lady of Country Soul.....10 Provost Lauren Robel, the AAAMC associates, this exchange reinforced the continues to pursue its overarching subtleties and complexities inherent in AAAMC and Robert Marovich vision, in our welcome of William the interpretation of African American Team Up to Preserve Gospel Vanden Dries, who joins our staff as musical and cultural practice. The Music History...... 11 digital archivist in June 2015. William Archives is pleased with the prospect of brings a wealth of knowledge, skill, our findings being presented at future A Tribute to Al Hobbs...... 14 energy and fresh ideas to our unit. scholarly meetings, and also being The fact that he and his family eagerly translated into publication. Themester 2014: anticipate the snow of an Indiana As always, AAAMC welcomes Hot Buttered Soul...... 18 winter, as they bid farewell to the your input. Please let us hear from sweltering heat of Austin, Texas offers you regarding Liner Notes, or about New Research Associate: Alisha Lola Jones...... 22 us a promising glimpse of the positive individuals, organizations, or resources impact that he will have on our work which you feel could contribute to William Vanden Dries environment. To Ronda Sewald, whose our efforts. It is our sincere hope that Joins AAAMC Staff...... 26 expertise and diligence contributed in you continue to visit our website, and so many significant ways during her six- take advantage of the many offerings New Books by AAAMC Staff year tenure as a member of the Archives’ designed to support and affirm African and Research Associates.....27 staff, we extend our most sincere thanks American music in all its guises. and gratitude. The Archives mourns the loss of our On the Cover: friend and advocate, Al “The Bishop” Hobbs, whose homegoing services were held at Christ Church Apostolic in Indianapolis in August 2014. Hundreds gathered from far and near to celebrate the life and career of the man with the golden voice, who, for decades, commanded the WTLC airways and worked tirelessly to develop, promote, and advance gospel music locally, nationally, and globally. The mass choir, comprised of members of the Gospel Music Workshop of America (GMWA) under the direction of Sherri Garrison, Petrella Pollefeyt in the studio, 2007. distinguished Minister of Music at Eastern Star Church in Indianapolis,

2 In the Vault: Recent Donations

Jacquie Gales Webb Collection: Ericka Blount Danois Collection: Materials documenting her career as an award-winning producer, Personal papers documenting her journalism career, including including interviews and production materials used in the public over 100 audiocassette recordings of interviews conducted for her radio series Remembering Slavery and Jazz Singers, the television book, Love, Peace, and Soul: Behind the Scenes of America’s Favorite documentary Melodies from Heaven, and her “Sunday Afternoon Dance Show Soul Train: Classic Moments (2013). Gospel Music Program” on 96.3 WHUR in Washington, DC. African American Arts Ronald C. Lewis Collection: Institute Collections: Personal papers, sounds recordings, and videos documenting Mr. Interviews and production files for the book project,The Black Wonderful Productions, Inc. in Louisville, Kentucky. Composer Speaks (1977); production files for a Black composer encyclopedia project (1970s); and video of recent interviews conducted for an IU Soul Revue oral history project.

CD/DVD/Book/Image/Music Donors: 22 Ventures / Below Systems Ed Hines & Associates Legacy Recordings Reel People Music Alive Records EMI Recods Light In The Attic Rhymesayers Entertainment Arhoolie Entertainment One Mack Avenue Records Rick Scott AristoMedia Eothen Alapatt Mark Mclean Rock Paper Scissors Audio Preservation Fund Films Media Group Mark Pucci Media Rounder Records Ballin’ Entertainment First World Michael Woods Shanachie Entertainment Bear Family Forced Exposure Living Legends Shore Fire Media Bellamy Group FTG International MCG Records Shout Factory Betsy Blue Music Full Circle Entertainment Merlis for Hire SLG Bowling Green State University Fully Altered Media MoFunk Records SmallsLive Bjazz Promo Services Funky Town Grooves Monocentric Music Smithsonian Folkways Black Berry Ged Soul Motown Gospel Sony Music Masterworks Blind Racoon Girlie Action Muse Media Southgate Entertainment Blues Images Gold City Records Musebox Spencer Robinson BMF Media Golden Fetus Records MVD Stickfigure Distribution Brian Coleman Great Scott Production Myles Sanko Sub Pop! Byrd Communications Harmonia Mundi Naxos of America Sugar Shack Capital Entertainment Honorable South Music Now-Again Records Summersoul Entertainment Cherry Red Records Hot Casa Records Oakhill Music Terri Hinte City Hall Records Hot Milk Records Passion Music Tiny Human Cleopatra Records Imagine This Pendulum Records Tish Febach Concord Music Group Indigo Soul Per Notini Tompkins Square Conqueroo Jasmine Records Perry Tyscot Records Croshal Entertainment Group Jazz Promo Services Plug Research Music Universal Music Cumbancha Jeffrey James Press Junkie VP Records Daptone Records JS Music Reach Records Wolf Records Delmark Records K7 Records Real Gone Music World Music Network Distorted Soul Kayos Productions Red Distribution DL Media KG Music Red Hot Records Dust-to-Digital LCD Factory Red River Entertainment

The AAAMC contributed to the following projects published in 2014-15: Print: African American Museum of Iowa, “Behind the Beat” (images) Sykes, Charles E. “The Black Forum Label: Motown Joins the Revolution.” ARSC Journal, Vol. 46, No.1 (Spring 2015). (images) Radio: Mighty Writers documentary, Going Black: The Legacy of Philly Associated Press. “Mercury Records Co-Founder Irwin Steinberg Soul Radio (audio) Dies at 94.” Billboard Magazine, January 4, 2015. (image) Smith, Walker. Mello Yello: The Incredible Life Story of Jack the Film and Television: Rapper as told to Walker Smith. Sonata Books, 2015. (images) TV One Unsung series episode on Chuck Brown (images)

Exhibits: What Happened, Miss Simone?, a Netflix documentary about Nina Birthplace of Country Music Museum, “New Harmonies: Simone (audio) Celebrating American Roots Music” (images)

3 one-on-one

4 An Interview with Petrella Pollefeyt

Country soul singer and songwriter I had a music teacher by the name of forefront in terms of your life? Petrella Pollefeyt, a native of Hot Springs, John Puckett, and I was in probably the Arkansas, was interviewed by AAAMC second grade when I first started to do PP: I understood that I needed to graduate assistant Christina Harrison stage work. He thought that I should protect my girls. I had no intentions of in the fall of 2014. In these excerpts imitate Pearl Bailey, because she was taking them on the road. But there was she discusses her entry into the music a really big icon at that time, so I did the spark that was always in the back business, her work in Nashville, and her Pearl Bailey and my brother was doing of my head concerning it. I was writing reasons for donating her collection to the Elvis Presley. And talent shows were poems and writing something that was AAAMC. very much a part of the school system indicative of me wanting to go into at that time. I always considered John the music business, mainly from the CH: So when did music become or Puckett as my mentor in music, because songwriting side. I had just always held start to become a part of your life? Were he also gave me piano lessons. When I that close to my heart without making you involved in the church? Were you finally got to junior high school, he was it public until my girls got older. Now, singing at an early age? When did it all also my music teacher and he started I always sung in my church choirs. My begin for you? me doing [Della Reese] songs. So, music girlfriend and I—she was a teacher at has always been a big part of my life. one of the elementary schools. We used PP: Well, on my father’s side, he had to go around to different elementary five siblings. His younger sister, her CH: So after you got your business schools and high schools and try and name was Velma, and my grandmother degree, what happened then? Where did teach a songwriting class. She was had put a lot of time in teaching her you go? What jobs did you have after a wonderful pianist. Oftentimes I how to sing and also giving her a lot you got your business degree? would sing with her husband. They of lessons. So she was taking a lot of had a jazz combo and I would sit in piano lessons, a lot of voice lessons. PP: Well, I didn’t get my teaching as a soloist. So I was quite mindful of She was also taking modeling courses certificate because I was pregnant my music capability, but I also knew and my grandmother had been sending with my first child. I went to work for that with two girls—that for me to a lot of her kids to St. Louis to learn a factory in accounting and I worked make a commitment to this industry, how to do hair. So this was all a part for the Governor of Arkansas, Dale in any kind of capacity, would just be of my grandmother’s culture. So she, Bumpers. I worked for him for almost overwhelming. It would be important my aunt—I was the only niece she two years and he offered me [an that I would get them raised first. had—took up a lot of time with me. opportunity] to go to Washington, but She would teach me how to walk and I just didn’t think I was very political. CH: It seems as though you were still she’d teach me how to sing. And then I didn’t think I would fit in very well, writing and still involved in that way. she’d take me to church and I would so I ended up going to the aluminum Was that your entrée into the music sit up with the rest of the choir, but I plant, Alcoa, and from there I followed industry? Did you start from the writing was quite young. I can remember my my first husband to Detroit, Michigan. I standpoint? Or did you start as an grandmother would have a solo and worked for Chrysler Defense and that’s artist? she would let me do two or three lines, where I met my second husband. you know. I remember we did “Wash PP: Everywhere I worked everybody All Your Burdens Away,” and she would CH: So in the process of all of these remembered that I had this incredible be teaching me how to speak and life events did you still have your eye love for music. I can remember I would make sure I was saying all the correct on the prize in terms of where music always end up doing the Christmas [words]—I was only three or four. was concerned? Did that ever take a parties with the band. I was always on Then when I went into grade school back seat at all, or was that always at the stage, you know, so everybody knew

5 Petrella performing 18 Reasons to Live, Laugh, and Love at the Carrie Hamilton Theatre in Pasadena, 2012.

6 that I had this desire. Once my oldest CH: When did you get your break was there and he was getting ready to daughter entered college [and] my where songwriting is concerned? cut Kitty Wells. I wrote this song called youngest daughter was a freshman, then “Living on a Shoestring” and pitched I decided to become professional in the PP: Well, it was a few years later. I had it to him. I was in Arizona when I songwriting aspect. I thought it would worked with bands and we had gone received a phone call. This guy had be a better side for me as opposed to into studios and did demos. We had a huge voice, “Hello.” “Who is this?” artist. I knew nothing about that side been pitching to the industry via any “This is Petrella.” “Well listen, I’ve got of the business. But the songwriting, kind of way that we could. Because once this demo and I need to know who’s you know, I was basing it more on my we joined the Los Angeles Songwriting singing on this demo.” I said, “Which skills. So, [my husband] said, “OK, let’s Association, it became very clear with one was it?” He said, “Something about pitch it. Let’s see what we can do.” So, all of the classes we were taking—they living on love.” Anyway, he says “I want we started to do a demo, and it was were very in tune with making sure that to talk to you.” I say, “About the song?” hilarious. At first we thought we could the songwriter understood about the He says, “No, about you.” And so that just do it at home, you know, homemade copyright, how you go about pitching was the beginning of the conversation demos. We had this little Casio and we to artists and making sure that it was concerning me becoming a recording would put the rug over my head and written for those people that you artist. we would try to get the tracks together were trying to get to sing your songs. and we would record it. We really We did a lot of classes probably for CH: So he calls and now he wants you didn’t realize how bad it was until we two years. I guess I might have been not as just a songwriter, but as an artist. decided we would go to the Los Angeles songwriting professionally for about What was your reaction to that? What Songwriter’s Association convention. four or five years when I pitched a song happened after that phone call? They would allow new writers to come to Nashville, simply because Los Angeles and pitch to the industry. We had people had been saying that most of the music PP: Well, it was flattering. I mean, he there like Ike Turner, Michael Jackson I was pitching to them had a country was just like, “I can make you a star,” had representatives, and it was just undertone. They thought it would fit a you know, “la di da di dah.” And I’m wonderful. I didn’t realize how bad my lot better if I started pitching to more of thinking all the time that he’s a country demos were. We went the first year and I a country producer and see what they music producer. He has Playback was a little bit embarrassed, but the next thought about what I was writing. So I Records, which was one of the largest time I was much more prepared and I did and we would get a green sheet that independents at that time in Nashville, had started seeking others to help me do would come to us via the songwriter’s and I’m amazed at all of this. better demos. association once a month. Jack Gale

Cassette insert from Petrella’s first songwriter demo, 1987.

7 anything that I can read about?” And he brought out an envelope [and] says, “This is all we have on African American women.” He said, “Of course we have Charley Pride,” and he was a part of their exhibit. I had read a lot about Charley Pride, but he was more of a recording artist, rather than a singer-songwriter. That’s what I was looking for. So I listened to Ruby Falls, and she was a gorgeous African American woman who was a writer and she had also toured with Ernest Tubb and the Troubadours. Ernest Tubb had one of the largest independent record stores in Nashville, and he also had Midnight Jamboree and everything, so I felt like Ruby Falls was a very legitimate source. She had unfortunately died before her career really got going. She had one album and I don’t know if it ever got distributed, but she wrote very well and the vocals were just outstanding. So I kind of carried her in my pocketbook as my good luck charm and I took off running.

Now, I had heard of an African American woman in Nashville. It was someone that they talked about [known as] the “Brown Cow.” They also talked about Linda Martell. I heard about Rosetta Tharpe, Big Mama Thornton. But to actually see them in their environment, [that’s what] I’m looking for, so I know that environment. I was just trying to figure out how to go about this as professional as I could. So I chose people like Bonnie Raitt. I knew she wasn’t pure country, she was a little bit on the edge. So that’s pretty much what I did and I made a commitment to Ruby and to John Rumble when I was at the Petrella with Arsenio Hall (Lorre Entertainment) Country Music Hall of Fame, that I CH: I guess this question could apply to color had never been an issue. When would do better than Ruby. I would try your move to Nashville or even prior, as Hot Springs went into desegregation to really lift her up by making sure that an African American woman. What were it was done so soon because nobody I would leave a legacy—not [just one] your experiences being a country artist? wanted to interrupt tourists, you know envelope—but plenty for them to display Were there others like you walking to be honest about it. So, even though about an African American woman who around? Were there any concerns or Little Rock had all of the news about had actually succeeded in the country issues about marketing you and all of the [Little Rock] Nine and everything, music business. those kinds of things? Did those issues Hot Springs just didn’t have that. But come up at all as an African American when I did get to Nashville, I went to the CH: So, other than Ruby Falls and woman trying to be a country singer? Country Music Hall of Fame and I met a Bonnie Raitt, were there other influences gentleman by the name of John Rumble, whether inside country music or outside PP: Absolutely. Everything. All of the who is a historian. And I asked him, “Do that heavily influenced you as a above and unbeknownst to us. I had you have any African American women musician? never seen it as a factor, because I’m who have been in country music, who from a tourist town. So the difference in have been writers, recording artists or PP: When I got ready to work on my

8 vocals I borrowed from Shirley Caesar on the gospel side. I borrowed from Diana Ross so far as how I wanted to [project an] image, Tina Turner, Wynonna Judd, Patsy Cline who is one of my favorite country artists. I borrowed how I would like to write my songs which would be more storytelling. I got that from Dolly Parton. So I was using all these women. I love Reba McEntire in concert. I was pulling from everywhere because I had to make and mold myself from zero.

CH: So when did you actually go about getting your own label and how did that happen?

PP: Well this was in 2000. I had cut three songs in Nashville [and] I had another group of lawyers who wanted to try and seek another record deal. Everybody’s seeking majors, right? So they had me cut “Papa Did a Rain Dance,” “I Miss You,” and I can’t think of the other one. But anyway, a gentleman by the name of Anthony Smith, who is an African American producer and he had also produced Donna Summer— they thought he would be a good producer we could pitch to the majors, as opposed to trying to go through an entertainment company. That we might get the majors to put up all the money, right? So we went in and I cut the three songs [but] they passed on them. At that point [we had] probably [spent] ten or twenty thousand dollars. So, I said, “Petrella, Petrella, Petrella, maybe it just isn’t meant for you to be a major artist.” I had toured all over small towns . . . I had founded a non-profit. I had so much that I was doing and I was Autographed photo of Petrella. very satisfied, to be honest. So when I came to California in 2000, I had a “Why don’t you just let me do your own I was pitching songs which got me the really good friend, John Smith, [who] label.” He said, “Why don’t you just try record deal there was no such thing as was a black attorney here in Pasadena and see how that works for you.” And I “country-soul.” It was just country. This and he was from Little Rock, Arkansas. have to say, it’s been a blessing. was the first single, “Blues Stay Away He invited us over and we were talking From Me.” But when they got ready to about finishing up this album. We had CH: I wanted to talk a little bit about put the album together I think that they done these songs in Nashville and I the term “country-soul” and what that were talking to George Albert of Cashbox had acquired another producer here in term means to you and how you think magazine, [which like] Billboard had all California, David Sheffler. David and I it relates to the music that you’ve been their categories and everything. They had done a lot of demos together in the producing. Or was it some sort of ended up making a division. Absolutely. Los Angeles Songwriter’s Association. So marketing term that people decided to I thought it was very nice to make a he said, “Petrella, you’re a big girl. You’ve use for you? division for just me! done a lot of this business and you and your husband are pretty astute.” He says, PP: Well, you’re absolutely right. When — Transcribed by Christina Harrison

9 and CDs of her demos and commercial magazines document her engagements Featured releases, many of which were issued across the U.S. as well as her work Collection on her own label, Garden Mound with community organizations like Records. The collection begins in the late the Arkansas Arts Council. Petrella’s Petrella 1980s with her earliest recordings—a personal papers also offer a glimpse Pollefeyt: songwriting demo “Let’s Stop into her career as a songwriter Pretending” (1987) on audiocassette and through sheet music, lead sheets, and First Lady of a cover of “Blues Stay Away from Me” a songwriting notebook indicating the Country Soul (1988) on a 45 rpm single. The launch of inner-workings of her creative processes, her solo career is also documented in the while contracts provide detail on the Vocalist and songwriter Petrella release of her first album, initially under financial mechanisms that are crucial to a Pollefeyt (performing simply as the title Petrella (1988) on Playback professional career in music. “Petrella”) has worked almost 30 years Records, and later reissued on her own One of the most unique features in a genre where few African Americans label under the title Coun-try-ver-sial of this collection is the costumes that have received major recognition in (1992). After a break in recording Petrella donned during her shows. the form of album sales or industry during the 1990s, Petrella returned to Cowboy hats, colorful cowboy (or awards—country music. Growing the studio and released several albums perhaps cowgirl) boots, and custom up in Hot Springs, Arkansas, Petrella including Papa Did a Rain Dance (2000), made skirts indicate the elements of style listened to and performed music from Walk Around Heaven (2006), 100 Proof and adornment that this artist prioritized multiple genres including blues, country, Woman (2007), and Shine on Me (2013). in her live performances. The inclusion gospel, and soul. This eclectic musical Beyond Petrella’s full-length projects, the of these items may help researchers environment encouraged her to forge her audiovisual materials in her collection construct a more holistic image of own brand of musical expression that also document her many philanthropic Petrella as a creative artist. she now calls “country soul.” In the early efforts. In 2001, she released the CDFind As an African American performing 1990s she gained national attention with a Cure to support the Lupus Foundation a genre largely dominated by white her single, “I Found Somebody,” which of America. She has continued to work American vocalists, Petrella has been reached No. 1 for the week of April 17, with her organization, Dreams of the sensitive to the difficulties African 1993, and spent 14 weeks on the Top 100 Heartland, even recording an album Americans have faced in “breaking Country Singles chart in the industry by that title in 2005 to raise money to into” the business of country music. publication, Cashbox magazine. She has support other nonprofit organizations Recognizing the uniqueness of her toured and performed in venues all over and initiatives. Her dedication to position, she has also collected a the country and has been nominated for “giving back” to the community is also few materials that explore African several awards including New Female highlighted through a DVD of her American involvement in the creation Vocalist of the Year by the Nashville performance in a public school to help and production of country music. By Tracker Magazine. In 2003, she received raise money for local food banks. donating her collection to the AAAMC, the Golden Microphone Award at the Print materials, including flyers Petrella has fueled opportunities for Airplay International King Eagle Awards. and posters, also document Petrella’s research, particularly from a woman’s Petrella, now referred to as the “First performances and CD releases. These perspective. We look forward to Lady of Country-Soul,” has generously promotional items showcase her multiple continuing to increase our collections in donated numerous materials to the performance contexts—concerts, this subject area. AAAMC which document her career. benefits, and original one-woman shows The sound recordings in the collections such as 18 Reasons to Live, Laugh, and — Raynetta Wiggins include 45 rpm discs, audiocassettes, Love. Clippings from newspapers and

10 AAAMC and Robert Marovich Team Up to Preserve Gospel Music History

On April 28, 2015, AAAMC graduate assistant Raynetta Wiggins conducted a lengthy interview with Robert Marovich regarding his work in the gospel music industry, his research culminating in a new book on the history of gospel music in Chicago, and the preservation partnership with the AAAMC. Portions of the interview were used in the following article.

When young Notre Dame graduate Robert Marovich migrated to Chicago, Illinois, from northern Indiana in 1985, he had little idea what awaited him in the “windy city.” While he was a music lover from a young age, his experience with gospel music was tangential at best. Even after his first encounter with gospel music in college via Chicago’s Cosmopolitan Church of Prayer’s radio broadcast, his focus remained on popular music. As Marovich clarifies, “I was still collecting doowop and jazz and soul and blues and all that. And the only gospel I had, I think [was] one Mahalia Jackson 78 and that cassette of the Cosmopolitan Church Broadcast.” While pursuing a career as a professional grant writer in the mid-1990s, he decided to further explore gospel music—listening to, collecting, and reading about this dynamic music genre. By the end of the 1990s, gospel music had become more than a hobby for Marovich—it was his passion. Having amassed a sizeable collection of traditional gospel recordings comprised of artists ranging from Mahalia Jackson to the Davis Sisters and lesser known artists, Marovich was moved to share this music with the public. In 2001, he began hosting a local radio show called “Gospel Memories” at Loyola University’s WLUW-FM that celebrates the traditional gospel of the the [radio] show in the gospel music to take your CD, I’m going to write about it twentieth century. While it began as a once community inspired the creation of the [even] if I can’t play it on the radio.” On its a month stint, his show eventually moved gospel music review website Black Gospel 10th anniversary he renamed the site The to a more prominent airtime with a one Music Blog in 2004 . . . I would have artists Journal of Gospel Music, as he was ready to hour timeslot at 10:00 a.m. every Saturday come up to me and say, ‘Can I send you my take his work with the publication in new morning. His work with radio led to greater CD to play on your show?’ and I thought, directions. exposure to the gospel music industry. ‘I don’t play contemporary gospel.’ I felt bad While pursuing his love of gospel music, Marovich became an active member of the because [I would] be serviced with these Marovich has also maintained a career as Gospel Music Workshop of America and CDs … [and I would] feel so bad taking a full-time grant writer. However, in 2006 an officer in his local Gospel Announcer’s them from people and I can’t do anything after a new job appointment did not meet Guild chapter. Other opportunities soon with them… And I started [the blog] just his expectations, he made the decision to followed. He explained, “Notoriety of because I wanted to be honest. If I’m going leave his job and pursue writing a book

11 “I always say this was like my love letter to Chicago gospel… I want to show the full spread of it…”

about gospel music. He first discussed his ideas with Anthony Heilbut, author of The Gospel Sound (1971). “I had been thinking of doing a book on the Roberta Martin Singers. [Heilbut] said, ‘I think you would be hard pressed to fill a volume about the Roberta Martin Singers. Why don’t you just write about Chicago gospel? It’s never been done.’” Building on his knowledge and experiences in gospel music, Marovich actively began researching the development of gospel music in Chicago with a rather clear agenda: “I wanted to settle this question once and for all, [about] where gospel music was born. [Many cities] claim it, but I knew it was here [in Chicago] . . . And I didn’t see anybody [else] writing it. And I thought well maybe this is what I should be doing. Maybe this is my legacy… You know, that I’ve done something significant to recognize the people who labored for decades in gospel and didn’t get their just desserts. Or just even the ones that were perhaps more famous that really haven’t had much written about them.” Recognizing the scarcity of detailed scholarship on the subject, he would come to rely on two primary sources for the book—interviews with gospel practitioners of previous generations and documentation of gospel music in the local African American newspaper, Chicago Defender. He prioritized crafting a holistic account of African American social life and the development of this music. With passion he states, “I always say this was like my love Sallie Martin Singers, Kenneth Woods Jr. at piano (early 1960s). (Courtesy of Robert Marovich) letter to Chicago gospel…I want to show the full spread of it. Not just the quartet. opportunity to learn more about lesser circumstances into an extraordinary The quartet, that’s an important piece, but known artists as well as to confirm or expression of faith. The substance of the it’s just a piece. It’s the singers, the groups, undermine information he had gathered text rests on five main arguments: 1) Gospel the quartets, the choirs, the publishers, from written resources. The end result was music was a means for African American the songwriters, the record company a 488 page volume that records a 50 year migrants to establish their place within owners, the pastors, the churches. And I history of gospel music in Chicago. Chicago’s African American church and really wanted it to be a social history of A City Called Heaven: Chicago and the social communities because it allowed Bronzeville.” Thus his eight year journey of Birth of Gospel Music (University of Illinois them to combine their southern worship research and writing included conducting Press, 2015) is divided into two sections: styles with urban musics and sensibilities; 2) almost 60 interviews with prominent “Roots” which spans from the 1920s to Gospel music transcended denominational pastors, vocalists, and relatives of gospel the late 1930s, and “Branches” which boundaries while also being influenced legends who have passed. While he was examines gospel’s evolution from the 1940s by unique denominational styles; 3) The unable to interview gospel greats such as to 1970. In a candid, yet straightforward gospel music industry was birthed from the original Soul Stirrer Rev. Leroy Taylor or tone, Marovich crafts a narrative about entrepreneurial ingenuity of often fiscally Albertina Walker before their passing, the this Christian community of musicians oppressed African American migrants; 4) interviews provided Marovich with the who would transform their ordinary Gospel music would be periodically altered

12 by younger artists; and 5) There were six and valuable resource for gospel music Mildred, and Geraldine)—includes detailed historic “tipping points” or events that scholarship as they offer first person discussions about crafting their signature helped establish gospel music, including accounts from individuals who witnessed sound and the gospel music industry, as Thomas A. Dorsey’s founding of the first and/or participated in the first generations well as the process of recording some of modern gospel chorus at Ebenezer Baptist of gospel music in Chicago. The interviews their most well-known songs like “God Will Take Care of You” (1951). Marovich was particularly impressed with the interview of Rev. Clay Evans, founder of Fellowship Missionary Baptist Church (1950). “He was the one I was the most in awe [of] because I knew his history. I knew what he had done. I knew how important he was . . . He was able to give me a sense of what it felt like to be in the community of gospel singers at that time. He confirmed a lot of things that I’d read before about Fellowship. But just to hear his stories about how the church was founded gave me a kind of reference point for how other churches were founded.” Equally significant were the interviews of Indianapolis native Kenneth Woods, Jr., former accompanist of Sallie Martin and Joe May, and Eugene Smith, one of the original Roberta Martin Singers. These individuals provided some of the most valuable information specifically regarding gospel music surrounding the World War II era. Since Marovich began working on A City Called Heaven at least a dozen of the personalities interviewed have passed away, making this preservation effort of paramount importance. He is excited about partnering with the AAAMC as he explains, “I see this as an opportunity to have a repository of the voices of people who were part of the first three generations of gospel music. Singers and musicians whose voices, many of them [would be] lost already [if it were not] for these tapes. We can let others know. I think it’s important to share that [information] rather than just have it here in my closet. Because who knows, what Gay Sisters, Geraldine at piano (1950s) (Courtesy of Robert Marovich) somebody said in an interview may inspire church and the founding of (Sallie) Martin are largely oral histories that focus on somebody else to do further research. It and (Kenneth) Morris Music Studio, the specific details (such as dates and locations) may be just the information they need. And largest African American owned gospel as well as social experiences of gospel music to know that that exists and it exists in a publishing enterprise. among African Americans Christians living way that pays respect to those individuals Upon the completion and publication in Chicago. and their contributions, I mean that’s a great of the text, Marovich partnered with the Featured interviewees include DeLois legacy as well to have.” Archives of African American Music and Barrett Campbell, a member of the Roberta The AAAMC has completed preliminary Culture to preserve all of the interviews Martin Singers, as well as her family trio indexes for the interviews and we are that he conducted over the course of his The Barrett Sisters. In conversation with working to make them available to the research. The Bob Marovich Collection Marovich she discusses her experiences broader community of scholars and gospel features 65 audiocassette tapes of recorded performing around Chicago and music enthusiasts. Additional materials interviews that will be digitized as part of internationally. The interview of Geraldine may be added to the collection as Marovich Indiana University’s Media Digitization Gay Hambric with her brothers Gregory continues to research and write on gospel and Preservation Initiative. Corresponding and Donald Gay—who also performed music in Chicago. transcripts are also included in the as part of the family group Preacher Gay collection. The interviews are a unique (Donald) and the Gay Sisters (Evelyn, — Raynetta Wiggins

13 14 Tribute to Al “The Bishop” Hobbs (1943-2014)

Dr. Mellonee Burnim interviewed Al “The WTLC Radio Career So I became very self-taught in creating Bishop” Hobbs at his Indianapolis home on (1970- ) production and spots and other kinds of July 14, 2011, prior to his participation in things. At one time, I actually sold and the conference “Why We Sing: Indianapolis AH: I was singing, and then I had gone voiced about seventy percent of the fare that Gospel Music in Church, Community, and out to the radio station [WTLC] to do a was on ’TLC of the advertising revenues Industry”[see Liner Notes No. 16/2011- concert because I had started to emerge as a that came through. 2012]. After migrating to Indianapolis from young promoter, as well. So I went out to do Louisville, Kentucky as a teenager, armed After I was there three weeks I did take on with a profound love of gospel music, Hobbs a Shirley Caesar concert, and I asked those the gospel show. I was dubbed by Tom later became a member of the Gospel Music guys if I could cut my own spot. The spot Mathis as “The Bishop of the Airwaves.” Workshop of America (GMWA), the 30,000 ran on the air to promote her concert, and member organization founded by pioneering I went back out there to pay for the concert That’s where Al “The Bishop” Hobbs came gospel composer and recording artist, Rev. and the guy who was the manager called me from. I was born in a time when there were James Cleveland. In 1971, Hobbs was one of and says, “How’d you like to work for us and radio handles, as they called it. There was the founders of the Gospel Announcers Guild do the gospel show?” And then I said, “Oh Spiderman, and this guy or that guy. And within the GMWA. Upon Cleveland’s death in boy, that would be fun.” mine became Al “The Bishop” Hobbs. I 1991, Hobbs became Chairman of the Board of went on the air from six to eight o’ clock. Directors of GMWA, leading it to new heights. And he then heard some way or another [Later] I asked for more time, so I went on At the time of his own homegoing in 2014, that I had quit [my job at 7-Eleven]. So he at four. Al Hobbs was Vice-Chairman of the GMWA calls me and says, “Now, do I not only want under the leadership of Bishop Albert Jamison. you to be the gospel man, how would you MB: You mean starting at four a.m.? like to sell broadcasting? How would you In the following abbreviated interview excerpts, like to be an account executive?” Well, I AH: Yes. This showed you what my love Hobbs discusses his early drive to pursue gospel knew I was going to need money. So I said, of gospel was, and what my love for radio music as a profession, his meteoric rise through “I’ll come out and talk to you about it.” I was. I asked for more time for gospel music the ranks to the helm of WTLC radio, largely came out and he sold me the bill of goods of because I didn’t think we had enough. My through his advancement of gospel music, whole bit at that time was not to necessarily and finally, his multiple leadership roles in the life. “You’re going to work from eight to five. popularize it, because I was really frightened GMWA from 1971 to the time of his death in We’re going to have a clothing allowance of the attention I got almost immediately. 2014. for you down at Marty’s Menswear. You’re Like I said, I was young, I was an African going to get these parts, and you’re going The Call of Gospel Music to get to go to the movies, and bang, bang, American male, I was handsome, and I had (1950s) bang, bang.” I bought in, hook, line, and a voice. I wasn’t great-looking, but I knew sinker. I worked that way one week, and then if I was wanting to be successful in life, from then on it was 24/7. I had to work to put a package together that AH: When my love for gospel really first was impactful. evidenced in me, and I recognized that I I was already gregarious. I didn’t have had a desire to somehow professionally knowledge of the radio product under me MB: How did you know you were popular? be connected with gospel music, I lived at that time but I was a very quick learner What were the signs of your popularity as a in Louisville, and I came from a good but and I was learning quickly. You know, how radio personality? economically challenged family. I was sitting to position radio and position what we had. on the steps of my house just having left a As I replaced the absence of knowledge AH: When people called the radio station Caravans concert, and I never will forget it. with product knowledge, I was able to be for a salesman, they asked for me. I actually I thought what a magnificent thing gospel even more successful. I didn’t just come in did all of that sales work for the commission music is. What a magnificent entity God is. and smile and be handsome and talk with off the gospel sales in particular. For the first I just want to do this. So firstly I thought I my strong voice. I actually had knowledge three or four years I never went to bed on wanted to be a singer. I wanted to be in the of how I could help you do a greater, more Saturday night, because I had the kind of Cadillac and go from city to city, singing on profitable business, or earn greater profits voice that didn’t have very many highs in the chitlin’ circuit and that kind of thing. from the African American community, it, and if I’d go to bed I was like a frog when Then I moved [to Indianapolis] and I asked because ’TLC specifically targeted that I would wake up. So on Saturday nights, the Lord if he would allow me, as I grew to community. So, I became very quickly a few of us would always get together— be professionally involved in gospel music. I the number one sales guy there, and quite and Delores [“Sugar”] Poindexter, my didn’t want to be a fireman, I didn’t want to honestly, because I had the voice, a lot of coworker—we were friends at the time be a policeman, I didn’t want to be none of people trusted in my production as well. and gospel comrades. So we would do our that. I just wanted to be into music.

15 Photo by Milton Hinnant fellowship, and she would stay up with me, So I had already become a friend to the and the vice president. What a rewarding for the most part, and I would be fresh at gospel community, and Sugar had as well, thing to be a part of your Christmas! I four o’ clock in the morning. And then because I basically had started with her, and don’t even know you, but the Lord gave me I would get out of there and do all the she was doing my announcements. And the opportunity to somehow or another assorted things I had to work on until ten. then I opened up the lines for dedications, be a part of your day. To share whatever And then I set up a program that I did live, because I knew interacting was the way to joys you were experiencing, whatever you because I did the Gospel Spotlight program go early on. If you could hear your name went through, and be a part of your life live. on Sunday morning and me calling it, you on an ongoing basis. Weekly. It was just a would listen to me. We started that kind of tremendous thrill to me. In ’73, I became sales manager, which is program, and like I said, when I became another sign of impact and success in the sales manager and I became general Vision & Community Impact industry. The general sales manager left manager, I said, “Well, why would I keep after a few months, and they gave me a her development down just because I want ‘TLC enjoyed a unique place. And I shot at the job. So I became the general to do all the gospel? That’s not it.” So I’ll think—I submit humbly—that I probably sales manager, and then when we moved go on into developing The Love Express, had a role to play with that. I really wanted to Meridian Street, which would have been which is the afternoon show. And she the property to mean more to the African ’74 or somewhere along in there. In ’76, I had the morning show. So she took the American community than just some became general manager. In ’81, I became morning show, and she became “Queen place where they could find some “booty vice president and general manager. And of the Morning,” Delores Poindexter did, shakin’,” you know, “love making” kind I remained there until ’92, until I was out and Love Express was the afternoon show. of music. I wanted us to be positioned by the longer lines of development on so That was the show where you might have as a property that had the quality of life many fronts. The civic development, the been looking at television, but you had first in mind. Before our commercial development in gospel music, the impact me on, too. It was that kind of thing. I success, before wealth and gains, and I was of bringing Sugar on and turning the was fortunate enough to get that kind of fortunate in that my owner, Frank Lloyd, morning show over to her. I moved on to welcome into the hearts and homes of so felt the same way. He wanted that radio develop The Love Express,which was the many people in Indianapolis, and I did that property to say, “If I can’t make it, and I’m broader-based show. The morning show show for twenty-two years straight. I did probably the most uniquely positioned targeted the church community, with miss a Sunday or two because of illness, African American in town as it relates to announcements with the kind of outreach but for the most part I never missed the the establishment right now, what other that would endear, even a radio station. If real days: all the holidays; as a matter of Black has a chance?” So that was kind I’m announcing and having your program fact I had twenty-two Christmases in a of his posture, and he gave me the carte be successful, and I’m not charging you any row on the air that I gave up. And I didn’t blanche to go forth. I’d go forth and do money, guess what? I’m your friend, right? have to, because I was the general manager what I needed to do in order to bring that

16 kind of honor and that kind of positioning special nuances that were indigenous to AH: So the Radio Announcers Guild was to the radio property. That positioning, gospel folk. I loved the fact that I was able born. I wasn’t a president; I was just what which made ’TLC at that time... if you to participate in the rehearsals and all the I said I was: I was a host of the first one. I didn’t hear it on ’TLC then it wasn’t this and that, and that’s where I learned to think I did wind up . . . I was Treasurer. So I happening. That was a part of the thrust. eat after everything. Every meeting, every did become an officer of the first group. The other thrust was if, in essence, we said rehearsal gospel people would go eat. That’s it was worthy, it happened. Or if we said it just the way it is. So all of the nuances I MB: So when he [Cleveland] died, you wasn’t worthy, it also didn’t happen. So that liked, plus I liked the whole mass choir. were elected to become… was a very unique little power place. So I recognized that early on and I tried to use MB: So initially you told Cleveland no, but AH: When he died, I said, “Okay. The that for the positive, and I challenged the then, three years later you join Cleveland, man is dead. He did not leave any clear establishment. I did editorials, challenged and then you moved all the way to the top. leadership here.” What they decided to do the police department, challenged So tell us… was to go into a moratorium on the election downtown. Whenever there were atrocities of officers; the board would jointly govern, and mismanagement of issues that became AH: I was the first chair after him. I was Ed Smith would continue in his role as very negative, as far as impact on African the first chairman of the convention; he was executive secretary, and we would then put Americans, I was always there with a voice. the founding president. I was a part of the the constitutional committee together to committee that redrafted the constitution. rework the constitution. Gospel Music Workshop You want me to tell you about that? of America (GMWA) So we were able to get that done, and MB: Yes! We need all of this! Yes, I want interestingly enough the election was the AH: 1967. ’67—the dream; ’68—the first you to tell us. last thing on the plate, and Ed ran. They Convention. ‘70 was the third Convention, drafted me to run with it, which was just and that’s where I entered. I had had AH: I labored in GMWA after being there to my surprise big time, and Kenneth the invitation from Reverend [James] the first year, which was St. Louis; I went Ulmer—Bishop Ulmer. We were the Cleveland, whom I had known for a long to Dallas, Texas for [my] year number two, three. And when they announced me, it time before that, to come and be a part of which was 1971. In that time, there were was just unbelievable. I mean, I managed that. eleven academic workshop classes, of which it well in the room and I humbled myself, one was Radio Religious Announcers class. I submerged myself in great humility, but I told James, “No, thank you.” And the third Of the few religious announcers that were inside I was about to bust because I could year I showed up and I went through the there—there might have been twelve or not imagine a little boy sitting on the back Convention and I knew then and there that thirteen—I, along with Ed Smith and a few steps in the alley of Louisville, who wanted was the place for me. Everything I loved others, sat in the room and we talked about to be connected professionally with gospel about the music industry and gospel music the plight of the Black Radio announcer music, was about to become the chairman was right there in that convention. and the plight of gospel music in the system of the largest gospel organization in the of radio. world. It brought out everything that I MB: What were those things? had always heard and learned and knew So we were concerned about our lot; and already for myself: that God was able to do AH: Well one, it was a place that opened the fact that we recognized that we were anything. But it gave me a testimony that I up platforms where gospel could be basically the stepchildren of radio. We will never be able to live up to probably, in heard. That was the first thing. Then it were the ones that got the dog hours, the that, here is what God can do. had an educational division, which was milk runs and the cat walks and the mail our academic division; and it had the runs overnight. We were the ones that got MB: So your actual title then was . . . ? performance division. And James was the those; there at six o’ clock in the morning pied piper of attraction for performance, laboring over you and trying to get you up AH: Chairman of the Board. The first and then those of us who were there got and get you ready for church and not get actual Chairman of the Board of Directors. a chance to…the aspiring got a chance to anything that looked like a decent salary. And what I drove was five words: the will of be with the accomplished. That was the So we banded together; we said we need the Board. That was the driving force that real unique thing about it. I loved that the some kind of organization that can begin caused us to remain in existence: the will of motto is “The place where everybody is to address these things. And Ed Smith the Board. somebody.” I loved that. Then I loved the encouraged us because he knew if we could whole creative energy of those who labored put that together inside the workshop it MB: So how long were you Chairman of to bring gospel music and the delivery of could certainly strengthen and be a blessing the Board? that music. I loved the songwriters, because to the workshop. So, he became one of I was an aspiring songwriter and arranger. the organizers, as well as I, of the Gospel AH: I served for four years—two two- I loved the unique nuances of language, Announcers Guild. year terms. where gospel folk could rag you out and you wouldn’t even know it. It was just those MB: And so the radio announcers . . . — Mellonee V. Burnim

17 Hot Buttered Soul: The Role of Foodways and Music Making in Building and Sustaining African American Communities

On October 27, 2014, the AAAMC to identify and celebrate elements of black explored the complex relationship between culture. During this period, “soul” became a African American music and food through moniker of all things black, inspiring writers a panel and exhibit titled Hot Buttered like Amiri Baraka to celebrate “soul” food, Soul: The Role of Foodways and Music music, dance, and art though their work Making in Building and Sustaining African (e.g. Baraka, Home: Social Essays, 1966). American Communities. Moderated by Williams-Forson concluded that African AAAMC director, Dr. Mellonee Burnim, American foodways are such important the panel featured guest speaker Dr. Psyche and evocative elements of black culture Williams-Forson, Associate Professor in because of their connection to “home” the Department of American Studies at and to emotional wellbeing and comfort. the University of Maryland College Park, Moreover, food, like music (sacred and author of the book Building Houses Out of secular), makes a powerful and diffuse Chicken Legs: Black Women, Food, & Power Dr. Mellonee Burnim (Photo by Floyd Hobson III) locus of memory as it allows black men (2006) and editor of Taking Food Public: celebrated singers, and powerful preaching and women to engage with and create life Redefining Foodways in a Changing World from a noted guest speaker. Her dialogue affirming art. (2012) with Carole Counihan. Presentations set the stage for Williams-Forson, whose were also offered by Dr. Alisha Lola Jones, a presentation offered historical context post-doctoral fellow in the Department of on the intersections of these cultural Folklore and Ethnomusicology (Assistant expressions. She began by discussing the Professor beginning 2015-16), and Dr. antebellum relationship between music Tyron Cooper, Assistant Professor in the and food exemplified by African American Department of African American and street vendors. She explained that in the African Diaspora Studies and Director of midst of this unjust system of commerce, the IU Soul Revue. wherein African Americans were often The event was organized in conjunction regarded in a manner similar to the very with the Indiana University College of commodities that they sold, musical Arts and Sciences 2014 Themester topic street cries provided an outlet for African Eat, Drink, Think: Food from Art to Americans to elevate themselves from lives Dr. Alisha Lola Jones (Photo by Floyd Hobson III) Science. Through the panel and exhibit, of drudgery to lives of dignity. the AAAMC initiated a conversation Dr. Alisha Jones focused her presentation about the intersections of foodways and on food and music in African American musical traditions that have served as Christian communities. In particular, cultural markers of identity for diverse she explored the notion of “fasting” African American communities across the or abstaining from food as a means of United States. The goal of the panel was achieving spiritual transformation and to interrogate and discover the complex subsequently indicating unity with other of meanings that can be derived from the believers. Jones analyzed the gospel song collective experience of sharing music “Peanut Butter and Jelly” (1983) by the and foodways that affirm, empower, and family group The Truthettes, that recounts embrace African American humanity and a young boy who attends a church service creativity. in which the preacher’s sermon moves him Dr. Psyche Williams-Forson (Photo by Floyd Hobson III) to become a Christian. When he returns The Panel home, he metaphorically reveals his change Dr. Mellonee Burnim opened the panel Williams-Forson went on to unpack the of heart by telling his mother that he is “so discussion by recounting her experiences ways in which contemporary perspectives hungry.” After his mother offers a sandwich, with African American foodways and of African American foodways are, in fact, he declines stating, “I don’t want no peanut music growing up in rural Texas, where much more nuanced and complex than butter and jelly, I want my soul to be saved.” she attended church homecomings that the dominant narrative would suggest. She Jones argued that the son’s rejection of were defined by soul food feasts (prepared clarified that the notion of “soul food” arose the food offering signifies his spiritual by the best cooks), spirited music from in the 1960s as part of a political objective transformation. Furthermore, this song

18 (Poster designed by Lisa Haviat)

19 (Exhibit photos by Raynetta Wiggins)

20 celebrates African American Christians’ communal practice of fasting, or abstaining from food, in order to attain a higher level of spirituality. Finally, Dr. Tyron Cooper discussed the integration of soul music and soul food as 1) historical facilitators of diverse social interaction, 2) signifiers of black identity, and 3) vehicles of improvisation used to negotiate black life. He referenced songs from three different time periods in the 20th century to illustrate each of his main points, beginning with Louis Jordan’s “Saturday Night Fish Fry” (1949) that describes a weekly gathering in which both food and music are prevalent and elemental to the event. Cooper highlighted the ways that the multi-layered musical elements mirror the multifaceted personalities and characters introduced within the narrative of the song. He then turned his discussion to Rufus Thomas’ “Soul Food” Left to right: Dr. Psyche Williams-Forson, Raynetta Wiggins, Dr. Alisha Jones (Photo by Floyd Hobson III) (1970) as a prime example of the black cultural awareness that defined the late Brenda Nelson-Strauss with assistance popular African American musicians create 1960s and 1970s. Written as a 12-bar blues from graduate assistant Christina and prepare food as a means of celebrating that celebrates such food choices as spare Harrison. Using photographs, album their cultural and spiritual vitality. The ribs and catfish, “Soul Food” becomes a covers, cookbooks, and recordings from fourth and final component, “Food for metaphor for black identity in both style the AAAMC collections, the exhibit Thought: African American Food Culture and lyrics. Concluding with an examination highlighted four themes concerning the as Metaphor” presented prevalent food of the hip hop song “Soul Food” (1995) by intersections of food and music. The first metaphors in song lyrics and music making. Goodie Mob, Cooper suggested that the section, “The Chitlin’ Circuit: Food and While examples of this phenomenon lyrics chronicle the history and function Music on the Move,” surveyed the complex abound across genres, the exhibit focused of soul food and music in shaping black comingling of food and music within on the blues and double entendre, “brown consciousness. In particular, he argued African American segregated life in the sugar” and “chocolate” as metaphors for that these expressions have provided a South (specifically Memphis, TN and New black love, the “fatback beat” in funk music, foundation upon which African Americans Orleans, LA) and the Midwest (Chicago, and African American food and jazz build and improvise to satisfy their IL and Indianapolis, IN). Key performers, connections. contemporary needs. performance venues, restaurants, and The exhibit was installed in the “roadside joints” along the circuit were also Bridgwaters Lounge of the Neal Marshall featured. The second section, “Get Down!: Black Culture Center on October 22, Food and Music in African American 2014 and remained on display through Social Life,” looked more intimately at the June of 2015. The accompanying “Hot social spaces that African Americans have Buttered Soul” Spotify playlist is available at frequented, including fish frys, rent parties, https://open.spotify.com/user/aaamc. The and even family reunions. Food and music panel discussion, exhibit, and reception have been equally situated as definitive to were generously sponsored by several the cultural experiences of fun, friendship, IU units including the College of Arts kinship, and celebration within these and Sciences’ Themester Program, the arenas. Department of African American and The third section of the exhibit, “The African Diaspora Studies, the Office of the Welcome Table: Spiritual Engagement Vice President for Diversity, Equity, and Dr. Tyron Cooper (Photo by Floyd Hobson III) and Social Commentary,” addressed the Multicultural Affairs, the Department of ways that African American foodways Anthropology, the Department of Folklore The Exhibit have often been used as sociopolitical and Ethnomusicology, the Neal-Marshall Following the panel discussion, the devices to establish group identity and Black Culture Center, and the Asian AAAMC hosted a soul food tasting assert African American humanity. In Studies Program. The panel discussion was reception that accompanied the opening of particular, the section explored ways in videotaped and is available for research and the Hot Buttered Soul exhibit. The exhibit which African American communities of classroom use. was curated by Raynetta Wiggins and faith (i.e. Christians and Muslims) as well as — Raynetta Wiggins

21 Meet Alisha Lola Jones – Newest AAAMC Research Associate

22 Dr. Alisha Lola Jones recently joined the academic education dispersed throughout well then I have to do that in order to faculty of the IU Department of Folklore the day. And we had music theory, voice, have impact. So, when I was accepted and Ethnomusicology as an Assistant piano, dance, acting, jazz band with Davey into Oberlin I realized that it was a great Professor. Given her specialization in African Yarborough, and show choir, which was the opportunity to follow in the preacher- American religious music as well as music premier touring choir under the direction musician tradition. and religion in the African diaspora, we’re of Samuel L. E. Bonds. Members from thrilled to welcome her as the AAAMC’s that time who have gone to do amazing Higher education pursuits newest research associate. Dr. Jones is a things included Yahzarah St. James, Edwina I enrolled in Oberlin College and woman of many souls—she is a life coach, Findley, Summayya Ali, Marquita Railey, eventually in the Conservatory as a music arts consultant, producer, ethnomusicologist, and Monique Holmes. As members of major, pursuing voice. During my study, I singer, theologian, and an ordained preacher. show choir, we performed with celebrities concertized with the Washington National Academically, her research interests span in venues such as the Kennedy Center, in Opera’s Education Department, Kennedy from musical masculinities, through music embassies, at the White House, and during Center Honors, at the Centro Studi Italiani and theology, business and the music presidential and mayoral inaugurations. We in Urbania, Italy and the Mozarteum in industry, music and mysticism, western art performed with musicians such as Mariah Salzburg, Austria. Oberlin Conservatory music, and international vocal pedagogies. Carey, Boyz II Men, and Stevie Wonder. Black Musicians’ Guild (OCBMG) provided Following are excerpts from her recent We were hired by Bill Gates and travelled me with opportunities to collaborate on interview with AAAMC graduate assistant, the world hosted by the governments new music with composers such as Jeffrey Jude Orakwe, that highlight her great of Germany, Jamaica, Cayman Islands, Mumford, Courtney Bryan, and Herman ingenuity and areas of expertise, as well as Barbados, and Antigua. The best part for Whitfield. I also was a member of the her thoughts on future contributions to the me was that not only was I able to pursue gospel choir Voices for Christ (VFC) under AAAMC. the multi-cultural interests sparked at my the direction of Michael Preacely and parents’ church . . . but being able to rub then assisted his successor Janice Reddick Family background shoulders with these amazing people I got a Gaines who is now a Motown recording I am from Washington, DC. Born and glimpse of the potential impact I could have artist. We had other incredible musicians raised…by two clergy people: Rev. Drs. as cultural ambassador. And I am really [such as] Courtney-Savali Andrews Alvin Augustus Jones and Martha Butler thankful for my Duke Ellington School for and David Hughey working with VFC. Jones. I am actually a third generation the Arts experience. Janice Gaines, Sharon T. Thomas, and I preacher on both sides of my family, also hosted a campus gospel radio show and both of my parents are pioneering Influences on choice on Sundays. The three of us, along with theologians in multi-media. My dad got of music career Josiah Woodson and Steffon Thomas, also his undergraduate and graduate degree in The Washington Performing Arts founded the Oberlin gospel conference. I journalism at American University. My Society was the first entity for which I was afforded the opportunity to work with mother is a visual artist and vocalist. And auditioned and was able to really get a the late Professor Richard Miller. If you in many ways those creative backgrounds sense of what it looks like to perform know anything about vocal pedagogy and informed their ministry and their interest in and teach music to young people. They those who have written in the 20th century engaging the public through multi-media. had four choirs that comprised this thing about vocal pedagogy, Richard Miller is an My sister is also a theologian, recording called Children of the Gospel, COTG for icon. I have heard people say that his books, artist, educator, and humanitarian. short. There was the mass choir of about such as The Structure of Singing,are worth 500 students and then that choir was their weight in gold. I worked with him Early music education divided into elementary, middle school, and Professor Lorraine Manz at the Otto My music education experiences have and high school, I believe. Through B. Schoepfle Vocal Arts Center (OBSVAC) been quite diverse. I enjoy sharing with COTG, we worked closely with composers where I learned about acoustics, physics, people about my unconventional path to and musicians such as Evelyn Simpson- and how bio-acoustic feedback could be encourage them to follow their heart. I Currenton, Rev. Richard Smallwood, Rev. used to teach people how to hear their went to Duke Ellington School for the Arts Nolan Williams, Joyce Garrett, Rickey voice. I was so fortunate to get that training (DESA). It is the only public school for the Payton, Sr., Dr. Walt Whitman, and Ned with such a formidable vocal pedagogue. arts in the Georgetown area of Washington, Lewis. They taught us musical discipline Oberlin equipped me to be, hopefully, a DC. It’s kind of like the school in the 1980s with excellence and I wanted to be like well-rounded performer as well as a teacher movie Fame. And we actually had folks on them. I decided to ask them questions about of voice. staff like Debbie Allen who starred in and where they went to school. I remember A turning point in my time at Oberlin produced Fame. It was founded by Peggy Nolan Williams told me he went to Oberlin was when I took Introduction to African Cooper Cafritz and Mike Malone, who and Howard Divinity School. I loved American Music History with the late remained a presence during my time at his compositions. He featured some of composer Dr. Wendell Logan, where I was Duke Ellington. While at Ellington, we were my family members who are also music introduced to the research of Dr. Eileen exposed to rigorous professional training. ministers such as Jimeka Jones. And I Southern and Amiri Baraka, to name a few. We went to school from 7 a.m. to maybe thought, well since he and the others seem After taking his course, I wrestled with the even 10 p.m. on any given day, several to have done some sort of formal music cultural assumptions in Western art music days in a row. We had the conventional education and formal religious studies, performance training and thought there

23 “...there’s an old adage [that] you can tell the vitality of a community by their art.”

(Above) Alisha presenting at a Center for Black Music Research conference, Columbia College, Chicago.

(Above) Outreach with Genius for Men. (Left) Preaching for ShePreaches. needed to be more research about African and it was with Dr. Burnim that I had Will Marion Cook, and Edward Kennedy American contributions, especially as I my first opportunity to have an African “Duke” Ellington. While working on my sought resources for my recitals. There American woman professor teach me final project, I met Dr. Philip Bohlman was so much beautiful Black art song and about African American music. That who invited me to study at the University concert repertoire that was not formally interaction in many ways gave me a of Chicago. taught in our repertoire courses. In glimpse of the music research that I Upon completion of graduate work addition, I worked for Dr. Logan and was could contribute to religious studies. at Yale, I matriculated to University of greatly impacted by his wisdom. In addition, I started to do arts-based Chicago’s ethnomusicology [program] From there, I went to Yale Divinity advocacy work for Cece Jones and in the music department where I School and enrolled in the Yale Institute her organization Sing for Change that studied with Dr. Melvin L. Butler. We of Sacred Music, where I met my now brought HIV/AIDs awareness and were equipped as scholars who could colleague Dr. Mellonee Burnim in prevention to churches in the New Haven comfortably engage across disciplines my first semester. She was a visiting and Hartford, CT area. And by the end of such as musicology, theory, and professor there while on sabbatical from my time at Yale Institute of Sacred Music, anthropology. That rigorous research Indiana University. That was the first I presented research about the social translated into a lot of blood, sweat, and ethnomusicology course that I ever had network connections between Dvořák, tears.

24 Work in the music industry Black Gents of Hollywood, co-founded communities. So I am excited to think Well, as I mentioned, I grew up in the by Lamman Rucker. with folks about relevant and impactful household of a journalist. My parents programming and then also I’m eager to engaged in radio and TV and with Initial impressions of IU learn from this community. The joy of entities like CBS and ABC. They founded You know, I am truly humbled teaching, for me, the joy of research and their own radio and TV network. I was to be here. The work that has come writing is the conversation that follows. able to watch from the floor up what it out of Indiana University has been So I hope to be a good conversation means to take a risk—found something; crucial to me in my formation as an partner and I hope to be available for any what it means to invest—develop ethnomusicologist. As I mentioned, my partnerships with other artistic entities something; and persist in pursuing a first ethnomusicology professor was Dr. that would like to tap into the resources dream. And so, my parents started one of Mellonee Burnim. To be a part of this that are at the AAAMC. So I want to be a the first broadcasting networks on cable faculty means so much. Everyone has resource. TV called the Dream Network. It was the been so hospitable and even our very first faith-based network that predates own, recently retired Dr. Portia Maultsby Vision for the AAAMC The Word Network. My parents allowed has offered her wisdom on how to thrive You know, because I understand what me to see how they negotiated. We talked at IU. The students have definitely tapped it means to sustain organizations like an through concepts and strategies, of how into me as a resource. I have met with archive or various artistic centers, I’m to format multi-media. My dad Alvin students and talked with them about the interested, number one, in helping to Augustus Jones consulted radio stations, ways in which ethnomusicology may be make sure that folks know that they can developing the Paradise and Heaven combined with public sector work. It is financially support the AAAMC. We formats that we have today. I saw their nice to hear folks on the ground trying cannot be bashful about that. But then production of concerts, taping of music to think with emerging scholars about also, I think it is important to connect videos with national recording artists, rigorous scholarship that makes impact with the people who have the papers, and collaborations with the various in the ivory tower and community, recordings, and the paraphernalia international music festivals such as the with both head and heart. We have from various artists and events, getting Barbados Music Festival. students trying to have the courage, them to understand they need to I wanted to be able to do something the investment and the dreams. I also consider depositing their materials at similar but in low-income high-minority remind them that my role here is to the AAAMC. I’m also interested in any settings, places where they need to make sure that when they present their way that I can help craft programming see the arts, they need to have creative ethnomusicological research, they do so that engages emerging issues in music engagement. I believe that . . . there’s an with authority. So I’m excited to continue and culture. For example, what are old adage [that] you can tell the vitality these conversations and this rich legacy the resources that address, support, or of a community by their art. I wanted to that is music research at IU. dismiss issues around music and violence be able to be a catalyst for the vitality in in African American culture? That topic places that are overlooked. And my sister Desired goals as a can reach into the culture of domestic Angela Jones and I produce an arts- faculty member violence and police brutality. It can reach based men’s empowerment conference I want to continue the excellence into urban music and how it relates to called Genius for Men, an event that is that is associated with this department. youth victimization. I would love to see a combination of training and then an My work focuses on African American something along those lines and I think (Above) Outreach with Genius for Men. (Left) Preaching for ShePreaches. actual honors show, where we showcase music, specifically religious music and folks would engage that topic. the stories of men by having emerging issues related to music regarding gender artists tribute them with their original and sexuality. The sorts of performances Projected contributions music. And I also produce a retreat called that exist and that are being developed to the AAAMC Move and Shake Women’s Life-Work within African American gospel music, In addition to what I just mentioned, Balance, encouraging women to tap for example, are so interesting. I look being able to use the resources at the into their creative resources so that they forward to really showing the variety AAAMC in my courses, helping artists can be brilliant, balanced, and sisterly. of performances out there and the new to understand how they can come to We have received acclaim and support research that is emerging from my Indiana and enliven what we are doing, for our work from entities such as an colleagues. There are several of us who whether it is through collaboration Innovation Grant from the University of are pursuing gospel music research at this on events or it is using the AAAMC Chicago and a feature in Restoring Hope: time. So I think it is a great time to have resources for projects, or getting patrons 50 Years of Reflecting the Past, Reframing that sort of focus. I’m also excited about to deposit their resources. I am really the Future by Rev. Dr. Keith Magee really delving deeper into public sector trying my best to point folks to the with the MacArthur Foundation. I have work and engaged ethnomusicology— possibilities of the AAAMC as a resource consulted and served on the board of the strategies. There are so many for everyone. various arts organizations such as Center resources that are now available for folks for Black Music Research (CBMR) with who are equipped as researchers and — Transcribed and edited by Jude Orakwe Monica Hairston O’Connell and The who would like to program for various

25 and Eastern Europe, William founded William Vanden Dries the Audio Preservation Fund (www. Joins AAAMC Staff audiopreservationfund.org) in 2009 with a mission to “pass on the past and current musical heritage and recorded sound act to headline at the Apollo Theater. history of the world to future generations His paternal grandparents met while by expanding sound collections of public performing together in a jazz band and his libraries, archives, universities, and paternal great grandparents were traveling museums.” His new passion for preserving vaudevillians in the 1920s and 1930s. An audio led to his return to graduate school avid record collector, William received his and inspired the topic of his master’s first LPs from his maternal grandfather, a thesis, “Collaborative Practices Employed country music fan, who at 93 “is still pickin’ by Collectors, Creators, Scholars and and blowin’” on the guitar and harmonica. Collecting Institutions for the Benefit of William continued his passion for music Recorded Sound Collections.” Over the while a student at the University of Texas, past two years, the AAAMC has been the serving as vice-president of the Music and recipient of several collections from the Entertainment Committee which hosted APF and looks forward to continuing this acts such as The Roots and Little Richard. relationship. He was also a deejay at the university radio In addition to these many station, KVRX, specializing in early rock accomplishments, William brings to the and roll, soul, and blues. During his spare AAAMC a wealth of archival experience. time, he began performing with various He has served as a volunteer and been The AAAMC welcomes William Vanden groups, including guest appearances with employed by many Austin institutions Dries, who is joining our staff as Digital the psychedelic rock band The Black Angels. including the Texas Music Museum, Collections Archivist/Project Manager. William also gained recording experience South by Southwest, and the Harry William is a graduate of the School of in front of and behind the mixing boards, Ransom Humanities Research Center. Information at the University of Texas serving as an audio engineer intern at At the University of Texas, William has at Austin, where he recently earned his Ray Benson’s Bismeaux Studios, where he held multiple positions: assistant to the Master’s degree in Information Studies with worked on digital and analog projects with digital archivist at the Dolph Briscoe a focus in archival studies and preservation. many musicians and producers including Center for American History, the audio Though William earned his Willie Nelson, the Dirty Dozen Brass Band, resources manager at the Applied Research undergraduate degree in aerospace and Asleep at the Wheel. Another notable Laboratories and assistant processing engineering, his love for music has been side project was a live music film,Carousel archivist at the Alexander Architectural a constant throughout his life. He grew Saturday Nights, for which he produced Archives. We look forward to working with up in Austin, the “Live Music Capital a series of music videos for Austin bands, him in achieving such AAAMC goals as of the World,” and comes from a long filmed on Super 8 film stock and recorded redesigning our website, expanding online line of musicians and performers. His to analog audio tape. access to collections, and participating in father, Paul, once worked as an assistant After taking a year off to travel IU’s Media Digitization and Preservation to The Magnificent Men, the first white across the United States, Asia Minor, Initiative (MDPI).

AAAMC Student Assistants, 2014-15

Left to right: Anna Polovick (undergraduate), with Christina Harrison, Raynetta Wiggins, and Jude Orakwe (graduate assistants). (Photo by Raynetta Wiggins)

26 New Books by AAAMC Staff and Research Associates

issues of racism, poverty, prejudice, and artistic freedom that are part of rap and hip hop’s ongoing legacy.” While there is often a tendency to dismiss rap and hip hop music because of its overt affirmation of or reference to violence, sexism, and racial stereotyping, Orejuela’s text is based on rigorous field research and delivers the important message that hip hop culture cannot just merely be ignored, but demands systematic and sustained investigation as a key to profound understanding of the attitudes and proclivities of modern youth. A companion website available via Oxford University Press offers additional resources for both students and instructors, including playlists and videos. Rap and Hip Hop Culture and includes new essays on African and by Fernando Orejuela African American Music: African American musical continuities, (New York, NY: Oxford University An Introduction Press, 2015) African-derived instrument (2nd edition), ed. by construction and performance practice, Dr. Fernando Orejuela—a senior Mellonee V. Burnim and techno, and vocal quartet traditions. lecturer in the Department of Folklore Portia K. Maultsby Contributions are by leading scholars and Ethnomusicology, Indiana (New York, NY; Abingdon, Oxon : in the field who bring together various University, and one of the AAAMC’s Routledge, 2015) analyses of African American music faculty research associates—is an expert based in large part on ethnographic in rap and hip hop. His new textbook, The second edition ofAfrican fieldwork, which privileges the voices of Rap and Hip Hop Culture, stands as a American Music: An Introduction, the music-makers themselves, woven condensed articulation of many years edited by the AAAMC’s current and into a richly textured mosaic of history of teaching and research experience, former directors, Mellonee V. Burnim and culture. At the same time, the book ranging from popular music and body and Portia K. Maultsby, was recently incorporates musical treatments that art to youth cultures and subculture published in hardcover, paperback, bring clarity to the structural, melodic, studies. and ebook formats. The collection and rhythmic characteristics that both Orejuela’s text “traces the ideological, of seventeen essays presents a survey distinguish and unify African American social, historical, and cultural influences of major African American musical music. Musical transcriptions, on a musical genre that first came to genres, both sacred and secular, photographs, illustrations, a prominence in the mid-1970s in one of from slavery to the present, and is discography and videography, and a New York’s toughest neighborhoods, the divided into four sections: Antebellum new accompanying 40 track audio CD South Bronx.” Rap and Hip Hop Culture Formations and Manifestations brings the music to life. is therefore not just another book (1600s-); Post Bellum: Music in Burnim and Maultsby are currently about contemporary youth musical Transition (late 1800s-); Music in at work on Volume 2, of the second art, but one that throws light on “key Migration: Urban Voices (1900s-); Post edition, Issues in African American performers, producers, and voices in Civil Rights and Beyond (1960s-). The Music, which is slated for publication in the rap and hip hop movements, using text has been substantially revised and 2016. — Jude Orakwe their stories to illuminate the underlying updated from the original 2006 edition,

27 Archives of African American Music & Culture Nonprofit Organization Smith Research Center, Suite 180-181 U.S. Postage 2805 East Tenth Street PAID Bloomington, IN 47408-2662 Bloomington, IN Permit No. 2 Phone: (812) 855-8547 Web: www.indiana.edu/~aaamc E-mail: [email protected]

Black Grooves (www.blackgrooves.org), the music review site hosted by the AAAMC, promotes black music by providing readers and subscribers with monthly updates on interesting new releases and quality reissues in all genres—including gospel, blues, jazz, funk, rock, soul, and hip hop, as well as classical music composed or performed by black artists. To submit material, subscribe, or join our group of volunteer reviewers contact aaamc@ indiana.edu.

Nonprofit Organization U.S. Postage PAID Bloomington, IN Permit No. 2

AAAMC Staff: Mellonee V. Burnim, Director circle of Brenda Nelson-Strauss, Head of Collections William Vanden Dries, Digital Collections friends Archivist/Project Manager Christina Harrison, Graduate Assistant I would like to join the Circle of Friends of the Archives of African American Raynetta Wiggins, Graduate Assistant Music and Culture. My donation will support the activities of the AAAMC. Jude Orakwe, Graduate Assistant Anna Polovick, Undergraduate Assistant Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Supporting Friend ($50-$99) Other Newsletter design & layout by Dennis Laffoon Sustaining Friend ($100-$999) Enclosed is my/our contribution of $ to the Archives of African American Music and Culture. All contributions to the AAAMC are tax Faculty Research deductible. Associates Name______Portia K. Maultsby Address______Tyron Cooper City______State______Zip______Valerie Grim Phone ( )______Alisha Lola Jones Please make checks payable to: IU Foundation Fernando Orejuela and mail completed form to AAAMC • Smith Research Center, Suites 180-181 2805 E. Tenth Street • Bloomington, IN 47408-2601 Charles E. Sykes

Donate online by visiting http://www.indiana.edu/~aaamc and clicking the “Give Now” button.