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Home , Camilla Williams, Cholly Atkins, Clapping, Earl Van Dyke, Johnny Otis, Louis Armstrong

of renowned and artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...... 1

“The legacy of In the Vault Charles is a reminder • Donations ...... 1 of the importance of documenting and • Featured Collections: preserving the Nelson George ...... 2 achievements of Phyl Garland ...... 2 creative artists and making this Arizona Dranes...... 5 information available to students, Events researchers, Tribute...... 3 performers, and the • general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ...... 4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. Mellon Foundation. musical genius and internationally al public. Over the past twelve months, The objective of this initiative, the renowned artist—Ray Charles, who the staff of the AAAMC has worked Ethnomusicological Video for made an indelible mark on the whole toward this goal by acquiring new col- Instruction and Analysis Digital of American music, creating his own lections; participating in collaborative Archive project (EVIA), is to create a brand of , blues, , research/exhibition projects; and dis- repository of ethnomusicological field soul, popular, and country and west- seminating information about the videos for use by scholars, instructors, ern. Charles defied and crossed all Archives, its collections, research, and and students. Participation in this proj- musical boundaries, but not without other activities through publications ect provides the resources for the controversy. When he transformed and conference presentations. AAAMC to organize and analyze gospel songs into rhythm and blues, Our collection development activi- many churchgoers openly expressed ties have resulted in the acquisition of continued on page 2. their dissatisfaction, condemning him the personal papers of for this “blasphemous” act. Yet, this act journalist/music and culture critic led to the evolution of —a Nelson George, and the second install- music that many churchgoers ment of the Phyl Garland Collection embraced and that provided the (see Featured Collections inside for descrip- melodies and refrain lines for protest tions). We also acquired the second • Geneva Smitherman...... 4 songs created by college students dur- installment of the Johnny Otis Collection, which includes the original ing the Civil Rights movement. People Not only did Charles’s music inspire video masters of The Johnny Otis new protest songs, it also influenced Show and Johnny Otis’s Oldies but •Welcome to the musical style of many artists, Goodies. The Johnny Otis Show videos Jason Housley ...... 5 including British musician . consist of thirteen programs taped live The musical legacy of Ray Charles in a television studio during 1974 and • Goodbye to lives on through recordings, radio, tel- 1975, and feature Otis and his band Stephanie Shonekan...... 6 evision commercials, and movie with well-known rhythm and blues soundtracks (see tribute inside). artists. The Johnny Otis’s Oldies but • National Advisory Board The legacy of Ray Charles is a Goodies musical revue footage consists Member: Suzan Jenkins .....7 Portia K. Maultsby Director

In the Vault Jason Yoder Sony Legacy Recent Donations -related 45 rpm records Compact discs Nelson George Charles Connor Rhythm & Blues Foundation Interview transcripts, photographs, research Book manuscript, photographs, CDs, and videos Let the Good Times Roll radio series on thirteen materials, and notes documenting Connor’s career as ’s compact discs original drummer Phyl Garland Michael Woods Interviews, published articles, correspondence, Venise Berry Additions to the Michael Woods Collection of cassettes, press releases, photographs Book, The 50 Most Influential Black Films original compositions. From the Director... research data for use in the development Featured Collections of educational materials on black music in Dutch culture and for scholars to explore broader issues of musical transnationalism. Other research activities included our collaboration with the Indiana Historical Society on the development of an exhibi- tion on Indiana Soul and Funk. Our par- photo by Simon Grossett ticipation involved research, identifying potential participants, and conducting oral histories for the exhibit, which opens March 11, 2004, and will be on dis- AAAMC Receives play through December 31, 2005. Over the past year, the staff of the Nelson George Papers Nelson George AAAMC participated in several publica- tion projects and professional confer- ences. Head of Collections Brenda Nelson George, the noted author and critic, recently During the course of his research, George inter Nelson-Strauss wrote an article for donated a significant collection of personal papers and viewed a number of artists, executives, and Indiana Magazine of History’s annual research materials to the Archives. A prolific writer, employees, including choreographer , series on Indiana Archives which is scheduled to appear in December 2004. George has published numerous books and articles, bandleader Choker Campbell, Drummer , It discusses various AAAMC collections and is considered an authority on the , keyboard player and bandleader , and with an emphasis on Indiana-related as well as a preeminent interpreter of black popular singer Freda Payne. The complete transcripts can be materials and ties into the theme of the culture. consulted in the AAAMC along with numerous sub- issue, which commemorates the fiftieth The majority of the collection is composed of ject files full of newspaper clippings, advertisements, anniversary of Brown v. Board of research materials used by George for his influential and promotional materials. These files contain details Education. In March 2004, Nelson- book on Motown, (Omnibus, of Florence Ballard’s ouster from , the Strauss began serving a two-year term as 1986). Included are interviews with various important strife between Motown and hit songwriters Holland- president of the Association for figures, photographs of Motown artists, newspaper Dozier-Holland that led to their defection from the Recorded Sound Collections (ARSC), an and magazine articles, George’s handwritten notes, label, and Motown’s move from to Los organization dedicated to the preserva- and even photocopies of legal files pertaining to law- Angeles. tion and study of sound recordings. suits brought about by Motown principals. Additionally, the collection includes numerous pho- Jason Housley, our Interim Program Coordinator, presented a paper titled These legal documents reveal a great deal about the tographs of jazz, soul, blues, and reggae artists, as well “The Dayton Funk Movement” at the Motown operation and help to clarify the sometimes as materials pertaining to George’s biography of joint conference of the Association for complicated history of the company. Among the doc- (Dell, 1984) and his acclaimed analy- Recorded Sound Collections and the uments are copies of former Supremes member sis of the black music industry, The Death of Rhythm Society for American Music held in Florence Ballard’s lawsuit against and & Blues (Plume, 1988). in March 2004; a revised ver- ; prolific songwriting team Holland- The Archives greatly appreciates the donation of sion of the paper was presented at the Dozier-Holland’s legal proceedings against Motown; these papers and looks forward to augmenting the col- Association for the Study of African and singer ’ suit to extricate herself from lection with future gifts from George. A complete find- American conference held in her Motown contract on the basis that she was a minor ing aid for the collection will be posted on the Pittsburgh in October, 2004. During the when she was initially signed. There is also a copy of AAAMC Website in the near future. 34th Congressional Black Caucus Temptation member David Ruffin’s artist’s contract, Foundation’s Annual Legislative which, among other things, reveals his real name as —Jason Housley Conference in Washington, D.C., in September 2004, I presented a paper, “Davis Ruffin.” “Response of the Music Industry to the Message of Soul,” for Issue Forum, Our Day Will Come: How R&B Inspired the Civil Rights Movement, hosted by Rep. of . Since the mid-1990s, the AAAMC has collaborated with the African American Arts Institute and the School of Music to sponsor “Extensions of the Tradition,” a series of concerts showcasing the works of African American composers that was conceptualized and first produced by former faculty member Dr.William Banfield. This year’s concert will be held on , 2005, at 4:00 p.m. in the IU School of Music’s Auer Hall. The pro- gram will feature composers with a con- nection to the African American Arts Hale Smith T.J. Anderson Institute in honor of the AAAI’s 30th anniversary. A corresponding exhibit include Ron Carter, Josephine Baker, Melba Moore, will be mounted in the Cook Music Phyl Garland Donates , and Stevie Wonder. Library during January and February, Phyl Garland, recently cited as one of the most 2005. Personal Papers influential black journalists of the twentieth century, In closing, I announce the departure of has had a long and distinguished career. Beginning AAAMC’s Assistant Director, Dr. Noted journalist, music critic, and scholar Phyl with a stint at the Pittsburgh Courier in 1958 where Stephanie Shonekan, who accepted a Garland recently added a collection of personal papers she made her mark covering the Civil Rights move- position as Assistant Professor of to her previous donation of artist publicity photo- ment, she moved to Chicago in 1965 to join the staff of Humanities and Cultural Studies at graphs and press releases. The papers consist primari- Ebony and became the magazine’s New York editor in Columbia College in Chicago. Shonekan ly of the original typescripts of Garland’s record 1969. In 1973 she joined the faculty of Columbia served the Archives with distinction in reviews published in Ebony magazine’s “Sounds” and University’s Graduate School of Journalism, where various capacities from 1996 through “Black Music Poll” columns from 1972–1977, and in 2003 (see inside story). I express my she taught for more than 30 years before retiring this Stereo Review from 1978–1994. Also included are appreciation for her many valuable con- past spring. The addition of Garland’s personal papers research materials for Ebony feature articles on Jesse tributions to the AAAMC and I wish her to the AAAMC’s holdings will allow researchers the much success in her new position. I also Norman, Mary Lou Williams, , and B.B. opportunity to study critical reviews of the most announce the appointment of Jason King, and on a variety of other music-related topics. notable recordings of black music issued from Housley, who became the Interim Project Supplementing the above are 41 original audiocas- 1972–1994, as well as a wide range of articles pub- Coordinator in the fall of 2003. Housley sette recordings of interviews conducted by Garland lished in the black press. has brought a wealth of knowledge on with various musicians, artists, and filmmakers on African American music and history to topics ranging from jazz, rhythm & blues, and soul, to —Brenda Nelson-Strauss the Archives, and has contributed great- . Particularly notable are interviews ly to our collection development activi- with Paul Freeman, Ulysses Kay, Hale Smith, Olly ties. He has also worked on several new Wilson, and T. J. Anderson for a series on black com- research projects and community out- posers. Popular artists interviewed by Garland reach initiatives (see inside story).

2 Ray Charles 1930–2004 By Ray Charles Biographer Michael Lydon photo by Mark Hanauer (Karen Shearer Collection)

Ray Charles lives. A spirit this noble cannot die. came Ray on his valet’s arm, grinning but stepping Ray Charles is an artist of such vigor, insight into gingerly—arthritis in a hip, said band scuttlebutt. life, and titanic determination that, like He sat at the keyboard, found his mic, and kicked Shakespeare, Beethoven, Dickens, and Chaplin, he into a rocker. Applause, then “Busted.” will live forever in his works. Generations will listen More applause, and the band slid into “Georgia.” to Ray’s music, marveling as we do at its beauty, The crowd sat back to listen, the ladies nestling back variety, and depth. God bless and keep our great against their gents. Ray Charles, now white-haired friend, Ray Charles Robinson. and spidery-frail, singing “Georgia”: this is what “I never wanted to be famous,” Ray Charles said, they had come to see. “but I always wanted to be great.” He succeeded, Each song stirred memories. The energy flow- achieving a place beside , Duke ing between Ray and the people became a sinewy Ellington, and a dozen giants of 20th century popu- bond, woven from his music and the crowd’s lar music. Five decades of Ray’s music pulse in the shouts and cries, wordless yet, in sum: we know airwaves, touching millions every day. Total self- Ray, Ray knows us. We admire Ray for his triumphs confidence fueled Ray’s greatness. He knew, he over blindness, poverty, and prejudice. Nobody else declared, “no reason for the music to come out any can color a song in such passionate tints, wring so different from the way I hear it in my head.” many tears from a lyric. We love Ray Charles and Ray’s greatness endures because he became a believe he loves us. He’s an old man now, but none superb sound painter. With his “Georgia” earnings, of us are as young as we used to be. Ray built a studio in , and there, Ray set up a driving keyboard riff, the drum- through four decades, like Rembrandt in mer added a Latin sizzle on his cymbals. “What’d I Amsterdam, Ray piled up canvases drenched in Say.” As one, we leapt to our feet, clapping and sexy red-purples, glorious gospel golds, blues of whooping. every shade, even the grays of Paris in the rain. “Ooooh,” sang Ray. Blindness posed no handicap for this sound painter. “Ooooh,” we sang with the Raelets. “You don't have to see life,” Ray once said, “you “Ooo—oo—ooh,” sang Ray. have to observe life.” “Ooo—oo—ooh.” Back and forth we went, Writing Ray Charles: Man and Music was a chal- oohing and eeeing and ow-owing, goofily follow- lenging, absorbing four-year project. I traveled to ing every vocal contortion Ray put us through. All his birthplace, Greenville, Florida; to the school for too soon, the valet reappeared, and a dapper MC the deaf and blind in St. Augustine where he was told us we’d been entertained by the Ray Charles educated; to , Los Angles, Dallas, New orchestra, the world-famous Raelets, and by the Orleans, and Paris; following his trail and meeting Genius himself, Mr. Ray Charles! “I never wanted many musicians and friends he knew along the Ray bent to the mic. “Thank you, thank you, way. Interviewing Ray was a thrill—he bounced up there are no words to say how much I appreciate to be famous... but and down in his chair as he recounted fascinating you staying with me all these years.” He stood and stories of his past. No one’s life can be completely spread his arms and, as he had done countless times I always wanted captured in a book, but I did my best, and people before, wrapped them around his body, embracing to be great.” who knew him well told me I did a good job. That us. Then, bobbing his head and smiling, Ray disap- praise meant more to me than ordinary reviews. peared offstage. Still stirred by all we’d felt, we I last saw Ray Charles perform on the Fourth of drifted up the aisles to the exits. July a year ago, in Atlantic City. Middle-aged cou- ples sat at tables in the dark. An unseen voice Lydon, the author of Ray: Man & Music (Routledge, 1998), was one of boomed, “The Legendary Genius of Soul, Mr.— the founding editors of magazine and serves on the Ray—CHARRR-LES!” To mounting applause, out AAAMC’s National Advisory Board.

3 Visiting Scholars Scot Brown According to Dr. Scot Brown, assistant pro- fessor of history at UCLA, funk music has not been given adequate scholarly attention. A recent visitor to the AAAMC, Brown spent a week in Bloomington conducting research for a book exploring funk music as a community cul- tural phenomenon during the . According to Brown, “The study of funk, for my purposes, helps answer the riddle of the African American experience at the tail end of the Civil Nelson George Rights/Black Power period.” Originally from Rochester, New York, Brown the AAAMC quite rewarding. He was particu- began playing in a funk band when he was photo by Robert Elias (Nelson George Collection) photo by Robert Elias (Nelson George larly impressed by the Archives’ oral history twelve and drew inspiration from the many collection of interviews with Dayton musicians According to Ray Charles biographer Michael Lydon, “Ray Charles stands beside funk bands that proliferated during the 1970s. and ordinary citizens, which forms part of an Louis Armstrong, , and a handful of others among the presiding geniuses of twentieth-century popular music.” He does so literally in this late 1960s Of particular interest was the funk music that ongoing Archives project chronicling the story photograph. emanated from Dayton, Ohio. “As I continued of the Dayton Funk movement. to grow musically, I realized that Ohio in gen- “Funk is a cultural expression,” says eral and Dayton specifically, was home to a Professor Brown, “that best captures and syn- number of my favorite funk bands—Slave, thesizes both black optimism and disappoint- Ray Charles and the Lakeside, Roger Troutman & Zapp, and Sun.” ment as we passed through the 1970s and ran Brown, who holds a Ph.D. in American histo- into the 80s.” Michael Lydon Collection ry from Cornell University, found his visit to —Jason Housley

The term “genius” is applied sparingly to individu- als. However, on June 10, 2004, the world lost an artist of Smitherman began to focus on black women whom “genius” is a most apt description. Ray Charles Geneva Smitherman as she discovered that much of the research on was an architect of modern music as much through his black language had been generated from collec- interpretations of American music standards as his orig- visits the AAAMC tions on black males. Her interest in black inal compositions. He was also the living embodiment In June 2003, Dr. Geneva Smitherman visited female disc jockeys reaches back decades, to the of the American Dream: here was a man born black and the AAAMC to conduct research on black time when black personality disc jockeys first impoverished in the segregated Depression-era female disc jockeys. Smitherman, a Michigan became popular on the airwaves. Smitherman American South, who had to deal with the additional State University distinguished professor of remembers being fascinated by the power and burdens of blindness and addiction. Ray Charles English, is also a member of the executive com- personality of black female deejay Martha Jean had more strikes against him than any human being mittee for the department of African American “The Queen” Steinberg in Detroit during the 1960s. Like other black women on the airwaves, should have, yet he managed to achieve fame and for- and African Studies at MSU, as well as co- Steinberg’s masterful use of language con- tune through intelligence, drive, and sheer talent. founder and director of “My Brother's Keeper,” structed a powerful bond with the community. The AAAMC is honored to be in possession of the a student mentoring program for middle school While studying the interview tapes and tran- original audiocassettes containing interviews used to African American males in the Detroit public schools. She is the author of numerous books scripts in the AAAMC’s black radio collections, create the critically acclaimed biography Ray Charles: Smitherman was able to hear interviews with Man & Music by former Rolling Stone editor Michael and articles on Black English, including Black Talk: Words and Phrases from the Hood to the Amen and about black female disc jockeys. By listen- Lydon. Lydon interviewed more than 70 individuals Corner (Houghton Mifflin, 1974) and Talkin’ That ing to their voices and language, she was able to who were intimate with Charles, including former band Talk: Language, Culture and Education in African gain the unique historical perspective necessary members and employees, managers, producers, girl- America (Routledge, 2000). for framing her current research. friends, and family members, as well as Ray Charles Smitherman’s visit came exactly two years Accompanying Smitherman was another himself. Many of the interviews, such as those conduct- after her student, Lamonda Horton-Stallings, MSU professor, Denise Troutman. Smitherman ed with head visited the AAAMC to conduct her own and Troutman are black female , jazz vocalist Jimmy Every music research on African American folk and oral tra- scholars who study the linguistics of black Scott, and son Ray Charles Jr., are performer to dition. Horton-Stallings, who was then a facul- women. often quite candid and reveal an emerge during ty summer fellow in English at Indiana The AAAMC holds several collections pertaining to black radio, honest, multifaceted portrait of the last 40 years University and a doctoral candidate in English including the production materials and interviews for a docu- Ray Charles. could learn from at MSU, had also examined AAAMC’s black mentary series produced by Radio Smithsonian (see Liner Notes #8), in addition to the William Barlow Collection (see Liner Notes Every music performer to radio collections. Having heard about the the example of #3) and the Jack Gibson Collection (see Liner Notes #1). emerge during the last 40 years Ray Charles. AAAMC collections from her student, Smitherman was eager to plan a research trip to could learn from the example of —Stephanie Shonekan Bloomington. Ray Charles. He broke down the Former AAAMC Assistant Director, 2000–2003 rigid racial divide in music with his influential Modern Sounds in Country and Western Music Vols. I and 2. When black popular music was still primarily a singles- oriented medium, Charles was among the first rhythm & blues singers to sell significant numbers of albums as well. He was also one of the first recording artists, black or white, to own his own master recordings—that most precious commodity of record companies. Incidentally, Bloomington, Indiana, played a signifi- cant role in Ray Charles’s career. His first number one pop hit, “,” was written by Bloomington native , and Charles’s interpretation of the standard is now the official state song of Georgia. He also performed a number of times at the IU Auditorium and once used groups from IU’s African American Choral Ensemble as the opening act. It was on the way to one such Bloomington engagement in 1985 that Charles and his band were in a serious plane crash, one that produced no casualties but nevertheless photo from (Ed Castleberry Black Radio Collection) convinced Charles to trade his private plane for a bus and commercial airline flights. As with the passing of any celebrity, public interest in Ray Charles’s life and career will increase immensely. With a recently released feature film based on his life, as well as an updated, second edition of Lydon’s biogra- phy, Charles’s musical legacy will continue to live and grow. The AAAMC is pleased to contribute to the preservation of that legacy. —Jason Housley

Announcer-activist Peggy Mitchell 4 “I would love to create an oral history project where the Archives could People conduct interviews with every living black musical artist... Time marches on and many of the performers and writers are getting older. It would be Introducing nice we could record their histories for posterity.” Jason Housley, influential music scene. “The work that had already been done has been Interim Project Manager helpful to me as I continue the project,” says Housley. “Dayton was a hotbed of musical talent during the late 1970s and early 1980s, spawning “Much of what I do as an employee is what I nearly a dozen nationally known funk bands. The enjoy doing in my spare time. Doing research on best known was the Ohio Players, but many other music, maintaining collections of albums and com- acts followed in their wake. The project seeks to pact discs—I do that for fun! In essence, I’m work- give these artists recognition for creating a distinct ing on projects that I would just as soon do for my creative musical subgenre, in some ways as vibrant own personal satisfaction.” Comments such as this and important as the musical output of better- one make it clear why Jason Housley is a perfect fit known centers like Detroit, Memphis, and as the AAAMC’s new interim project manager. The . The project will consist of interviews Archives is pleased to take this opportunity to intro- with some of the principals of the movement, as duce Housley, who has held the position since well as the acquisition of memorabilia (music, pro- August 2003, following the departure of Assistant motional materials, etc.). In conjunction with these Director Stephanie Shonekan (see story, this issue). aspects of the project, I wrote and presented a paper A native of Chicago, Housley first came to [at the Association for Recorded Sound Collections Indiana University in 2001 to pursue a masters Conference in Cleveland, Ohio], ‘Dayton Funk: degree in African American Studies. His under- Midwife of -Oriented Black Pop,’ which photo by Brenda Nelson-Strauss photo by Brenda graduate work at Lincoln University in Jefferson dealt with the impact that funk music, specifically City, Missouri, had resulted in a degree in Radio the Dayton variety, had on shaping the recording and Television and an ambition to work in televi- Jason Housley industry, by transforming black popular music from sion or print journalism. After a few years and a a singles-oriented form to an album-oriented one.” tough job market, however, restlessness set in. As Maultsby had an extremely positive impression of Housley is also helping to coordinate a funk exhib- Housley set about reassessing his career goals, he Housley’s abilities from the start. “Prior to enrolling it with the Indiana Historical Society, which will had a happy encounter. “Actually, it was Dr. Gloria at IU in 2001, Jason had worked as a public histori- spotlight funk and soul music originating in Gibson who introduced me to the African American an in the DuSable Museum in Chicago. At IU he Indiana. program here at IU,” recalls Housley. “I met her in discovered, frequently visited, and used the The AAAMC certainly looks forward to more of Chicago where she was giving a lecture on early AAAMC’s resources. During his time as a student Housley’s energy and careful scholarship. His black independent film, another interest of mine. I in a graduate course I taught on African American knowledge of R&B, soul, and funk artists and asked how I could do what she does and she music and as a graduate assistant at the AAAMC, I recordings has already contributed significantly to informed me of the opportunities at Indiana discovered that Jason knew a lot of obscure details AAAMC cataloging and collection development University.” An exploratory visit to campus about radio stations and radio personalities, record efforts related to these genre areas, and he continues brought him into contact with Dr. Portia Maultsby, labels, recordings, and musicians. He was especial- to be an invaluable source of reference information but it wasn’t until six years later that he decided to ly knowledgeable about the 1960s and 1970s popu- for patrons. Housley has lots of ideas for the future. become part of the Bloomington community. lar musical styles and had a particular interest in “I would love to create an oral history project where Housley has always had an intense interest in funk.” the Archives could conduct interviews with every black history and black musical forms, backed by a Housley’s duties at the AAAMC range from serv- living black musical artist,” he says. “Time marches hobby as a record collector specializing in 45 rpm ing as a primary point of contact for scholars who on and many of the performers and writers are get- R&B singles from the to the 1980s. Upon wish to use the Archives’ resources, to participating ting older. It would be nice if we could record their entering the African American Studies program in special research projects that involve intense histories for posterity. I would also like to do more here at Indiana University, he found many ways to engagement with collections. He describes his daily research on black radio, ultimately creating an channel those interests into research pursuits. His duties as “processing and accessioning incoming aircheck archive. Radio broadcasts are the most work in the program focused on African American collections, reorganizing our LP and CD collections, ephemeral mode of communication. As a young history and culture; he took a number of classes in making suggestions for new acquisitions, corre- person, I used to tape songs off the radio and would African American literature and music, and his sponding with record companies and scholars, and get frustrated when the DJ talked over the song. master’s thesis dealt with the depiction of the Civil answering questions pertaining to black music that Now I wish I had recorded more of the DJ patter! I Rights movement in Hollywood films. During this are posed by people who write, call, or come in.” In would also like the Archives to collect more rare time, Housley’s passion did not go unnoticed by the terms of special projects, Housley has been most video footage of black musical artists in films and staff of the AAAMC. He frequently utilized the deeply immersed in the Dayton Funk project, an on television. We have a lot with Johnny Otis, but Archives’ resources while working on a variety of undertaking whose beginning predates his arrival early episodes of Soul Train would be terrific. I projects for his graduate research, and he was soon at the AAAMC. The project began in 1998 as a col- would like to do more writing on the subject of laborative museum exhibition at the National black music and film as well as teach on the colle- offered a student position. When Housley graduat- African American Museum and Culture Center at giate level.” ed with his M.A. in 2003, he was offered his current Wilberforce College, Ohio, and the AAAMC contin- Please join us in welcoming our newest staff full-time position as interim project manager. ues to work to further build public awareness of this member!

focus. The letters make it clear that services for two years, she was eager In the Vault her missionary activities and feeble to make as many records, at $25 a health had a great influence on what, side, as she could. Featured when, and where Dranes recorded. With the completion of her contract Seemingly always in motion or bed- in 1928, Dranes continued to devote Collection: ridden, Dranes used addresses in the majority of her time to COGIC, Texas, Oklahoma, Arkansas, and serving as a missionary for the next 30 The Arizona Tennessee over the two year period. years. Two of her early touring part- Initially a Fort Worth-based pianist ners were the mandolin-playing Dranes Papers for Bishop Samuel M. Crouch, great evangelist Katie Bell Nubin, and uncle of Sandra and Andrae Crouch, Nubin’s daughter, who later gained The Arizona Dranes Papers, donated to Dranes assisted musician and minis- international fame as Sister Rosetta the AAAMC in 2003, were given to ter Ford Washington McGee with his Tharpe. Dranes was the featured per- Malcolm Shaw in 1969 by the family of barrelhouse and ragtime instrumen- church planting in former for Mason, Crouch, and a host Elmer Fearn. The papers consist primari- tation with high energy holiness and Tulsa. It also seems that she spent of other COGIC leaders. During the ly of contracts and correspondence dating lyrics. Small slices of the enigmatic a significant amount of time in denomination’s annual Holy from 1926–1929 between Dranes and artist’s life have been chronicled by Memphis, site of the denominational Convocation, she shared musical Fearn, president of the Consolidated Horace Boyer, Anthony Heilbut, and headquarters, and frequented Little headlines with holy blues guitarist Music Publishing House and owner of Paul Oliver. Now, thanks to a gener- Rock in the home state of COGIC Utah Smith, singer Ernestine the Chicago franchise. ous gift from music critic Malcolm founder Charles Harrison Mason. Washington, and composer/arranger Shaw, the complete correspondence Her relationship with OKeh was Mattie Moss Clark. In her later years, Arizona Dranes (1894–1963) was between Dranes and OKeh records sometimes problematic. While Dranes relocated to Los Angeles, one of the most influential gospel per- are available at the Archives of Dranes was very enthusiastic about seemingly to help Crouch build the formers of the early twentieth centu- African American Music and Culture. using her recordings to spread the denomination’s following on the West ry. She recorded 16 sides for OKeh Beginning with an initial letter of gospel, she was also very concerned Coast. She died July 27, 1963, and was records between 1926 and 1928 and introduction from OKeh, the collec- about getting payment for her servic- buried in an unmarked grave in helped to define within tion provides insight into Dranes’ life, es. In letter after letter, she asks for Southern California. the Church of God in Christ (COGIC) the development of COGIC, and the royalty payments, advances, and for more than 30 years. Producing early experiences of African American copies of her recordings and con- —Daniel E. Walker such acts as Madame Ernestine artists in the recording industry. tracts. Sometimes successful, some- Washington, , Before the availability of Shaw’s col- times not, Dranes is extremely frus- Walker, an assistant professor in the Department of Edwin and Walter Hawkins, Sandra lection, scholars knew Dranes almost trated with OKeh on a number of History at Indiana University from 2000–2003, and Andrae Crouch, and the Clark exclusively from her recordings. In occasions. At one point, the record was the founding director of The Gospel Music Sisters, COGIC is the largest African the pages of the letters between company does not respond to her History Project and is currently writing a book, American Pentecostal denomination Dranes and OKeh representatives, inquiries for nearly a year. Because Sanctified Singing for an Unsaved World: The in the . A pianist, com- specific parameters of the blind she had signed a contract that gave Church of God in Christ and the Early Gospel poser, and singer, Dranes mixed pianist’s early life finally come into the company exclusive rights to her Sound.

Telegram from (Arizona Dranes Collection)

5 “I was really happy with that job, because it gave me access to all this music, all this black music . . . “ photo by Portia K. Maultsby People tributed to the AAAMC on many levels,” remarked Research Center at Tulane University in , Maultsby, “in large part, because of her superior which holds her personal collection. And I delved into administrative and interpersonal skills as well as her all the correspondence, the programs. I knew what to Assistant Director knowledge of African American music.” ask for, I knew how to treat the material, I knew how Stephanie Shonekan During the early years of her involvement with the an archive worked, I knew what materials would be AAAMC, Shonekan played a key role in helping the most useful.” One high point of Shonekan’s work Moves to Chicago Archives to grow and expand. The Archives had been with Ms. Williams was the opportunity to produce a in existence for a number of years prior to her arrival, concert with the legendary singer, presenting her in In August 2003, the AAAMC bid a fond farewell to but she came along during a time when Maultsby and the Grand Hall of IU’s Neal-Marshall Black Culture Assistant Director Dr. Stephanie Shonekan. She had the board were looking into the future and seeking to Center and reuniting her with her pianist from the worked at the AAAMC since 1996 and had been assis- reshape and define a clear vision, mission, and direc- and ’50s, Dr. Borislav Bazala. tant director since 2000; she leaves a legacy of contri- tion. Working with a representative from the Office of In the summer of 2003, Shonekan received a job butions to the Archives that will have an impact for the President, Shonekan participated in a series of offer from Columbia College in Chicago, and she many years to come. Total Quality Management (TQM) workshops and made the decision to take the position. “It was time for From West Africa to Indiana, from business consult- brought some highly relevant skills to the table. “For me to move on to another threshold of my develop- ing to biography, Shonekan’s time in Bloomington me, that was perfect because I’d worked as a manage- ment,” she decided, “as a writer, a researcher, and a and subsequent move to Chicago are steps on an ment consultant for five years at Arthur Andersen in teacher.” She is now assistant professor of humanities extraordinary journey. Born in Equatorial Guinea and , after I got my master’s,” Shonekan remem- and cultural studies in the Liberal Education raised in Nigeria, she earned her master’s degree in bers. “Therefore all of the catch phrases that consult- Department at Columbia College, teaching courses on literature at the University of Ibadan. During this ants use, like ‘TQM’ and ‘strategic direction’ and the Renaissance and the Black Arts move- phase of her scholarly career, her work focused on the ‘visioning’ . . . I was quite comfortable with them, so ment. Columbia College is primarily known for its connections between African American music and when they came in with these workshops I had the programs in film studies, art and media, journalism, African American literature. After finishing her degree skills to take the documents and meetings and help to and communication arts, and so for Shonekan the and working at Arthur Andersen in Lagos for several develop strategies for the operation of the Archives, most exciting part of her job is the chance to inform the years, Shonekan felt a strong desire to continue her on flow charts and organization charts—what we are cultural perspectives of these budding artists: “All of Ph.D. studies along similar lines as her M.A. work and now and what the ideal is. And so I was able to draw these students have to come through my department to remain involved in research dealing with the cre- on those skills that I thought might never be useful in order to fill their general education requirements, so ative expression of . When one of again.” I love the fact that I get to work with people who are her Nigerian professors, Dr. Isidore Okpewho, met Deeply involved with this forward-looking agenda in film, photography, journalism, radio or television. I IU’s Dr. Ruth Stone at an African Studies Association for the Archives, Shonekan expressed her satisfaction appreciate the fact that they have to come and learn conference and learned about the field of ethnomusi- with the way she “evolved with the AAAMC and got about culture and learn about literature, history, social cology, he knew instantly that this discipline was a to see it blossom.” One of her favorite contributions sciences—things that they need to know when they go perfect fit for Shonekan, who agreed wholeheartedly. during that time was her work on the newly envi- back to create their films or their TV programs, or doc- In 1996, she came to Bloomington to begin work on sioned Liner Notes newsletter, launched in 1999. umentaries, or photographs. I serve as one of the con- her Ph.D. in ethnomusicology at Indiana University. Together with Maultsby, she developed the idea to cre- text-givers for these individuals.” In the fall of 2004, Shonekan first met Dr. Portia Maultsby and Dr. ate a publication that would let people know about Shonekan began teaching a new course on Mellonee Burnim at church in Bloomington, and there the AAAMC as a research destination—to publicize “Contemporary Africa: Life, Literature, and Music,” was instant rapport. She soon became a research assis- information about what collections and resources are and she will be teaching another new course in the tant for Burnim and later took an hourly position at available, to highlight visiting scholars and programs, spring on “Hip Hop: Global Music and Culture.” the AAAMC. Her duties during that first year and to attract new collections, new donors, and new Living in Chicago with her husband and three chil- involved helping the archivist and doing hands-on patrons. Shonekan helped design the concept for the dren, Shonekan also continues to work with Camilla work with the AAAMC collections, including index- newsletter, and she took responsibility for writing and Williams to turn their project into a book. Recently, she ing and cataloging. This early position formed a solid editing articles and managing the production process. reflected even further on the connection between foundation for Shonekan’s future at the Archives: “I In particular, she relished her opportunities to talk archival collections and the process of telling a life was really happy with that job, because it gave me with AAAMC National Advisory Board members to story. “Because I’m a writer and I write about life, access to all this music, all this black music . . . the gather information for feature articles, and really get whether it is fiction or non-fiction, I’ve learned to real- music was right there at my , really, and the to know these active participants in black music. Some ly appreciate primary source materials. Working on national advisory board was so impressive. And so I of her favorite interviews were with Patrice Rushen, Camilla’s book now, I find that the programs, the cor- decided that I would stay there.” Regina Baiocchi, and Dr. Bobby Jones. respondence, the photographs are just as useful as the From 1997 to 2000, Shonekan expanded her respon- Shonekan also gave numerous presentations about interviews. With all the archival material that I’ve sibilities by taking a graduate assistantship at the the Archives around campus and in classrooms, intro- seen, I can remind her about certain things. Just this AAAMC. With her love of this music and the many ducing the AAAMC facility and resources, or using afternoon, I showed her copies of letters that she had- opportunities to access valuable resources, she called AAAMC materials to talk about some aspect of black n’t seen for years, what people had written to her, and this position “the perfect situation for a graduate stu- music. “I really enjoyed that,” she commented, “put- she was so touched. She had forgotten about them. dent . . . I was in touch with the music, I was in touch ting a face on the Archives and making it come alive But it’s in her life, and it’s in her book. So there’s so with individuals who were in the industry.” The with the presentations I did, and the programming. I much respect that I now have for documents, things AAAMC was between archivists at that time, so she really think that while I was there I was able to bring that archives keep. That’s the most important thing I took on the challenge of working as both archivist and it to more people, in different ways and different got from the AAAMC—that archives are really impor- assistant director—a valuable combination. “I got to forms.” tant. We document music, but archives also document know the Archives, all aspects of it,” recalls Shonekan. As Shonekan moved through her Ph.D. program, lives.” “I was the point- for the Archives. People her work at the AAAMC also had a strong influence The AAAMC will miss Shonekan. “I enjoyed her would come in looking for materials, and I would find on her approach to her dissertation research, which independent spirit, the enthusiasm she brought to the it; we would order new material and I would have to focused on the process of developing an autobiogra- job, her creative ideas, and her ability to function effec- find a way to put it in a place that anybody who phy as a collaborative project, with a particular tively as part of a team,” said Maultsby. “Stephanie walked in would know where to find it. So I really got emphasis on examining issues of voice, truth, and has prepared herself for a rewarding career as a pro- my hands into the collection. As assistant director, my identity. This project came to focus on the life of fessional in higher education and in cultural institu- roles were on a different level . . . it wasn’t so much the Camilla Williams, the renowned soprano who bears tions. She has worked extremely hard over the years hard collection, but the visioning of the collection, the distinction of being the first African American per- and deserves the opportunity to explore new chal- strategies around it, programming, interacting with former to sign a contract with a major company lenges. I wish her well in all future endeavors, espe- people, the newsletter, that sort of thing. In that year (the Opera, in 1946). In the course of cially in her work as a writer on the lives of musi- that I had to do the work of an archivist, I had to deal this collaborative project with Ms. Williams, Shonekan cians.” We all share this wish—good luck, Stephanie! with the material. It was a useful experience, and I drew heavily on her work experience at the AAAMC. really got to know the Archives, through and “I found that having worked at an archive, I knew the —Sunni Fass through.” As the Archives expanded and Maultsby kinds of things that archives held about musicians. So Ph.D. candidate in Ethnomusicology at IU and Graduate Assistant at the AAAMC made the decision to hire an assistant director in 2000, I found out from her where her personal papers were, Shonekan applied and got the job. “Stephanie con- got a grant from IU, and went out to the Amistad

6 Board Member Highlight: Suzan Jenkins

“To be an artist advocate tain structural thought. I have found that psychology has helped me understand people’s motivations for working inside the music doing things, how to interpret people’s reactions . . . industry is an exciting place how to understand why people react the way they do to be, because it allows you and to help them get around some of those reactions, to get around some of their fears, and to reinterpret to remind people why we are things. That has been really, really helpful in business, here...It allows you to talk to in establishing relationships and understanding that people about why they have people do business with people—it is not people doing business with business! And, understanding to be careful when they are that, I’ve always tried to be the best person that I can trying to represent the art— possibly be, the most honest person that I can possibly be. that it represents the art of individuals who bring a cre- Fass: In your career, you’ve worked as both an artist advocate and for the music industry. ative sensibility to the table.” Can you describe what it was like to move between those worlds?

In the spring of 1997, the AAAMC established its National Advisory Board, a volunteer group of prominent, distinguished professionals who are committed to our mission and lend us their support and expertise. Members are actively involved in the production, promotion, and study of African American music and culture. They have contributed to our growth and influence by aiding in the acquisition of materials, assisting with pro- gram development, bringing national visibility, and providing valuable input to discussions on future projects.

Suzan Jenkins has spent her life pursuing her pas- sions by taking her appreciation for arts and culture, photo from (R&B Foundation Collection) her fascination with organizational psychology, her love of jazz, her innovative ideas about marketing and education, and blending them seamlessly together into an extraordinary career in the arts that has spanned more than 20 years. She has held many lead- ership positions in arts organizations, including that of director of operations at the Institute of Jazz, executive director of the America’s Jazz Heritage initiative at the Smithsonian Institution, and senior vice president of marketing for the Ike & , circa 1970 Recording Industry Association of America, where she headed such initiatives as the project (http://www.songs-of-the-century.com). She Jenkins: It was really exciting. To be an artist advo- was also the first executive director of the Rhythm and cate working inside the music industry is an exciting Blues Foundation and was the conceptual and execu- place to be, because it allows you to remind people tive producer of the 13-week radio series Let the Good why we are here. It allows you to remind people what Times Roll, which aired nationwide in 2002 and show- is important about what we do, and why it’s impor- cased the history of rhythm and blues music tant. It allows you to talk to people about why they

(http://www.goodtimesroll.org). During her tenure photo from (R&B Foundation Collection) have to be careful when they are trying to represent at the Smithsonian, Jenkins was a leading force in the the art—that it represents the art of individuals who development of the exhibition Latin Jazz: La bring a creative sensibility to the table. Sometimes, I Combinacion Perfecta (http://www.sites.si.edu/exhibi- think, in the industry people don’t always think about tions). She also produced the compilation CD of the the artist. Unfortunately, sometimes artists are referred same title (released by Smithsonian Folkways to as “products” or “content providers”—and when Recordings in 2002), which is accompanying the exhi- you have a situation where people disassociate the art bition during its four-year tour of the United States. with the human, there’s always a problem. So being In addition to her leading roles in program devel- an artist advocate and working inside the industry, I opment, Jenkins has been deeply involved in the arts felt it was always my job to remind people that while, for your bean counters or your number-crunchers, it community in an advisory capacity. She has served on on tour, early 1970’s panels for the National Endowment for the Arts, may be a business product, for the artist it is an art. Maryland and Michigan State Councils for the Arts, Smithsonian Institution, and the Thelonious Monk You have to remember that there is a creative energy and Arts Midwest, a regional arts council. She also Institute of Jazz. that goes into it, and you have to respect it as such. serves on the board of the World Music Institute and In a series of conversations in February and April has served on the advisory boards of the International 2004, Jenkins shared some of her thoughts about her Fass: You’ve mentioned that your work on Let Association of Jazz Educators, the Rhythm and Blues journey. We spoke about her different levels of the Good Times Roll has been some of the Foundation, the Berklee School of Music board of vis- involvement in the arts and the important role played most thrilling work of your career. Why is itors, the BMI Foundation Scholarship by her degree in psychology. We also talked about her that? Program, the National Music Council, the National favorite projects, jazz as a metaphor for life, and the Association for Music Education, and has served as an ways in which her frequent position as the only Jenkins: It’s been a thrilling project because it is an advisor to ’s Armstrong woman of color in the room helped her open doors opportunity to allow history to be told in the voice of Curriculum Program. and introduce awareness of other perspectives. those who made the history. So many times, it’s been Currently, Jenkins and her husband, Willard, are Following are some excerpts from those exchanges: my experience that history is interpreted and reinter- principals of Open Sky Jazz, their own company in preted through the eyes and voices of others, and which they combine their extensive experience in the Fass: I’ve read that you have a B.A. in psy- sometimes without the reflection of those who were world of jazz. Open Sky Jazz provides consulting chology. How do you see your interest in that involved at that particular time. Let the Good Times Roll services for a full range of jazz-related activities, field relating to the path you have chosen for allowed the people who created the music, the people including artist career development, series or festival your life? in the industry, and the people around the industry to programming and promotion, and educational out- reflect, in their own words, on how the music was reach. Their impressive client list includes BET Jazz, Jenkins: Understanding how people think is all made and how it reflected the times. And that was the International Association of , Jazz about how the world goes. And because I have a par- very, very critical to me, in being able to tell the story Alliance International, Jazz Journalists Association, ticular interest in organizational psychology, not only of the social, political, and cultural impact of rhythm the National Jazz Museum, the Recording Industry did I want to know about how individuals think, but & blues music. Association of America, the Festival of World Sacred I wanted to know how people working in certain Suzan Jenkins continued on back page Music, the Rhythm and Blues Foundation, the structures think—how things go when there’s a cer- 7 Suzan Jenkins so we began to talk about Latin jazz, because that was being in that situation? the music I had grown up with, that I understood. I Fass: What about the Latin Jazz exhibition? approached the Lila Wallace-Reader’s Digest Fund Jenkins: I think there is a personal challenge that you What motivated the creation of the exhibit, with the concept of doing a Latin jazz exhibition to experience. Many times you second-guess whether or and what are some of your favorite aspects? accompany the exhibition that had been done on not your perspective is a perspective that people Armstrong, Ellington, and , and they would understand and appreciate, whether it’s a per- Jenkins: I grew up in San Juan, Puerto Rico, and my were very excited at the concept, embraced it, and we spective that’s valid. Sometimes it even is a question sister went to Howard University in Washington. went about the business of doing the exhibition. For of self-worth, whether or not what you bring to the When I would come to the Smithsonian Institution, as me, it is just the fact that it exists . . . and I was very table is as important as that which others bring to the excited as I was about being in Washington to visit my excited that ’s was in the exhi- table. But what comes out of that is that I find that I am sister—as I walked through the halls of the bition! But for me, the major thing was the fact that it much stronger, and I understand that I have a reputa- Smithsonian in the ’60s, I never saw a reflection of the existed at all, and that the culture I grew up with was tion as being tough. It has garnered the respect of oth- culture that I was living in. I was just a child—I was being reflected at a major institution. ers, because you begin to step out and say, “This is 12—but I still was very amazed by the fact that there how it is, this is how I think it should be, and this is was a commonwealth (I understood at that time what Fass: Can you give me an example of a proj- how people will feel about it.” And when you do that our affiliation was with the United States), yet there ect that Open Sky Jazz is working on now? enough and it pans out to be true, then I’ve found that was no reflection of the culture I was living in, that it does garner the respect of lots and lots of people, was so rich and so vibrant and so exciting. So I made Jenkins: Just in the last two weeks, the International inside the field and out. And you can’t buy that. a mental note that when I grew up, I wanted to work Association for Jazz Education has brought in Jazz in the Smithsonian. There’s a great picture of my sister Alliance International as a subsidiary, and we are now Fass: What makes jazz, in particular, so attrac- and I in the fountain in front of the American History the industry arm of the International Association for tive and exciting for you? Museum that was taken by my brother-in-law in ’68, Jazz Education. All of the major leaders of the indus- and I had that in my office for years. But not only did try—all the record companies, the performing arts Jenkins: Improvised thought! is what I want to work there . . . I guess, even though I was 12, groups, the major festivals in the United States— makes jazz the most exciting thing to me. Because in my own mind I also was saying, “I want there to be they’re all on the Board of Jazz Alliance International, when you have to take a standard line—whether it’s some reflection of who I am at a major institution.” and we’ll bring that to the table to join up with heads in the way that business is done, or in the way that life And so after I was so lucky to be offered the posi- of educational organizations all over America. And we is handled, or in the way that you should approach a tion of executive director of American Jazz Heritage, are, together, going to be working as well as we possi- challenge—you have to add improvisation to that, to and looking at the fact that the Lila Wallace-Reader’s bly can to widen audiences’ appreciation for jazz. figure out how to get the results you need. And by Digest Fund had given $10 million to the program, I hook or by crook, you have to get those results! wanted to be able to show a reflection of who I was Fass: The last time we spoke, you mentioned Whether it’s finishing a tune, or attacking a project, or and what I was doing at the museum. So I began to that through much of your career, you have meeting a challenge . . . you’re allowed to improvise speak with the Fund about the fact that we wanted to found yourself the only woman, and the only on that theme to get what you need. I have never in have a reflection of something more than the main- woman of color, in many situations. What my life been more excited than when improvisation stream. We wanted to show the width and the breadth have been the challenges of that position, and meets challenge for results. of jazz music and its impact on world culture . . . and what have been the positive outcomes of —Sunni Fass

(Please type or print clearly) National CIRCLE OF FRIENDS Advisory Board Reebee Garofalo Michael McAlpin I would like to join the Circle of Friends of the Archives of African American Music and . Gray Kellee Patterson Culture. My donation will support the activities of the AAAMC. Harry Allen Suzan Jenkins Tom Reed Lee Bailey Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Bobby L. Jones Robert E. Rosenthall Supporting Friend ($50-$99) Student* ($15) Regina Harris Baiocchi Regina Jones Patrice Rushen Sustaining Friend ($100-$999) Other Kirkland R. Burke Ryan S. Kelly Leonard S. Scott *Please provide proof verifying your status (photocopy of school identification, transcripts, etc.) Mark del Costello A. Roni Looper Velisa M. Scott Sharon P. Davis A.G. “Billye” Love Karen M. Shearer Enclosed is my/our contribution of $ to the Archives of African American Music and Culture. All contributions to the AAAMC are tax deductible. Charles H. DeBow III Michael Lydon Alan Slutsky Ed Eckstine Debbie May Monica Starr Name Phyl Garland Address Barry A. Mayo Olly W. Wilson City State Zip Telephone ( ) aaamc staff: Please make checks payable to Indiana University/AAAMC and mail completed form to: AAAMC • Smith Research Center, Suites 180-181 Portia K. Maultsby, Director 2805 E. 10th Street • Bloomington, IN 47408-2601 Brenda Nelson-Strauss, Head of Collections Or fax all credit card donations to (812) 855-8545 Jason Housley, Interim Program Coordinator Credit Card Name Expiration Date Account number Newsletter design & layout by Dennis Laffoon All contributions to the Archives of African American Music and Culture are tax exempt. additional editing by Mary Spohn