From the Desk aaamc mission: of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materi- The AAAMC continues to move for- als for the purpose of research and study of ward toward achieving its mission of African American music and culture.

collecting, preserving, and making photo by Fernando Orejuela materials on African American Music www.indiana.edu/~aaamc and Culture available to students, scholars, performers, and the general public. Over the past nine months, we focused on advancing our educational No. 8 mission by presenting selected collec- (Fall 2002/Spring 2003) tions of the Archives in public lectures and performances. We co-sponsored renowned music educator and ethno- IN THIS ISSUE: musicologist Dr. Luvenia George’s workshop on the Duke Ellington Letter Project for the Smithsonian Institution, • From the Desk of which includes a multi-disciplinary L-R: Brenda Nelson-Strauss, Stephanie Shonekan, Tangera Sharp, Portia K. Maultsby, and Daniel Smith. the Director education kit housed in the AAAMC’s Educational Resource Collection. We director of the Dutch Rock & Pop institutions as well as those that also co-sponsored a performance by Institute in Amsterdam, who involve music research, production, In the Vault legendary opera singer Camilla expressed interest in collaborating on and marketing. The Archives provides • Donations Williams (with accompaniment by video productions that would feature opportunities for students to obtain • Featured Borislav Bazala) in conjunction with a Dutch musicians involved in the per- valuable experience, meet legendary Collection: class on “Black Women in Music” formance of black music (see story figures in black music and culture, and Black Radio taught by Assistant Director Dr. inside). Van Beusekom was our second interact with individuals of similar Stephanie Shonekan and organized visitor from the Netherlands in the last interests. Two of these students, Daniel around the Archive’s general collection two years (see Liner Notes #6/7 for Smith and Tangera Sharp, graduated Events (see stories inside). The question and more details). in spring 2003. On behalf of the • Camilla answer sessions that followed each Each year, the AAAMC invests a AAAMC’s staff, I take this opportunity Williams event provided first-hand accounts of major portion of its resources in pro- to express my appreciation for their in Concert the lives and careers of George and cessing collections and developing valuable contributions and commit- Williams, and they inspired members finding aids. The staff completed the ment. Both contributed to Liner Notes of the audience to inquire about • Luvenia latter for the Smithsonian Black Radio and served the Archives with distinc- George archival materials for further study. Collection (see story inside). The oral tion. We will miss them and we wish Lectures at Given the success of these and similar histories and air-check tapes included them much success in all future events held earlier, we will continue to in this and related collections allow endeavors. Indiana sponsor programs that bring life to the patrons to travel back in time to the In closing, I am pleased to announce University legends and collections housed in the 1950s and 1960s to experience the the appointment of Brenda Nelson- Archives. music, stories, and “jive” talk of the Strauss as archivist/head of collec- • Jaap van The AAAMC’s collections are valu- pioneering personality DJs that influ- tions. She brings seventeen years of Beusekom able resources for scholarly endeavors enced the style of contemporary dee- valuable experience that will be an as well as for various forms of creative jays such as Tom Joyner, host of the asset to our daily operations. Her pres- • Michael Dyson activity. Our general collection of pop- syndicated Tom Joyner Show. A valu- ence will help launch us into a new era ular music, for example, provides our on Hip Hop Music able companion resource to the black of archiving and collection develop- and Culture featured research associate Tyron radio collection is the Johnny Otis ment (see story inside). Cooper, director of the Indiana Collection, which includes radio pro- University Soul Revue, with record- grams featuring on-air conversations People ings of rhythm and blues, soul, and and performances with rhythm and funk music used in the development of • New Head of blues artists from the 1940s, 1950s, and Collections: the “Old School” component of the 1960s (see Liner Notes #1 for a descrip- ensemble’s repertoire. IU Soul Revue’s Brenda tion of this collection). Nelson- performances expose audiences across The AAAMC depends on the expert- Strauss the country to the sources of today’s ise and talents of its full-time staff and neo-soul and rhythm & blues musical its part-time staff of graduate and styles, as well as hip-hop samples and undergraduate students to fulfill its • AAAMC Research various genres that comprise classic mission. Students assist patrons, Associate: soul and R&B. process collections, work on special Tyron Cooper The research and educational mission projects, and cover events sponsored of the Archives continues to generate by or relevant to the collections and interest for collaborative projects with research of the Archives. Most of them established national and international are interested in careers related to cultural institutions. This spring archives, museums, and other cultural AAAMC hosted Jaap Van Beusekom, Portia K. Maultsby Director

In the Vault Gotee Records Malcolm Shaw Compact discs for the Bobby L. Jones Collection Material on Arizona Dranes; Jazz and Ragtime Recent Donations Records (1897–1942) compiled by Brian Rust Kate Greer and edited by Malcolm Shaw Photographs and publicity material on leg- Blackberry Records endary jazz singer Adelaide Hall Rachel Hughes Slansky Gospel compact discs and audio cassettes for Correspondence for the Jack Gibson Collection the Bobby L. Jones Collection EMI Christian Music Group Compact discs for the Bobby L. Jones Collection Smithsonian Institution Bobby L. Jones Educational kit, Jazz Age in Paris Additions to collection Indiana University Press CD-Rom Music and Culture of West Africa: The Uprok Records Carnegie Hall Education Department Straus Expedition Compact discs for the Bobby L. Jones Collection Educational kits, Global Encounters: Sounds Along the Silk Road; Global Encounters: South Debbie May Michael Woods African Sounds Videos related to gospel music Additions to the Michael Woods Collection of original compositions Collection Highlight: Black Radio: Keep on Tellin’ It

Radio is perhaps the most ephemeral of all media. photo by Stephanie Shonekan Newspapers are preserved on microfilm and many televi- sion programs are offered on videocassette. Radio, howev- er, is a passive medium that provides background music while we perform other activities. Those of us who taped songs off the radio in the past rarely thought to preserve the shows of the personality deejays of the 1950s and 1960s, much less the commercials, news reports, and call letter jingles. Most of this broadcasting history is lost forever, but the AAAMC fortunately has pre- served some important material related to black radio. Founded in 1991, the AAAMC houses both audio and visual materials chronicling the histo- ry of black radio. Much of this material was com- piled for the groundbreaking radio program, “Black Radio: Telling It Like It Was.” Produced by Events Radio Smithsonian, the program chronicles the intriguing history of black radio from its beginnings Camilla Williams in Concert through the 1990s. The AAAMC holds copies of much of the raw audio material used in creating the program. As a young child Camilla Williams loved to perform and sing. She The collection features rare and insightful interviews with was one of the leading members of the generation of African pioneers of black radio such as Jack Cooper, acknowledged as American singers who broke down racial barriers in opera. Williams the first black radio announcer; Al Benson, Chicago radio’s studied voice and piano and graduated from Virginia State College “Old Swingmaster,” whose blues-laden playlists revolution- in 1941. She then moved to Philadelphia for advanced voice study ized black radio; and Georgie Woods, who used his populari- and won scholarship awards from the pioneering black soprano ty as a disc jockey to rally his audience to the cause of civil Marian Anderson. At one solo recital, Williams was heard by the dis- rights. Some stories are truly bizarre, such as the experience of tinguished opera singer Geraldine Farrar, who became her mentor. announcer Vernon Winslow. Winslow created a jive-talking Through Farrar’s influence, an audition was arranged for Williams radio character known as “Poppa Stoppa” for a New Orleans at the New York City Center Opera (now the New York City Opera). radio station, but he could not perform as Poppa Stoppa him- The company’s artistic director cast Williams in Puccini’s Madama self because he was black. Winslow was hired to train white Butterfly, and she made her operatic debut as Cio-Cio San in May announcers to “sound black” so that they could accurately 1946. She performed many leading roles in major operas over the portray the hipster character. One evening, when the regular years, including Puccini’s La Boheme, Bizet’s Carmen, Gounod’s white announcer failed to show up for work, Winslow went Faust, and Verdi’s Aida. She has sung for several American presi- on in his place and was promptly fired. dents and other world leaders. She also sang for the March on In addition to audio materials, the AAAMC holds a multi- Washington in 1963. tude of visual materials, much of it donated by radio person- Williams retired from alities from their private collections. This material enables opera in 1971. scholars to see the faces belonging to these familiar voices and History repeated itself to experience a period when radio announcers were very on November 6, 2002, important figures in the black community. when, at the age of 82, This collection attracts music and cultural scholars of all dis- Ms. Williams took the ciplines from around the world. By listening to the vast col- stage in the Grand Hall lection of radio airchecks, broadcast historians and other at Indiana University’s enthusiasts are instantly transported back in time as they Neal- Marshall Black become reacquainted with, or introduced to, the music and Culture Center, with voices of the past. Even the commercials, which may have 93-year old Borislav seemed like such a hindrance back in the day, bring a smile of Bazala accompanying, recognition. and dazzled the audi- ence with an electrify- -Jason Housley ing performance. Many Housley is completing a masters degree in who had only heard or African American Studies, focusing on black film. read about Ms. For more on AAAMC black radio collections, see feature on the Williams were amazed William Barlow Collection in AAAMC Liner Notes #3, Spring 2002. to see her perform. “I’ve never met anyone like her before and to have her grace us with her presence and God-given talent was a blessing to me and many others,” said Crystal Barry, a junior at IU. Seeing Ms. Williams per- form again was also quite a thrill for audience members who have known her for years. Dr. James Mumford, Director of the African American Choral Ensemble, was elated after the event: “It was an astonishing evening to hear and see the great talent of one of our finest divas. It was so important for my students to observe that this Dutch Rock & Pop great opera star chose to sing black spirituals for her recital. It gave more importance to the need to preserve and respect them as one of Institute Director the greatest examples of the history of our people in song than any- thing I could say in a lecture. They were moved and convicted.” Visits Indiana After the performance Ms. Williams answered questions from the audience and paused to speak to many close friends and students. University She gave us a historical perspective of the struggles and triumphs many still face in accomplishing their goals and dreams. She told of In March 2003, Jaap Van Beusekom, how she had traveled and performed all over the world. She spoke director of the Dutch Rock & Pop Institute of her undaunted faith in God and advised the crowd that by keep- in Amsterdam, Holland, visited the Indiana ing Him first, they can reach the unreachable and tell the untold. University campus to explore with AAAMC director Portia Currently, Ms. Williams is working on her autobiography with Dr. Maultsby possible collaborative general market media projects Stephanie Shonekan, who organized the concert as part of her class that profile Dutch musicians involved in the performance of on Black Women in Music. According to Shonekan, “Ms. Williams’ Black American music in the Netherlands. Maultsby first met performance surpassed my highest expectations. This was a treat for Van Beusekom at a 1993 conference of the International me as the co-writer of her autobiography and for my class because Association for the Study of Popular Music in Stockton, her performance really brought to life our readings and discussions. California, where she presented the keynote address. A year The fact that Borislav Bazala was her accompanist for the evening later, Van Beusekom helped arrange a lecture tour for Maultsby was an added bonus. I am so grateful to Collins Living Learning in the Netherlands. She has since visited the Netherlands many Center, the Archives of African American Music and Culture, and the times to conduct field research on the production of Black African American Arts Institute for supporting this event; to my stu- music in Dutch popular culture, a project that grew out of her dents for helping with arrangements; and most of all to Ms. Williams teaching and a conference she organized with Lutgard for so graciously sharing her story, her song, and the source of her Mutsaers at the University of Utrecht in Spring 1998. Van strength.” Beusekom has contributed to this research by donating to the AAAMC many CD compilations and books on Dutch musi- --Tangera Sharp cians that are produced annually by the Dutch Rock & Pop Sharp recently graduated from Indiana University with a bachelor’s degree in history. Institute .He has also provided space at the Dutch Rock & Pop Institute for Maultsby to interview musicians based in Amsterdam. While visiting Indiana University, Van Beusekom met with Lee Williams, founder of Bloomington’s Lotus World Music &

2 Events Dr. Luvenia George Lectures at IU “Be flexible. If you know your material, you can adapt it to any situation.” These words of wisdom, offered to an eager audience of ethnomusicology and folklore undergraduates, graduate students, and faculty, meant a great deal coming from Dr. Luvenia George. This inspiring woman is a master of flexibility. She started out as a public school gen- eral music teacher in the 1970s and has adapted her own expertise to countless situations during her long career in ethnomusicology, music educa- tion, public media, and museums. On January 26–27, 2003, George braved a snowy Bloomington was inspired by Ellington’s Shakespearean Suite. cology into something that can touch a lot of lives. to share her experiences and insights with the IU A video presented students reading their own Seeing the students interact with the Duke community. Over the course of the weekend, she original poetry, written in response to Ellington’s Ellington curriculum really emphasized the amaz- led a Sunday afternoon workshop and presented a ing things that can be created when an ethnomusi- Monday evening lecture. “Dr. George's workshops were cological perspective is used in conjunction with This series of special events was the brainchild of truly two of the best, if not the education.” Maultsby found the event to be a great Portia Maultsby, who has known George since best, workshops I have attended success. “In addition to exposing our students to they both attended a Society for Ethnomusicology here at IU... I found Dr. George's career options outside the academy, Dr. George meeting in the early 1980s. With the help and workshops to be not only demonstrated the value of their training as schol- sponsorship of the AAAMC, the Department of ars in institutions devoted to the preservation and Folklore and Ethnomusicology, the Office of informative, but inspiring as well.” presentation of cultures,” she said. “A highlight for Multicultural Affairs, and the Department of me was the way Dr. George used her research African American and African Diaspora Studies, life and music. skills to challenge the misrepresentation and/or Maultsby organized this visit to launch the “Public The Monday evening lecture, “The Involvement omission of minority cultures from exhibitions on Sector” track, a new option for folklore and ethno- of Ethnomusicologists and Humanities Scholars in 'American' topics and to negotiate institutional musicology students. “I wanted to find a way to Public Sector Institutions,” took a slightly different politics.” introduce students to career options beyond the approach. Mini-lectures on topics such as Lucie Even students outside of a music discipline academy,” Maultsby reflected, “and to demon- Campbell, gospel music styles, and the ragtime found value in the presentations. Jill Stein, an M.A. strate how their formal training, research, and styles of Scott Joplin and Eubie Blake illustrated student in folklore, commented that “even though technical skills can be utilized in public sector insti- the different ways scholars must present material the specific curriculum Dr. George spoke about tutions.” Luvenia George was the perfect choice as to “sell” it for inclusion in public sector projects was focused on music, I found that the general exemplar. A music educator and ethnomusicolo- such as school curricula, museum exhibitions, and models and methods she used could easily be gist whose primary interests include the history documentary media productions. “Never assume transferred to other topics in traditional arts and behind the music of the African American church, that the general public has heard of the person or culture. The workshop expanded my vision of job George has made huge strides in the public sector subject you are interested in,” she advised. “Your possibilities in the field of folklore and offered as a researcher, consulting scholar, curricula devel- job is to bring to light who started what, first.” In practical tools for actually creating positions and oper, and teacher trainer. She is nationally the wrap up question-and-answer session, it was getting funding for these types of public pro- renowned for her pioneering work in public sector clear that George had sparked interests and grams.” Stephanie Knox, Ph.D. candidate in institutions such as the Smithsonian Institution opened doors. Ethnomusicology, summed it up best: “Dr. and the American Jazz Museum in Kansas City, Although this was George’s second visit to IU, it George's workshops were truly two of the best, if and she founded the hugely successful Duke was the first time she had presented for an audi- not the best, workshops I have attended here at IU. Ellington Youth Project, an educational outreach ence composed entirely of budding ethnomusicol- Dr. George has a wealth of knowledge that she collaboration between the Smithsonian Institution ogists. She expressed enthusiastic approval for the generously shared with her audience. I found Dr. and the Washington, D.C. Public School system. new Public Sector track, calling it “overdue,” and George's workshops to be not only informative, The Duke Ellington Project was the focus of the she also emphasized the post-9/11 need for people but inspiring as well.” Sunday afternoon workshop. Patterning her pres- who can relate to, have respect for, and really care The Duke Ellington educational kit developed by entation after those she conducts for public school about other cultures. In her mind, IU students fit George for the Smithsonian Institution (see Liner teachers, George walked the audience through this the bill— she enjoyed meeting and working with Notes #4 for a review), as well as the production multi-disciplinary K–12 curriculum based on the the students here, and she called them “bright” and education materials from her visit, are housed Duke Ellington Archives at the Smithsonian’s and “interested.” She also made a special point of in the AAAMC, including videos of both presenta- National Museum of American History. She commenting how much IU students seem “to care, tions. These resources are available to IU faculty offered practical advice about curriculum develop- almost spiritually, about their subjects.” and students, and to the general public. ment, interspersed with musical examples, and Faculty and students who attended the events tips on how to break down a musical topic in order had nothing but praise and appreciation for --Sunni Fass to keep students of all ages engaged and focused. George’s visit. “I found Dr. George's workshop to Fass is a research assistant at the AAAMC and a graduate student Audio and video examples of student work be exciting and innovative,” said Katie Strang, an in the Department of Folklore and Ethnomusicology specializing in inspired by the Ellington Project included visual M.A. student in Ethnomusicology. “It really made applied ethnomusicology (museums) and the study of world music art projects and a dramatic reading of Othello that me think about opportunities to turn ethnomusi- commodification and consumption.

board of profes- Beusekom collected as many American LPs as he sionals and could find, from the blues of Bessie Smith to the scholars, the jazz of Louis Armstrong. By the age of 14, Jaap van organization has Beusekom had become engrossed in American expanded to folk traditions. He bought LP compilations that include three included recordings of Pete Seeger and Huddie main depart- Ledbetter (Leadbelly). Drawn to the folk and blues ments—The elements of the music he heard, Van Beusekom Media Center is purchased a five-string banjo and taught himself the institute’s to play. archival arm and The ethnic landscape of the Netherlands gradual- is charged with ly changed beginning with the influx of collecting educa- Indonesians from the 1940s to the 1970s, followed tional and aca- by the arrival of immigrants from Turkey and demic multime- Morocco in the 1960s, and from the Dutch colony dia resources for Surinam in the 1970s (before and after its inde- the study of pendence in 1975). The flavor of Dutch music and popular music; culture also began to evolve into a mixture of the Support and different immigrant cultures. Although Van Subsidy con- Beusekom enjoyed Dutch music, he favored ducts outreach American folk music and joined a folk band, CCC and perform- Inc., as a vocalist and instrumentalist playing the Arts Festival. (The Dutch jazz group, Fra Fra, con- ance activities and promotes Dutch music in the banjo, steel guitar, and dobro guitar. Founded in sisting primarily of members of Surinam heritage, Netherlands and across the globe; and Promotions 1967, CCC Inc. performed covers of American folk performed during the 2002 Lotus Festival.) He also and Projects focuses on the production of special tunes, including the works of Woody Guthrie and visited a class taught by Fernando Orejuela on book and CD projects and coordinates publica- Leadbelly. After recording seven albums, the “Hip-Hop Music and Culture,” which includes the tions and recording projects of emerging Dutch tal- group disbanded in 1974 and Van Beusekom topic “Hip-Hop in Dutch Culture.” ent. In 2002, the institute published a book on joined another group called Electric Tear. In 1977, Van Beusekom was appointed director of Dutch popular music titled Van Brooklyn Naar photo by Stephanie Shonekan the fledgling National Pop Institute, which was Breukelen, written by Saul Van Stapele. -- Stephanie Shonekan founded in 1975 with funding from the Dutch The son of a Dutch Reform Church minister, Van Shonekan holds a doctoral degree in Folklore and Ethnomusicology. Ministry of Culture to promote Dutch music at Beusekom and his siblings were raised listening to She specializes in the autobiographical representations of black per- home and abroad. Now called the Dutch Rock and church hymns, but American popular culture also formers throughout the African Diaspora. Pop Institute and steered by a seven-member seeped into the household because Reverend Van

3 “What I think is going on is what happens with Events whiteness in general—that things get universalized and, therefore, erased. We don’t think about whiteness Michael Eric Dyson and as a specific racial-ethnic formation. As a result of that, ‘white’ equals ‘universality.’ The rupture of race inter- the African American rupts that process. When you appropriate hip hop from a majority white-cultural perspective and the Imprint on Popular attempt is to underplay the particular resonances that emerge from that community, whether that communi- Culture. ty is black or brown or poor people ‘doin’ their thing,’ Dr. Michael Eric Dyson has emerged as one of the what’s interesting is that the appropriation of these art foremost luminaries of the current generation of black forms by predominantly white students often means intellectuals, proving that rigorous investigation of the erasure of the tensions that give hip hop such heft, African American popular culture, which the such immediate social relevance. AAAMC is dedicated to collecting and preserving, “But finally, I think it is part of the larger American should be included in our canon of cultural criticism project of amnesia. I mean we live in the United States and humanities literature. Most of his books have had of Amnesia. As a result we tend to downplay the spe- crossover mainstream appeal while still maintaining cific memories that are dangerous, that are troubling, scholarly depth and a dedication to the eminence of about the racial past and especially how that troubling the academy. racial past relates to the present. So a cultural art form is seized upon as evidence of a political victory: ‘This Dyson’s scholarly publications provide the founda- “When it comes to hip- tion for a public career that is not extended to many art form and my embrace of it as a white person university intellectuals. As a culture critic and public hop, people think they becomes a signifier for the overcoming of political intellectual, Dyson has made the rounds on television are qualified to talk inequalities and social inequities that continue to pre- news programs, National Public Radio, and the uni- about something they vail. Because I love Biggie there is no apartheid. versity lecture circuit. On February 26, 2003, Dyson haven’t studied,” he said. “You Because I like Tupac there is no more serious tension delivered the keynote address at Indiana University’s have to listen to it to understand between the people who love the Confederate flag event in honor of Black History Month, which was the complexities.” and those who are trying to talk about it as a symbol sponsored by the Union Board. Discussing the influ- of vicious bigotry.’ Therefore, a cultural aesthetic artic- ulation is seen as a political negotiation of a specific ence of African American aesthetics on popular cul- “That’s one of the undeniable disadvantages to a sort and that can be problematic.” ture, he attempted to re-direct the debate over black wonderful and edifying universality being promul- Dr. Dyson’s candid response not only supports the cultural production in its relation to race-relations, gated on all black aesthetics,” Dr. Dyson explained. study of African American popular music in the acad- class, gender, and the market. To his captive audience, “In that attempt to reach out to as broad and wide an emy and for the public, but also inherently supports Dyson posed an important question: How does socie- audience as possible, what does not carry across, does the AAAMC and its mission. “When it comes to hip- ty give such close attention to black style in art, cine- not get translated or gets lost in the translation, is the hop, people think they are qualified to talk about ma, music, and sport, yet still deny the political specific history of suffering and oppression and bru- something they haven’t studied,” he said. “You have dimension from which these artistic expressions tality and violence from which the art form emerges. to listen to it to understand the complexities.” Without sprung? Even when the lyrics themselves concentrate on cer- the attempt to study the art form and a facility that Of course Dyson’s question fascinated me as it is one tain facets of that suffering and brutality—police bru- preserves and disseminates such materials for that I ask myself often, especially with regards to my tality, economic suffering, poverty, racial apartheid— research and instructional purposes, one is likely to own experience teaching a course on hip hop music even as the specific manifestation of racial oppression miss the most important part of the African American and culture to a predominantly (and sometimes exclu- is articulated at the level of lyrics, the larger philo- legacy – creativity that emerges from an environment sively) white student body. In an age when the media sophical and ideological arguments sometimes get of oppression. “We need to intervene intellectually by celebrates a white rapper as king of the genre and rap lost on students, white students. “What it says to me studying it, aesthetically by listening to it and cri- audiences are predominantly white, it stands to rea- as well is that it is an attempt sometimes by majority tiquing and critically analyzing its components,” son that my white students identify with it—even mainstream students, white students, to deny the par- Dyson concluded. Having a warehouse of black musi- claim it—as it is the music and culture that pervades ticularity of the suffering in relationship to their gen- cal productions, an institution dedicated to its conser- their upbringing. As a result, they are uncomfortable eration. In other words, that stuff was in the past. It vation and public use, serves as reminder that our col- with the notion that the objective of the class is to happened. It occurred. We are over it now. The unifi- lective American musical creation was borne from a focus on hip hop as a black musical and cultural art cation we generate as a result of being a part of the hip specific culture and particular American experience. form within the continuum of black aesthetics and hop community and culture has distanced us from the creativity. They would rather see things as they past horrors. So there is a kind of dis-identification should be; that is, color-blind: “It’s not black music; with the racist past and an over-identification with the -- Fernando Orejuela it’s just music.” “Music belongs to everyone.” “Why so-called multi-racial future. What you end up losing Orejuela is a doctoral candidate and visiting faculty in the do we have to stress the racial differences and make it is the specific history and politics of race and suffering Department of Folklore and Ethnomusicology. exclusive?” that provide so much of its power. He is a research associate for the AAAMC.

by focusing on flute performance and collection and preservation of materi- she explains, “In dealing with black People music education during her under- als of historical and legal value. Apart popular music, it’s more difficult to graduate years at Western from managing and supervising the define the boundaries of the collec- New AAAMC Washington University. After gradu- day-to-day activities of the Archives, tion development policy. Do we col- Head of ating she decided she did not want to Nelson-Strauss also served as pro- lect forms of black popular music teach music in the public schools, so duction manager of the “From the such as rap from Africa or France Collections she began to focus instead on her per- Archives” CD series. Independent because it is related to African formance skills by moving to research conducted during this peri- American rap? Do we only collect the Bloomington, where she studied pri- od included an extensive investiga- work of American artists? Though vately with professors at Indiana tion of African American classical one must leave room for flexibility, it University and with a member of the music performances in Chicago dur- is important to establish boundaries, Indianapolis Symphony Orchestra. ing the first half of the 20th century, so that we can build upon our After a couple of years, she realized with a particular focus on groups strengths and not collect in too many that she would probably not have a appearing at Orchestra Hall. different directions. Another problem “great career as a flutist” and decided Nelson-Strauss enjoys archival is that popular music in general is to pursue a Masters of Library work for several reasons: “First, I more ephemeral in nature, so it can Science with a music specialization, enjoy the challenge of working with a be difficult to locate significant collec- receiving her degree in 1985 from variety of different formats—sound tions of primary source materials. But Indiana University. recordings, moving images, music, this also means we must actively Nelson-Strauss branched into a photographs, manuscripts, business engage in outreach activities, and focus on archives when the position records, press clippings, scrapbooks, perhaps become more proactive in of librarian/cataloger opened up at and other historical materials. Each developing documentation strategies IU’s Archives of Traditional Music format has its own set of preservation for certain groups or genres of (ATM). During her four years at the issues as well as options for arrange- music.” ATM, she gained valuable skills in ment and description. Second, I think Though her immediate priority is to the areas of cataloging, audio preser- there is often more flexibility in select and implement an appropriate vation, and archival processing. She archival work. I have had an oppor- library database system for its hold- also completed coursework for a tunity to do just about everything— ings, Nelson-Strauss also intends to masters in Folklore/Ethnomusico- cataloging, reference, records man- help promote the visibility of the logy, and conducted extensive agement, conservation, oral histories, AAAMC by “increasing awareness in After living and working in Chicago research into the life of Natalie Curtis exhibits, CD reissues, media projects, the archival community, through my for 13 years, Brenda Nelson-Strauss Burlin, one of the first to make field and publicity. Third, I like the chal- affiliations and activities in the Music returned to Bloomington, Indiana, recordings on wax cylinders of lenge of working with unpublished, Library Association, the Society of last August to assume the position of African American musicians. primary source materials, which usu- American Archivists, and the AAAMC’s Head of Collections. In In 1989, continuing her archival ally require a fair amount of historical Association for Recorded Sound her new position, she has spent career, Nelson-Strauss moved to research, and often demand creative Collections, and also by reaching out countless hours during the past year Chicago to establish an archive for approaches to the arrangement and to collectors.” sorting through and reorganizing the the Chicago Symphony Orchestra. In description of the collections.” -- Stephanie Shonekan archive’s holdings. Nelson-Strauss her role as director, she was responsi- Her new position as Head of Shonekan holds a doctoral degree in Folklore and brings significant experience in per- ble for documenting the activities of Collections at the AAAMC brings Ethnomusicology. She specializes in the autobio- forming arts archives to this position. the orchestra as well as the Chicago new challenges. Pondering the distin- graphical representations of black performers She began to formalize her interest in Symphony Chorus, Civic Orchestra, guishing elements of the AAAMC as throughout the African Diaspora. music early in her academic pursuits and Symphony Center, through the a repository for black popular music

4 Research Associate Highlight: photo by Tyagan Miller

The Archives of African American Music and Culture maintains a group of Resident the audience asking for encores. Now, he could do the role play- Research Associates from various disciplines who act as resource consultants to the staff ing with a real guitar. Gingerly, he lifted it out of its case and and the patrons of the archives. This issue features musician and teacher Tyron Cooper. He is the Director of Indiana University’s Soul Revue. Cooper’s relationship with the slipped the strap over his head. As he got into the imaginary AAAMC is symbiotic in the sense that he is able to use the AAAMC audio recordings show, he became more enthusiastic and turned to give his invis- as resources for his group’s performances while also providing consultation to the ible band members a cue to change key. He heard a fearful AAAMC, particularly in the area of its music educational programs. crunch as the stem of his father’s treasured Gibson guitar hit the side of the dresser and broke. Sensing that this was a potential- photos by Stephanie Shonekan Tyron Cooper and the musical ensemble he directs in ly serious crime, Tyron quietly ended his show, carefully placed Bloomington, Indiana, are the same age— both were born in the dead instrument in its new coffin, and put it back in the clos- 1971. Cooper is now in his third year as the director of the et. Indiana University Soul Revue, a 30-year-old performing Hours later, when his father returned from a hard, hot day on ensemble that specializes in African American popular music. a construction site, Tyron was summoned to explain how the When Cooper first took on the mantle of the directorship, he guitar had met such a sudden and complete end. Realizing that brought a fresh, new look and sound to the ensemble. this could get him into serious trouble, Tyron answered, “What Audiences were first curious and then fascinated with his new guitar?” Then something unexpected happened. His father approach. Unlike some past Soul Revue directors who assumed decided that since Tyron was so desperate to play guitar, he a relatively demure role by directing the instrumentalists in a would buy him his own. So what could have been a bad expe- subdued manner and coming to the forefront perhaps only at rience turned out to be a blessing for the budding musician. the end of the show, Cooper places himself in the center of the Music lessons were expensive, so Cooper was only able to take performance stage. He directs not only the band but the singers, one drum lesson when he was about 6 years old—but it was cuing them in and out throughout their performances. Cooper’s enough. That sole lesson on live notes versus dead notes has style does not overshadow the performers; instead it showcas- remained with Tyron all these years. “I could feel the live notes es them. Cooper has helped the student group to evolve into an as the teacher demonstrated them and understood the con- exciting, revitalized ensemble, taking on old and new songs cept.” The family, including his parents, formed a singing with vigor and finesse. group known as the Cooper Singers. Throughout the year, they A southern boy by birth and at heart, Cooper is far from home. performed at churches, auditoriums, and other venues all over Soon after he was born in Florence, South Carolina, his family Lake Worth. At the same time, Cooper was musically active in moved to Lake Worth, Florida. Cooper, his sister, and four junior high and high school, singing first tenor in the school brothers all loved music from an early age. Their home was choir and playing drums and trombone in the jazz and march- warm and focused on education, church, and music. Both par- ing bands. The character Devon in the 2003 movie Drumline ents performed in the Church of God in Christ Church where provides a striking similarity to Cooper’s exceptional musical the family worshipped. Their father played guitar and their competence yet surprising inability to read musical scores until mother sang in the choir. Cooper remembers his mother singing he was a senior in high school. Cooper remembers, “I couldn’t the blues at home as she was doing her chores. So the children read a lick but I would just hear something and be able to play were introduced to music from an early age. Their enthusiasm it.” In spite of this, he was the leader in all instruments and was taken to a whole new level in 1976, when they found a new singing roles he took on in high school. set of instruments under the Christmas tree, a long- anticipated Towards the end of 12th grade, his choir director advised him gift from their father. Before dusk of that same day, all the that he was not cut out for college. With graduation approach- instruments were dead—beaten on, strummed, banged on, ing, and resigned to finding a job after high school, Tyron was played thoroughly. “We tore those things up,” Cooper remem- summoned by the school guidance counselor, Debbie Range. bers fondly. She told the young senior of a performance by the choir of The Coopers’ neighborhood was saturated with musical Bethune Cookman College at a venue downtown. Range sounds as well. Folks would play instruments, buckets, any- instructed Cooper to wear a shirt and tie, and attend the func- thing they could lay their hands on in their yards, sharing tion. Taught always to obey grown-ups, Cooper got to the show rhythms with their neighbors. Cooper remembers a talented in the prescribed shirt and tie. He was impressed by what he drummer named Darryll Deal who played his drum set in his heard, but even more by the guitar player who strummed away backyard. on a double-neck guitar. He thought he owned the only double- necked guitar in Florida. Although Cooper loved every instrument, After the show, Cooper bravely approached the guitar player he was particularly drawn to the drums and and struck up a conversation. “Hey man, nice guitar… I got the bass guitar because of their percussive one,” he said to the guitar player who also thought he had the nature. It was no surprise that the very first only one in Florida. “Can you play?” “Yeah I can play.” Overhearing this banter, the director of the choir, Dr. Rebecca song he learned was the funk anthem “Fire” Walker Steele, told the band to start up a tune and instructed by the Ohio Players, which gave him ample Cooper to go ahead and play along on the guitar. Doing what opportunity to practice his bass line. he did best, Cooper took the guitar and impressed the director and the band. She told him to make his way down to Bethune One afternoon about a year after the receipt and demise of the Cookman College in August where he would be awarded a full Christmas instruments, young Tyron wandered into his father’s scholarship. bedroom and headed straight for the closet. As he approached The day his parents drove him down to Daytona Beach to start the taboo area, he recalled his father’s stern voice as he had left school at Bethune Cookman will always be remembered. It was for work that morning: “Tyron, do not go near my guitar.” The his first time away from home by himself, and as his parents warning did not make an impact. Tyron loved to stand in front left, a fight broke out on campus. Just as Cooper was beginning of a mirror and pretend he was playing guitar to a stadium full to despair, sophomore Eric Carter, the guitarist he had met of adoring fans. He could always imagine the sounds that came when the choir had visited Lake Worth, found him and took out of his instrument and the band behind him. He could hear -continued on back

5 Cooper continued... Indiana University Soul Revue, a 30- children were introduced to music into his father’s bedroom and headed year-old performing ensemble that from an early age. Their enthusiasm straight for the closet. As he specializes in African American pop- was taken to a whole new level in approached the taboo area, he ular music. When Cooper first took 1976, when they found a new set of recalled his father’s stern voice as he on the mantle of the directorship, he instruments under the Christmas tree, had left for work that morning: brought a fresh, new look and sound a long- anticipated gift from their “Tyron, do not go near my guitar.” to the ensemble. Audiences were first father. Before dusk of that same day, The warning did not make an impact. curious and then fascinated with his all the instruments were dead—beat- Tyron loved to stand in front of a mir- new approach. Unlike some past Soul en on, strummed, banged on, played ror and pretend he was playing guitar Revue directors who assumed a rela- thoroughly. “We tore those things to a stadium full of adoring fans. He tively demure role by directing the up,” Cooper remembers fondly. could always imagine the sounds that instrumentalists in a subdued manner The Coopers’ neighborhood was sat- came out of his instrument and the and coming to the forefront perhaps urated with musical sounds as well. band behind him. He could hear the only at the end of the show, Cooper Folks would play instruments, buck- audience asking for encores. Now, he

photo by Stephanie Shonekan places himself in the center of the per- ets, anything they could lay their could do the role playing with a real “Prof. Cooper's teaching formance stage. He directs not only hands on in their yards, sharing guitar. Gingerly, he lifted it out of its style is such that he's able the band but the singers, cuing them rhythms with their neighbors. Cooper case and slipped the strap over his to elicit maximum effort and in and out throughout their perform- remembers a talented drummer head. As he got into the imaginary ances. Cooper’s style does not over- named Darryll Deal who played his show, he became more enthusiastic consistent preparation from shadow the performers; instead it drum set in his backyard. and turned to give his invisible band his students by insisting on showcases them. Cooper has helped members a cue to change key. He nothing less than excellent the student group to evolve into an Although Cooper loved heard a fearful crunch as the stem of musicianship at all times...” exciting, revitalized ensemble, taking every instrument, his father’s treasured Gibson guitar on old and new songs with vigor and he was particularly drawn hit the side of the dresser and broke. The Archives of African American Music and finesse. Sensing that this was a potentially Culture maintains a group of Resident Research A southern boy by birth and at heart, to the drums and the bass serious crime, Tyron quietly ended Associates from various disciplines who act as guitar because of their resource consultants to the staff and the patrons of Cooper is far from home. Soon after his show, carefully placed the dead the archives. This issue features musician and he was born in Florence, South percussive nature. It was instrument in its new coffin, and put teacher Tyron Cooper. He is the Director of Indiana Carolina, his family moved to Lake no surprise that the very it back in the closet. University’s Soul Revue. Cooper’s relationship with Worth, Florida. Cooper, his sister, and first song he learned was Hours later, when his father the AAAMC is symbiotic in the sense that he is able four brothers all loved music from an returned from a hard, hot day on a to use the AAAMC audio recordings as resources for the funk anthem “Fire” by his group’s performances while also providing con- early age. Their home was warm and construction site, Tyron was sum- sultation to the AAAMC, particularly in the area of focused on education, church, and the Ohio Players, which moned to explain how the guitar had its music educational programs. music. Both parents performed in the gave him ample opportu- met such a sudden and complete end. Church of God in Christ Church nity to practice his bass Realizing that this could get him into Tyron Cooper and the musical where the family worshipped. Their line. serious trouble, Tyron answered, ensemble he directs in Bloomington, father played guitar and their mother “What guitar?” Then something Indiana, are the same age— both were sang in the choir. Cooper remembers One afternoon about a year after the unexpected happened. His father born in 1971. Cooper is now in his his mother singing the blues at home receipt and demise of the Christmas decided that since Tyron was so des- third year as the director of the as she was doing her chores. So the instruments, young Tyron wandered perate to play guitar, he would buy

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