ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE

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featuring Bootsy Collins & Dr. Scot Brown aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for Greetings, repository recognized and utilized the purpose of research and by multiple constituencies within the study of African American When I began my new role as Director university and beyond. Much gratitude is music and culture. of the AAAMC on January 1, 2018, it owed to these two prestigious scholars in aaamc.indiana.edu was evident to me that the past directors, Black music who carried the torch as past Drs. Portia Maultsby and Mellonee directors. Burnim, established a firm foundation As current Director of the AAAMC, Table of Contents and legacy for me to extend upon. Dr. my vision is to increase our collection Maultsby founded AAAMC in 1991 acquisitions and visibility in ways that From the Desk of working tirelessly for over two decades foster unique interactions amongst and the Director...... 2 while collecting a treasure trove of vital between the academy, industry and information representing our current community sectors. With this broad In the Vault: holdings on Black music and culture, vision in mind, I have initiated a few Recent Donations...... 3 which include both published and strategies for success. First, during unpublished materials in a variety of spring 2018, I developed a new forum formats: A/V time-based media, paper, series called “Groovin’ Black” where Bootsy Collins Comes photographs, memorabilia (wood, metal, students, premiere scholars, acclaimed to Campus...... 4 plastic, cloth, etc.). More specifically, this featured performers, music producers, content includes over 25,000 audio and supportive instrumentalists and vocalists, Funkology: A Conversation video field and commercial recordings, engineers and industry executives, Featuring Bootsy Collins & over 6,000 photographs, ethnographies among others, will participate in special Dr. Scot Brown...... 6 and oral histories, printed and manuscript programming, which features them in scores and sheet music, radio programs, dialogues about selected genres within media and museum production materials, the Black music continuum. In March, One on One Interview: personal papers and manuscripts, posters, the AAAMC initiated “Groovin’ Black” Michael Nixon...... 14 and other artifacts and ephemera. Clearly, by hosting a program called “Funkology: Dr. Maultsby was a true visionary. A Conversation with Bootsy Collins Featured Collection: Under Dr. Burnim’s leadership from and UCLA’s Dr. Scot Brown.” During From D.C. to Bali – 2014-2016, AAAMC made major strides “Funkology,” Collins and Brown were The Gertrude Rivers in attracting significant collections, positioned center-stage at the IU Cinema Robinson Collection...... 22 most recently in the area of gospel to discuss, in front of a packed house music, through acquisitions from such and overflow room, the historical origins Dr. Mellonee V. Burnim distinguished industry leaders as Dr. of funk music as well as the former’s Retirement...... 25 Deborah Smith Pollard (2015), well- innovative role in the genre for several known Detroit gospel music announcer decades. The IU Soul Revue, directed by and scholar; Jacquie Gales Webb (2015), Mr. James Strong, served as the opening Sound Bytes: an award-winning producer and on-air performance before Collins and Brown Digital Initiatives...... 26 gospel radio personality in Washington, entered the stage, thus contributing to D.C., who has written and produced our goal to bring our collections alive radio documentary segments for National through performances representing Public Radio and the Library of Congress; music genres housed at the AAAMC On the Cover: and Dr. Teresa Hairston, publisher of and featured in program events. During

ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE Gospel Today, Gospel Industry Today, their campus visit, Collins and Brown and founder of the Gospel Heritage also interacted, in a closed-forum, with liner notesNO. 22 / 2017-2018 Foundation, which gathers annually to numerous undergraduate students from celebrate trailblazers in gospel music the IU Soul Revue and the Jacobs School and to promote excellence in the field. of Music’s Jazz Department as well as

featuring Bootsy Collins & Due to the profound efforts of Maultsby graduate students enrolled in my course, Dr. Scot Brown and Burnim, the AAAMC has made “African American Music: A Socio- significant contributions to the research, cultural Perspective,” thus providing teaching and service missions of Indiana aspiring performers, industry insiders and University through the collection, researchers with access and rare insight documentation, contextualization and from celebrated experts. Needless to say, dissemination of music and associated “Funkology” was a hit on campus and Bootsy Collins on stage at the cultural practices of people of African beyond, as the AAAMC continues to IU Cinema for “Funkology” descent in the United States. Even more, receive numerous responses of affirmation the AAAMC has evolved into a valued from researchers, students, performers

2 and music enthusiasts throughout the partnerships among other definitive as we work to preserve, document nation. Even more, this event sparked components that shape our specific and and affirm the valuable experiences the development of new relationships broad aims. We are also reconstituting and legacies of creative people who between the Archives and potential our national advisory board and research have enriched the world through their collection donors who desire to preserve associates to ensure that AAAMC expressive voices. I look forward to their unique life-stories and experiences sustains meaningful engagement and seeing you soon at Indiana University’s in Black music at the AAAMC; a vital import within academic, industry and Archives of African American Music and space that can affirm and disseminate community settings. These are but a Culture. their legacies globally. I am also excited few of our initiatives that will assist us to note that “Funkology” was the with bringing our collections alive and All the best, result of a collaborative effort, with the galvanizing diverse partnerships around following entities on campus serving as tangible efforts to preserve and transmit co-sponsors, providing specific resources the legacy of Black music and culture and expertise for the success of the widely. event: Office of the Provost; Office of It is my pleasure to serve as the the Vice President for Diversity, Equity, director of the AAAMC. However, as and Multicultural Affairs; IU Cinema; we move towards the future, it is going Neal-Marshall Black Culture Center; to take all of our efforts to maintain the Department of African American and Archives as a relevant groundbreaking African Diaspora Studies; and the source on Black music and culture. I African American Arts Institute. ask that you consider supporting this Along with special programming noble cause through your presence at associated with our “Groovin’ Black” our many events, ongoing use of our forum, AAAMC is developing a three collections and other resources in person to five year strategic plan focusing on and online, and financial gifts to the collection development, programming, AAAMC as well as material donations. I Tyron Cooper, Ph.D. and funding as well as on and off campus do hope you will join us at the AAAMC Director of AAAMC

In the Vault: Recent Donations

CD/DVD/Book Donors: ACT Music DL Media Mack Ave. Records Shorefire Media AfroPop Doreen Da Agostino Manifesto Records Silva Screen Albany Records Dust to Digital Mark Pucci Media Simple Complex All Eyes Media Ebony Hillbillies Mascot Label Group Smithsonian Folkways Atom Splitter PR ECM Records Michael Woods Sony Legacy Basin Street Records Engine Entertainment Minor Music Records Stax Records Bear Family Records Fat Beats Missing Piece Group Stones Throw Bellamy Group Fat Possum Motema Strange Music Big Hassle FLO Management MVD Ent. Group Studio Rockers Blind Raccoon Gearshifter Blues New World Records Sunyata Records Blue Engine Records Girlie Action Media Numero Group Terri Hinte Blues Images Glass Onyon PR One Root Music Tiny Human Braithwaite & Katz Gospel Friend Orleans Records Tom Estey PR Brooks Long Great Scott Prod. Paraclete Press Tyscot Records Calabro Music Media Ground Up Music PIAS Univ. Chicago Press Capitol Christian Hearth Music Plaid Room Records Univ. Florida Press Capitol Entertainment Howlin’ Wuelf Media Press Junkie PR Univ. Illinois Press Cedille Records I.M. Records Rat Pack Records Verve Label Group Chris Daniels Imaginator Records Reach Records Very Special Rec. Chris Thomas King International Anthem Record Kicks VP Records Cleopatra Records JAG Entertainment Reggie Young Warner Music Compunctio Records Jazz Promo Services Resonance Records Wax Poetics Concord Music Group JDI Records Rhino Entertainment WindingWay Records Conqueroo Kato Hammond Rock Paper Scissors Wolf Records Culture Power 45 Kayos Productions Ropeadope Records Woodstock Sessions Darryl Yokley Louisiana Red Hot Secret Stash Delmark Records Lydia Liebman Secretly Canadian Dennis Laffoon M.C. Records Shanachie Ent. The AAAMC welcomes donations of photographs, film, video, sound recordings, music, magazines, personal papers, and other research materials related to African American music.

3 Dr. Tyron Cooper and Bootsy Collins tour the Ruth Lilly Auxiliary Library Facility. Bootsy Collins Comes to Campus On March 20, 2018, as part of the where you keep the treasures!” Bootsy was very impressed at how good it could AAAMC’s “Funkology” event, Dr. Tyron was especially taken by the section sound! I felt honored to be able to meet Cooper introduced legendary funk housing sound recordings and films and Bootsy and to share a unique recording icon Bootsy Collins and UCLA funk the conservation-level environmental with him that day.” Bootsy also remarked historian Dr. Scot Brown to the Indiana controls. “I had no idea a place like this that he gained a new understanding University Bloomington campus. While could exist!” he exclaimed. “The stuff in of audio preservation, eager to apply conversing with administrative personnel here could live forever!” strategies learned at MDPI to his personal and students alike to learn more about Bootsy was even more captivated with archive. And, hopefully, he will be IU’s programs as well as the AAAMC’s IU’s Media Digitation and Preservation thinking of AAAMC as a viable space to collecting and archiving efforts, they also Initiative (MDPI). As part of his MDPI store his legacy materials in the future. imparted much funk wisdom along the tour, audio preservation engineer Melissa The next stop on the tour was the way. Widzinski explained the wax cylinder Neal-Marshall Black Culture Center, Beginning his day with a tour digitation process utilized to preserve where Bootsy and Dr. Brown met with of the Ruth Lilly Auxiliary Library these rare recordings. Dressed in black selected students from the IU Soul Facility (ALF), Bootsy was impressed and silver, wearing his star-shaped Revue, Dr. Cooper’s graduate course, with the expansiveness of the state-of- rhinestone sunglasses and classic top “Sociocultural Perspectives in Black the-art storage facility in addition to hat, Widzinski notes how eye-catching Music,” and the Jacobs School of Music the meticulous methods IU employs Bootsy was as he entered the main studio: Jazz Studies program. After students to conserve collections. Individuals “He was very tall and towered over settled into the Bridgwaters’ Lounge employed within ALF found Bootsy’s me as I explained my work. I did not and Dr. Cooper introduced both guests, personality to be infectious as he shared know what to expect, but he was a very Bootsy began the conversation by cheerful and friendly words with down-to-Earth guy, genuinely curious, encouraging students to appreciate their everyone he encountered. Clearly, Bootsy and asked a lot of thoughtful questions.” campus surroundings while still at IU and never meets a stranger. He was in awe of After explaining the digitation process, to “never forget where you came from.” the collections vault, noting its physical Widzinski played a cylinder recording IU Soul Revue director, James Strong, Jr., vastness and high-density shelving which containing John Alden Mason’s 1915 began the question-and-answer session allows the storage of materials ranging Puerto Rican field recordings for Bootsy by asking Bootsy to describe his overall from rare books to costumes and fine in order to demonstrate MDPI’s audio work process. Bootsy explained that his art. Looking around with wide eyes preservation methodology. Sharing her goal is to make good music, enjoy himself, and open mouth, he remarked, “This is thoughts on the event, she states, “Bootsy and spread love to everyone he meets.

4 “We funk you, you funk us” has always said, and eventually his style became the He reflected on how he absorbed James been his work motto, and from the embodiment of funk itself. Brown’s musical style, which in turn led earliest stages he considered the music When asked what he thinks of the to his rhythmic groove contributions to be of main importance over all else, music business today, Bootsy grinned, with George Clinton and Parliament including monetary compensation. He exclaiming, “It’s all about getting paid Funkadelic. His parting advice to stressed the importance of frustration first now. That’s been hard for me to everyone? “Be different. Be what you are within the creative process, encouraging get used to.” But he quickly added that inside instead of what they tell you.” Wise, all to turn disappointment into a drive every generation has its own taste, and empowering words from the one who for change. Bootsy learned this lesson this generation loves hip hop, so his own believes in the importance of staying true early in his career, when comments opinion doesn’t matter in the end. What to oneself. made by his idol James Brown regarding matters, he stated, is that “the music As the event drew to a close, Bootsy him and his bandmates’ lack of musical keeps flowing and making people happy.” was escorted to the IU Soul Revue skills challenged their self-esteem; Regarding musical production today, rehearsal, where he listened to the however, those same remarks served Bootsy and Dr. Brown discussed how the students run through the musical as the band’s catalyst for musical and internet has enhanced the collaboration numbers they would perform as personal self-improvement from that process, explaining that as the methods of the opening act for “Funkology: A point forward. Bootsy additionally music production adjusted to the current Conversation with Bootsy Collins.” stressed the importance of embracing technology, he changed with them. As No doubt this will remain one of the your own uniqueness. His clothing style, Dr. Brown stated, “The mechanics haven’t highlights of the students’ IU experience. he explained, began in his formative changed. The structure is still there. The It is a gift that keeps on giving, as years due to his hand-me-downs that instruments are just a little different.” members of Soul Revue performed rarely matched. Years of teasing about his Bootsy and Dr. Brown continued with with Bootsy during the month of July. clothing choices emboldened him on his a discussion of the importance of Bootsy’s Evidently, a meaningful relationship is road to musical stardom. Bootsy wore musical influences. From a young age, underway between Bootsy Collins and whatever outlandish outfit he wanted Bootsy listened to all kinds of music, IU. without paying attention to what anyone including blues, R&B, rock, and soul. — Amy Aiyegbusi

Bootsy Collins (center) with the IU Soul Revue and Director James Strong (right).

Dr. Scot Brown and Bootsy Collins meet with IU Students. Bootsy tours IU’s Media Digitization and Preservation Initiative and receives audio preservation advice from Rob Mobley and Mike Casey.

5 A Conversation Featuring Bootsy Collins & Dr. Scot Brown

6 Following is an edited transcript of the wanted to hear from us. They came to us playing the music, but, I mean, as conversation between Bootsy Collins and the concerts, we’re selling out concerts, time went on, people started connecting Dr. Scot Brown on March 20, 2018 at the [and] this was right before we even the dots. So, it took a while but once they IU Cinema. started making records. I mean, records said “Ohh that..,” and then the parents that massive [numbers of] people heard. would say, “Well you know that ain’t SB: Wow! I’m sitting next to Bootsy So, it was all about the people and us nobody, that is P-Funk.” And the kids Collins. This is the third time we’ve been connecting, and so that pushed it to the started connecting the dots, and now it’s able to do these conversations in a forum masses. Yeah, that thing funk is alright! all kinda connected. So I think it’s a good like this. I have to say every time we’ve thing and it encourages people to go on done this, we’ve pulled up some funk SB: But there is a lot of controversy, and get funky with it! below the surface that a lot of folks didn’t I shouldn’t say controversy, but some know existed. First, Bootsy is not just a people see things like “Uptown Funk.” SB: Y’all like that? Give it up! So, legend that we talk [about] in the past, You have Childish Gambino who’s got now Imma go back and forth in time, but he’s still making new beautiful music some funk that sounds very close to a okay? This is like some “Aqua Boogie,” for us, and I want us to move back and few other songs that we may have heard. you know? “Flashlight.” Extra-spacial forth in time, in a funk kind of way, so But the point is how do you see that? Is time travel we ‘bout to do here…I’d like that we can be in the present, go back, this an opportunity, is this a challenge, a to ask you about someone that I don’t come forward. Is that alright? So I want setback? Where are we right now? think people have covered sufficiently to talk about this moment, the moment as an influence, and that is the guitar that we’re in now. It’s kind of like a BC: I think it’s an opportunity for phenomenon known as Jimi Hendrix. Funk Renaissance, if you will, because I us all to embrace each other. That’s the Now the reason I bring up Hendrix is, remember in the 1990s, 1980s…people main thing. Funk is the thing to bring of course, [he played with] the Isley weren’t claiming [funk] like they do everybody together because, for real, Brothers [and they] are from Lincoln [now]. So, what do you think about nobody wants to be the one to bring Heights, [Ohio.] So I would like you to this moment in funk, in terms of the everything together. But the “funk don’t talk about Hendrix. How does he fit into opportunities that it presents to veteran give a funk.” As long as you’re having a your funk story? This is somebody who artists like yourself? great time and everything is cool, you was obviously breaking out of barriers. know, “It’s a party.” And so we need to BC: Well, you know, I think that back get back to that, [back to] embracing BC: I’m glad you mentioned that in the day funk was like a bad word, so each other. And Gambino and Bruno [laughs]…Before we even went out people tend to kinda push away from Mars? I mean, it’s a beautiful thing. [on tour] with James Brown, Jimi it. I know when George [Clinton] and Hendrix was coming on so strong, and I I started doing interviews, and the SB: So we don’t need a generational remember I had this room. We had about radio station would say, “Y’all can do gap, we need some generational flow? three rooms in this apartment. Every interviews and everything, but just don’t two months we used to have to move say that word funk.” That made it kinda BC: That’s exactly right. And I think because the rent was due. I remember hard for us to do because our whole what they’re doing is representing that this one place, I had this room and it situation was “funked up.” Once George today, which is great because they’re was about…six feet by eight feet. I had and I looked at each other and it was like, doing what the rappers did for us. When a little bed in it. I had my black lights. I “Either we can say funk or we can’t do rap came in, the rappers started taking had Hendrix right up on the wall, right the interviews.” That’s the way we kinda what we were doing and sampling it. Of there, and every time my little nephew rolled, and the people demanded they course, people didn’t know it was really came through the room, he would stand

Bootsy Collins (Warner Bros., 1984; AAAMC Photo Ultra Wave (Warner Bros.,1980; AAAMC CD 238) Jimi Plays Berkeley (Legacy Ent. 2012; AAAMC DVD 269) Collection)

7 Dr. Scot Brown leading the conversation with Bootsy Collins. there…and he would look, and he would and he was always there. I got out on the me, “Wow, you got all of that from James shake his head. I asked him years later bus with James Brown, and we’d be on Brown from just the time you played what was that all about and he said, the back of the bus playing Jimi Hendrix. with [him]?” It was like the same thing “Man, there was some strange thangs with Jimi. We got all of that out of him in going on in that room” [laughs]… But, SB: Was Mr. Brown on the bus? the short time he was [alive], and see, we now Jimi, that’s the music I had playing… don’t put those things together. But that Most people didn’t understand it. So the BC: Until Mr. Brown busted us short time was enough time for me with more people didn’t understand it, the (laughter). Let me clarify, okay? Yeah, we James Brown, to get what he was, get more I got off on it. Because it was some was doing the wild-thing on the back of his whole thing. I got it! I got to a point brand newness that I’m fully embracing, the bus, but that was before Mr. Brown to where I could say, “Man, I could do and it wasn’t just the music. [Jimi’s] busted us. Once he busted us, it was like, James Brown better than he can.” That whole demeanor, his whole everything, okay, [we] can’t do this, you know? It was sounds like James Brown, don’t it? But I was so universal. It was like, that’s what like, “Y’all playing Jimi Hendrix on my start feeling like that once I start checkin’ I want! That’s what I wanna be like. He bus?” (imitating James Brown’s voice). So him checkin’ me out. He would check me was the cat that I looked to, not only we knew we had to cut that out. out like, “Man you’re too close on me— [for] the musical change, but he could back off, back off son, you’re too close.” do anything. He could do no wrong, you SB: Well that’s interesting to talk So he would get kinda upset about me know? That mug can wear anything and about because I’d mentioned there’s a big being able to do his thing. I was giving it’s cool because he’s crazy, right? Jimi leap in your story in terms of sound. I him props, “I’m learning this from you, Hendrix could wear anything, he could mean, the groove with James Brown, you know?” He used to always cut me play anything, and that’s where I wanted what you’re doing with the ONE. That down. my music to go to. Just, “Oh that’s Bootsy was a revolution. But then, by the time Collins, man, he can play anything.” we hear you on “Chocolate City” and all SB: He had to keep you in check? that’s going on with the tone of the bass, SB: There’s [a] kind of freedom in the the licks you’re playing, the freedom you BC: Oh, [he] had to keep me in check. fact that he was able to be who he wanted have. How did you get from one to the I was a young fool man, and I got high! to be and break the rules. other? Because it’s really a short period (laughs) of time. BC: I admired that. That’s who I look SB: Well, there is something you’re up to, that’s why I had him on my wall, BC: Well a lot of people have asked doing that is elevating your playing by the

8 time you get to P-Funk, and bass players SB: You weren’t cramping his style SB: So, you went to [Fela’s] club [in understood this. There is something you anymore? Nigeria]? do on bass, “vooommm, vooommm.” I didn’t hear any “voommm” on James BC: Right. Well, he didn’t find that BC: Yeah, he invited us. Club don’t Brown. So, did you have an inner thing out until we had to play together because sound right—it was a massive place. No going on that you had to hold back while his bass player didn’t show up one night. roof on it, so we couldn’t tear the roof off, you were playing? Yeah, so it had to come down to that or the roof has already been torn off. So before he accepted his little brother. So, when you walk in you look up and you BC: Well, there were things that was by him saying, “Okay cool, come on see all these bright stars, and the rhythm being developed, you know? I mean, down,” you know? I said, “Well, I need is just killing you. I mean, the rhythms James Brown taught me about the ONE. four bass strings because all I got is this that they’re playing…it was so new to See, I was still learning too, because guitar.” I had a twenty-nine dollar guitar, us because, man, they got guitars and when I got with James Brown I hadn’t and that’s what I learned on. “If you can bass along with the drums…and they played bass long. I’d just learned on the get me four strings, four bass strings, got horns. Well, of course Fela played guitar and I played with my brother. I’m your man.” So he got me four bass the tenor sax. So all of this surprised That was my first time playing bass… strings, and I unwind them on the end— us because we thought when we got off when my brother had me play bass. you know bass strings are bigger than the plane, it’s gonna be like Tarzan, you guitar strings. I put them on the little know? SB: Phelps “Catfish” Collins? pegs and I tuned it like a guitar. SB: Right. That’s what a lot of people BC: Yeah, he was eight years older SB: You put bass strings on a guitar? thought about Africa. than I, and that was always my dream. Now that is a new instrument that you My dream wasn’t to play with James created! BC: Yeah, and we got off [the plane] Brown. My dream was to play with my and it was totally different. So that blew brother “Catfish,” because he was like the BC: Well, my motto now is: “Funk is us away. father in my home, ‘cause I didn’t have a making something outta nothing!” father. I looked up to my brother and I SB: How old where you then? wanted to be just like him. This is ‘cause SB: Now just to deal with time travel, I was going to school, I was doing the let’s go funk forward, fast forward. BC: I was like 18, “With the baddest proper things. I was gettin’ into trouble, Your new album, World Wide Funk. band in the universe…the only thing but I was doing the right things, and I realized the album before that was wrong, y’all just can’t play” (imitating momma allowed me the space to kinda called, Tha Funk Capitol of the World. James Brown’s voice). find myself. I think she really believed So, it sounds like you’re going global. But that something was there, and I didn’t then I thought of it more deeply and I SB: So a lot of people now, a lot have a clue about what was there. But I [realized] funk has been global because of scholars of funk, talk about that locked in on my brother “Catfish,” and in 1970, you travelled to Nigeria with transatlantic exchange in sound because it was like, if only I could get a chance James Brown. And that’s where you have that guitar on Fela sounds a lot like to show him that I’m worthy, and it this encounter with the great Nigerian guitars in James Brown’s music as seemed like he was goin’ never give me artist, known as Fela [Kuti]. (plays well. So it’s easy to talk about the U.S. the chance to show him that I’m worthy “Funky Horn” excerpt). Hear that guitar? influence going out, but I’m wondering, of being your brother, and “I can hang did you bring any of that Fela funk back with you. I can hang, man!” You know? BC: Now this is 1970. Can you here to the U.S. in your music? imagine that, walking up to his club?

Collins with James Brown, ca. 1970-1971. World Wide Funk (Mascot Records, 2017; AAAMC CD Fela Anikulapo Kuti (© PolyGram, 1987; AAAMC SC 129) 10696)

9 BC: Well unbeknownst to me, yeah nine dollar guitar, four strings…and I played on that song (plays “Flashlight” I did…I knew when I heard Fela and had to play the first gig with Brown with by Parliament). The message had a those rhythms, it was something you that guitar. Can you imagine what [he] futuristic dimension to it, and the got to have. So that drum thing… said to me? He said (imitating Brown’s music did too, because these were new they make you do this [demonstrates a voice), “Son, let me tell you something. sounds. It’s an easy argument to make dance move]. I was like, man, it makes Now, I love what you’re playing, you’re that it’s coming from outer space, or you move like that! I didn’t even know playing everything, everything is someplace we’ve never been. Now, how to dance, and I started doing it. beautiful, but that daggone guitar you I would have thought you would be So I got to have that groove…I put it got. Don’t you ever come back up here playing the bassline on that song. What in my brain and just kept it with me on my stage with that guitar.” And he were you playing? even through all the James Brown stuff. told me that face to face. Then he said, And when I got with George [Clinton], “Now, what kinda bass you want?” BC: Well actually, we laid the track we was able to record Stretchin’ Out [in You know I told him, right? Back in down with two guitars, my brother Bootsy’s Rubber Band]. the day, Fender made two: the Fender and myself, and the man in the box... P-Bass and the Fender Jazz Bass. And which was nothing but a Maestro, but SB: Stretchin’ Out, that’s your first when he asked me what I wanted… I we liked it because it sounded different, album? said, Fender Jazz. He said, “Johnny, get you know? this boy the Fender Jazz. Let him go BC: Yeah…that’s the first time I use, down there and pick it out with you.” SB: So, was that the Maestro, an knowingly, the African rhythm. So that was my life, that was the start early drum machine? of it. Once that happened, [Brown] was SB: Now that’s what I’m talking like, “Okay son, what kinda amp you BC: Yeah, it was called the Maestro about! Every time we do one of these want?” ‘Cause he started treating me [Rhythm] King. [conversations], we uncover something like his son for real; it was like, “I’ll get below the surface of the funk that we you anything you want ‘cause you look SB: Sly [Stone] used that at one didn’t think about beforehand. So like you wanna be on it.” He used to tell point, right? let’s get back to bass-ics, meaning the me, “Son, you’ve got to be on heel and bass—that star-shaped bass you have. I toe, or else you’ve got to blow!” What BC: Yeah, he had the first one, and I have heard other musicians like James he meant by that was you just have to had the second one. I still got mine. Mtume say, “That space-bass that be on it. You’ve got to be on it every Bootsy has does things I’ve never heard time; you can’t be getting into your own SB: Go ahead! So, you’re not playing done before.” They say it plays on four groove, and miss what I’m doing out the synth. How did the song come separate tracks. It has built in neutron here. “Heel and toe, or you got to blow.” together musically to be so far out? sounds and all that. How did you think Alright, that was [Brown’s] whole rap about that bass as something that was with everybody. BC: Well actually, Bernie [Worrell] gonna express the sound you wanted? had started messing with the SB: I think that story explains synthesizer. BC: I think it was a process…and some things, because a lot of people I know it started with James Brown are not aware of you being a multi- SB: The great Bernie Worrell? One because first of all, let me tell you about instrumentalist, because we think of consistent team is Bernie Worrell, the bass that I brought to play with the bass…I’d like to play a song and Bootsy Collins and George Clinton. James Brown. That was that twenty- then we can talk about what Bootsy I see those three names on a lot [of

Stretchin’ Out in Bootsy’s Rubber Band (Warner Bros., 1976; Dâm-Funk & Snoopzilla, 7 Days of Funk (Stones Throw, Parliament, Funkentelechy vs. the Placebo Syndrome AAAMC LP 2050). 2013; AAAMC CD 6455). (Casablanca 1977; AAAMC LP 273).

10 albums]. Then there’s another group two, three, four, ONE, two, three, four. the P-Funk camp, as far as the different with Junie Morrison and others, right? Oh, I get it, ONE. Okay.” He said, “Son, artists, that actually could sing about So, what was it about that chemistry if you give me the ONE every time I love. There’s not too many Funkadelic between you and Bernie and George need that, you can play all that other love songs, not too many Parliament that could really be the engine of that stuff you want to play in between.” love songs. I’m just thinking of some of special sound that you all had together? these titles. “Munchies for Your Love,” SB: The philosophy and history of “What’s Her Telephone Bill,” “Can’t BC: Well, I think when I first got the ONE! Get Away,” and of course “I’d Rather with Parliament Funkadelic, it started Be With You” [and] “Vanish In Our then. Because I brought that stability BC: I got it! I took that to George Sleep.” So all these songs really depart and groove. The main ingredient was Clinton, and you know, he couldn’t from P-Funk, at least the dominant the ONE. And I got the ONE from count…He would come in anywhere. I strain of P-Funk, and I’m trying to get James Brown. I actually told everybody, was like, “Wait a minute George, hold a sense for how you deviated. Was that you know. I even told George. up, you’ve got to wait for the ONE, something that you were pushed into? man.” [George said,] “The ONE, what Was that something that you brought SB: Oh, Uncle James? You told you talkin’ about the ONE?” I was like, to the game as far as the direction you George [Clinton] something? “Okay, there’s eight bars, are you gonna wanted to go as an artist? do an eight bar or a sixteen?” [Clinton BC: He didn’t know what the said,] “Hell, I don’t know, Imma do BC: Yeah, being a youngster coming ONE was. So, just like James Brown what Imma do.” That was the funk. That up, it’s all about your relationship, it’s explained it to me, I had to explain it to was the serious funk—all it needed was all about falling in love, or thinking George. I don’t think I told y’all about a little guidance. The same guidance you in love, you be in lust like a mug, how the Godfather expressed it to me. that Brown gave me. I said, “This is you know? But it’s like the first girl, the the way. You’ve got to start here.” And second girl, the third girl. Those things SB: Tell us. once [Clinton] started doing it, then he just stick with you…all the stuff you go started doing it on stage. If you watch through. I didn’t just make those lyrics BC: Okay, he’d call me in the room those videos you’ll see him doing his up. I mean, I actually went through that after every gig. We giggin’ seven foot like that. He making sure he stay stuff. “I’d Rather Be With You,” I mean, nights a week, right? I mean, every on the ONE! I’d be with another chick and I’d be like, day we hittin’ it, hittin’ it, hittin’ it. So “But, yeah baby, you know I’d rather I’m getting lectured after each show, SB: There’s even a P-Funk song, be with you.” And I’m telling the truth, and this is the way a lecture would go “Everything Is On the One.” you know? And it’s like, man we’ve got (imitating Brown): “Bootsy, uh, good to record this stuff. Then George had God, I don’t know what I’m gon do BC: That’s where that whole concept enough sense to say, “Yeah…you’re so with you son, but you got to give me came from, and I always told people, deep, you probably could pull it off.” the ONE.” I’m like, “The ONE? What’s “James Brown was the one that gave us And he encouraged me to do it ‘cause the ONE?” Brown said, “Look here t h at .” Funkadelic couldn’t do it, Parliament son, look here man, you just don’t couldn’t do it. Like you said, it was know nothing. Ya’ll young kids don’t SB: Wow! Now, in the P-Funk like the younger generation, the ones know nothing. Hit me when I say, “Uh” camp, there’s a lot of science fiction, Funkadelic got too old for. Those are (Bootsy sings the rhythm). I said, “Oh, there’s a lot of time travel, but you the ones I got tossed to. it’s like on every beat, like the ONE, seem to be one of the few people in

Bootsy Collins, The One Giveth, The Count Taketh Away Parliament, The Clones of Dr. Funkenstein (Casablanca, Snoop Dogg single, “Undercova Funk (Give Up The (Warner Bros., 1982; AAAMC LP 1893). 1976; AAAMC CD 333). Funk)” (Hollywood Records, 2002; AAAMC CD 11468).

11 Funk Historian Dr. Scot Brown

Dr. Scot Brown, a well-known authority on funk music as well as an avid bass player, was an integral part of the AAAMC’s “Funkology” programming. Prior to leading the “Conversation with Bootsy Collins” at the IU Cinema, Brown warmed up the captive audience with an overview of funk music, drawing upon several decades of first-hand experience. The professor of history and African American studies at the University of California at Los Angeles began his funk journey at Irondequoit High School in Rochester, New York, where he produced a weekly funk program for the school’s radio station. Brown went on to play bass with the Rochester-based band Radiance, which was heavily influenced by Slave and other funk bands. He still enjoys jam sessions, and brought his bass to Bloomington for a late night workout with Dr. Tyron Cooper in Cooper’s home studio. Bootzilla and the Professor at UCLA, 2018 Brown has been researching Dayton, Ohio funk bands since 2003, including stops at the AAAMC where he delved into several funk-related collections. During his journeys to the nexus of Ohio funk, Brown crossed paths with Cincinnati native Bootsy Collins on multiple occasions, developing a personal relationship that was evident to all who attended “Funkology.” Along the way, Brown has also interviewed many seminal Ohio funk musicians, including Heatwave’s vocalist Keith Wilder, the late Leroy “Sugarfoot” Bonner of the Ohio Players, Byron Byrd of Sun, and Steve Arrington of Slave. These interviews will be woven into the book he is currently writing, tentatively titled Tales from the Land of Funk: Dayton, Ohio and African American Funk Bands in the 1970s. Brown has lent his funk expertise to other media platforms, serving as a historian and commentator on the popular TV ONE music documentary series Dr. Brown has interviewed many funk Unsung, including episodes on Heatwave, The O’Jays, The Spinners, The Ohio musicians including Leroy “Sugarfoot” Players and Midnight Star. He also appears in the VH1 documentary, Finding Bonner, frontman of the Ohio Players. the Funk, directed by Nelson George (the AAAMC holds George’s collection of Motown related research). Brown’s interests are wide-ranging and go beyond music. He is the author of the pioneering book, Fighting For Us (2003), a study of cultural nationalism and the Black Power movement during the 1960s-70s. Additionally, Brown has published numerous articles on African American history, Black music, and popular culture. He has also appeared in the prize-winning documentaries 41st and Central: The Untold Story of the L.A. Black Panthers (2009) and The Black Candle: A Kwanzaa Celebration (2008). We look forward to future collaborations with Dr. Scot Brown Dr. Scot Brown at the grand opening of The Funk Music Hall of Fame & Exhibition as we continue our documentation of Midwest funk music. Center in Dayton, Ohio, 2018.

SB: Now you still are doing funk in with the Midwestern funk. Because if hanging with Snoop’s mom. ballads. On your new album, you’ve you listen to New York hip hop, they’re got a collaboration with Kali Uchis, and on a different soundtrack. West Coast, SB: Snoop Dogg? the song is called “Worth My While.” you heard “California Love” with Roger So we can get a sense of the continuity, [Troutman] on it. So, what do you think BC: Yes, she came to one of our ‘cause like I said we’re travelling here, is the reason for that sonic connection— events and just hung out. We got to let’s hear a new manifestation of the the sonic geography of funk? talking to her, and she was saying, “You funk love ballad, “Worth My While” know I was at every one of your shows (plays an excerpt). Before I go into it too BC: Yeah, sonic geography! I like out here, and Snoop Dogg don’t know deep, [in my intro to our conversation] that. You know, L.A. was always a place nothing. He got everything from me.” I talked about Midwestern funk, and I that gravitated toward the funk. When (laughs) I mean she was serious. Snoop talked about Dayton, Ohio and funk. we first started, our first gig in California had never told me that [his] mom Bootsy transcends all of these spaces. was at Maverick’s Flat, and we stayed taught [him]. He was like, “Yeah, we got There are artists like Roger Troutman there for two or three weeks. The people up on you, you know?” Now I see how that were co-produced by Bootsy. But out there, they loved the funk so much, he got up on me—mom told the truth! there’s something about the West Coast, they passed it on to their kids. I found So I think that had a lot to do with it— where I came from, L.A., that is locked out not too long ago, [when] I was in the ways the parents rolled with their

12 Bootsy autographs posters for Peyton and Tim Womock during the Funkology reception at the Neal-Marshall Black Culture Center. kids. I think also, when [West Coast ingrained with it. I mean, like Dr. Dre so listen to this marriage, this funk funk groups] toured, they came to the [was ingrained with the funk]—it’s marriage here between [the] Midwest Midwest, and they got a chance to drink kinda magical that they’re more into it and Cali. (Bootsy sings along with an from the P-Fountain, which is the Ohio than we are. You know, this is just what excerpt). River. That’s where the magic happens we do, but they studied it. We didn’t (laughs). never studied the funk. We just did what SB: We’ve covered a lot of ground we did and had fun with it. These mugs, today. While we have this special SB: I knew there was something in they know all the lyrics, they could do moment of having a funk legend with the water—I just didn’t know what. So, it backwards and forwards, and it’s like, us today, let’s take advantage of it and after that kind of connection, let’s talk “Dang you know the song better than I thank Bootsy for this conversation. about this new album you have. Snoop do!” I mean, it’s surprising because to Dogg is producing something with you have somebody studying you; for me it BC: Thank you so much, Doc. on it, along with DJ Quick? And these was kinda deep. are West Coast children of the funk, SB: Thank you, brother. children of production? SB: Well, let’s play one of the songs that you collaborated with Snoop on. — Transcribed by Jamaal Baptiste BC: Yeah, to this day, it’s like they’re It’s called “High-On-Heels.” Alright,

13 An Interview with Michael Nixon one-on-one Michael Nixon in his N5 Marketing office, 1997.

14 Michael Nixon is a veteran of the Black executive, so I would go up to New York and music and entertainment industry with over get appointments with the major advertising 40 years of experience in marketing and agencies. At that time, WHUR was just promotion. After working in radio, television starting as a new station and it wasn’t rated and the record industry—including stints at yet. When we did hit the Arbitron ratings, it WHUR-FM, WBLS, WEA Distribution, was totally unprecedented for a new station Elektra, RCA, and HBO—Nixon shifted to to be entering Arbitron ratings at a number music industry magazines. In 1988, he was four position in a fifty plus station market. hired as advertising director for the magazine Black Radio Exclusive (BRE), while also PKM: What year was this? Michael Nixon (second from left) with the Howard pursuing acting roles in television. By the University track team (early 1970s). following year, Nixon was on the cutting edge MN: 1974. I was just so excited to be of marketing for the emerging hip hop scene. doing something new and unique. I had to He created the music industry’s first weekly teach myself how to sell radio. After a while radio rap chart for the San Francisco based my sports director Greg Moso, who knew I publication The Gavin Report, then assisted had been a track star at Howard University, with the creation of Rap Sheet, possibly told me, “Remember you said you wanted the world’s first hip hop newspaper. From to try to run in the Olympics? You still train. 1993-1994, Nixon worked as an account Why don’t you train for the Olympic games executive for Billboard magazine, where he now?” I had never been to California, so had accounts with many of the major record I said, “You know what, I’m just going labels and radio stations. to move to California and train for the Nixon began his own Los Angeles based Olympic Games.” I quit my job, gave up my company, N5 Marketing, in 1994—a apartment, packed up, and left in my little premiere advertising firm utilizing cultural 280 SL. When I got to California, I started awareness methodology. Initially specializing training with UCLA and USC because I in the development of street teams to promote knew both track coaches. I contacted them Nixon attending reception in San Francisco where he urban, hip hop, R&B music and other and said, “I want to train for the Olympic was introduced as WEA’s first Black Music Marketing events across the U.S., Nixon also provided Games. I’m running unattached.” And they Coordinator by his boss, Bill Perasso (on right), 1977. promotional services to some of the biggest said, “Sure. You can train with us.” names in the music and commercial sales industry, working alongside artists such as PKM: We’re now moving to your entre Prince and Bootsy Collins in addition to into radio in California. overseeing marketing campaigns for Nike and Reebok. In recent years, Nixon and his MN: When I had some down time company have worked behind the scenes at from my training, I went to KJLH where many high profile entertainment industry Rob McGrew was the general manager. shows and events, from the Grammy Awards He hired me as the national account to the popular television show Dancing with representative for that station. This was the Stars. 1976, and I was training for the 1976 The Rolls-Royce 1937 Phantom III used by Michael On October 6, 2014, Dr. Portia K. Montreal games. I made it to the trials but Nixon for promotions, parked in front of the House of Maultsby interviewed Michael Nixon about failed to make the team. They take two to Music store in Los Angeles (late 1970s). his work in the music and radio industry, run and then two alternates, and I came in which is excerpted below. The interview fifth place in the semi-finals. But I realized began with Nixon chronicling his career that dream because I actually went for it. So, starting directly after his 1972 Howard I returned to the radio station KJLH, which University graduation. was Stevie Wonder’s radio station. At the time, the tag line for the station was ‘KJLH PKM: So where did your career take Kindness, Joy, Love and Happiness.’ Soon you after Howard University? after, I had the fortune to meet Bill Perasso who was the sales manager for WEA in San MN: I met Phil Watson who created Francisco, and he hired me right on the spot and started the radio station WHUR, to be the first WEA Black Music Marketing Howard University’s radio station, and he Coordinator. hired me as the manager of business and fiscal affairs for WHUR in 1973. I soon PKM: Explain WEA. convinced the general manager (Tom Jones) and the sales manager (Cathy Liggins MN: WEA is Warner Elektra Atlantic, Michael Nixon (right) at the record release party for Ray Hughes) I was ready to become an account which is the distributer for Warner Bros. Charles’ True to Life album (1978).

15 16 Michael Nixon (wearing combat fatigues) and his street team at Wherehouse Music promotional event in Los Angeles for the Mary J. Blige album, Share My World (1997). and their subsidiaries Elektra and Atlantic, Rose Royce’s second record had just been fans because KRE had announced the event and Elektra and Atlantic’s subsidiaries. released and I created a “Rolling Rose Royce” when we were at the station. All of the fans You’re working for probably about 35 to 38 promotion. I requested the group come to the rushed his limo, started chanting his name different labels, but my main priority was Bay Area market to perform and do radio, and wouldn’t let him out of the car. That was Warner Bros. Records. They relocated me to then I went to retail with the “Rolling Rose a legendary in-store that never happened. San Francisco. At the time we were working Royce” promotion. I had the group in a 1937 Leopold’s always talked about that with people like Prince and his first record, Rolls Royce led by the Rose Royce wrapped promotion. Right after that event, Bootsy’s “Soft and Wet,” Rose Royce and their second vehicle. We did autograph signings at all the record went gold. record, Al Jarreau, Chic, Ray Charles, and Black mom-and-pop stores—Music People, Donna Summers. Evans House of Music, Twauzi, Leopolds— PKM: What year did you go back to the and Tower Records, Banana Records, and East Coast? PKM: What year did you go? Warehouse Records. It was a major success. At that time, no one had ever done anything MN: This was 1980. I moved back MN: It was 1976 or 1977 when I of this magnitude. When Prince’s first to New York and started working at RCA started at WEA. I was the first Black Music single, “Soft and Wet,” was released, the Records and Arista Records. From there, Marketing Coordinator and responsible for San Francisco clubs were blowing up—San I worked at WBLS and WLIB, back to my all the Black mom-and-pop record stores in Francisco was the hot disco market. We radio connection as an account executive, the Bay Area, in addition to Tower Records, flew Prince in from Minnesota to have him selling radio again from ’83 to ’84. But I Banana Records, and Warehouse Records. perform, go to radio stations, and do his first decided I had to move back to the West I would merchandise all of them, especially ever in-store appearances. We took him to Coast. So when I moved back to L.A., in ’84, the mom-and-pops. I would merchandise 20 stores in two days in a Rolls Royce and I started working at KJLH and KGFJ radio the entire store with WEA product. None of Prince did autograph signings at selected stations as an account rep. I decided I wanted the other record labels had any Black music locations. to get back into records again, so in 1986 I merchandisers. started working for a couple of independent There was one promotion I did at this labels until 1987. Then Sidney Miller at BRE My first priority was PRINCE! He was only legendary record store in Berkeley called hired me to work at Black Radio Exclusive, selling in the San Francisco market, because Leopold’s, which is long since gone. Bootsy’s and that was my entrance into the Black it was the center of the disco era at that time. Rubber Band had been released in 1978 and music trade publications. I even created the first wrapped vehicle in the Bootsy Collins was just starting to happen. music industry that I know of. I bought an Radio had just picked him up and I arranged PKM: In what capacity? old milk truck for $100 and I merchandised a mega in-store appearance at Leopold’s. it with spray paint, posters and 4x4s (foam Circus Vargas was in town and I had them MN: I was working as an account posters). I spray painted the entire milk deliver a black panther in a cage. The Black executive selling advertising for BRE, which truck black and spray painted the wheels Panthers were the big thing in the Bay at has been around since 1976. As a matter of yellow, then I rolled all over every ‘hood in the time and I arranged for five members fact, it is the only major Black music trade San Francisco, Oakland and Berkeley. I had to be present and to provide security for the publication that has survived. I worked WEA product in every ‘hood and every promotion. The event was called, “Bootsy there a couple of years. From there I went record store in the Bay Area. Everybody was Meets the Black Panther.” When Bootsy’s to work at Impact Publications, which is out excited to get free stuff. limo arrived at Leopold’s there were so many of Philadelphia, and Urban Network, which

17 was created by Jerry Boulding. For both We built up this network of deejays these independent hip hop publications those publications, I was also an account rep. throughout the country, calling them our were popping up all around the country— “rap reporters.” They would report to us The Chronic from L.A., Straight from the PKM: Who started Impact? what they were playing, what they thought Lip in San Diego, Underground Connection of artists, give us access to interviews they in Detroit, Around the Way Connections MN: Impact was started in 1987 by Joe did with the hottest kids in their market, and in New York, and so many others. I met Loris. It was his dream to start a Black music we built a chart based on this information. with the publishers of all these at the Gavin publication. Jewels Malamud and Sylvia When we released it in mid-1990, it took the Seminar in ’93. Everybody in the hip hop Davis came aboard as his general manager industry by storm. They were like, “What world had been coming to the Gavin and editor-in-chief, and they along with is this?!” Billboard had a rap retail report Seminars since 1991—all the managers, the Joe Loris started the Impact Super Summit based on commercial sales in major stores, acts, the retailers, the deejays—so I had quite Conference, which became the perennial but neither they nor anyone else had a rap a working database of these people. It was at Black music trade business conference. radio report. They didn’t know what the hip that point I decided to officially become a hop deejays were spinning on the radio. We broker for all these publications around the PKM: What year did you join Impact? had retail information, but concentrated country. When a record label would release mostly on mom-and-pop stores in the a record, they didn’t know what to do with MN: 1988, 1989 approximately. As primary, secondary and tertiary markets. We it. They were like, “What do we do with I gained experience there, selling ads, combined this information with the details this record? How do we advertise it?” They meeting all these new people and forming our rap reporters were giving us, compiling it would call me and I would say, “Send me great connections with them, I expanded into two weekly charts we called “Radio Rap the record.” Normally, I would already know my customer base. People in this industry Charts” and “Retail RAP.” what was coming out because I’ve been shifted around all the time, but when they talking to them all the time and they were would move from Columbia Records to Some of our earliest rap reporters were always sending me pre-release records. Since Atlantic Records, for example, I still had a deejays this genre considers its instrumental I knew the market so well, I would tell them connection with them in some way or the icons—Afrika Bambaataa and Melle Mel. It around what regions and cities they needed other. At that point the Galliani Brothers, took us a little over a year to put together our to focus their advertising. who were sales representatives for the trade team and create this legitimate chart focusing publication Gavin, began hosting The Gavin on rap and hip hop music. I was constantly PKM: What is the meaning behind the Seminar. This was a music conference held told by my record company constituency name StreetZine? every February in San Francisco where the that this would never work, since rap was publication was based. It was definitely the not “real music.” The rest is history. All of a MN: It’s a play on the word “magazine” place to be. Through this conference, I got sudden I was getting five to six major ads a and the fact that the hip hop info was coming to know the R&B editors at Gavin, and the week. That was a big deal, especially since the straight from the streets. Galliani Brothers. R&B chart for Gavin was barely getting one to two ads a week. Nixon continues on to talk about his After the 1989 conference, Lou Galliani involvement with Rap Sheet, the first hip called me to see if I would be interested in PKM: What was the reaction towards the hop newspaper, his role as advertising and helping them start a rap music chart. Rap chart at the 1991 Gavin Seminar conference? marketing director for that publication, and was just starting to come up in the industry how his ongoing participation with Rap Sheet, at that time, and unlike others, the Galliani MN: At that 1991 seminar, we had StreetZine and the Gavin Seminars led to his Brothers believed in its staying potential. two panels and two to three showcases, affiliation with Billboard magazine. I told them yes, and they paired me with all featuring rap artists. This is where we Brian Samson, a new employee fresh from started to break all the major rap acts in the MN: Right after the ’93 Gavin college. Brian was the editor, and I became country. This was their platform to be seen Conference, Terri Rossi, the R&B editor the marketing sales director. Because all and heard by all the major players in the rap of Billboard magazine, called to offer me the major record companies were in Los music industry. This conference set the stage the position of account executive. In their Angeles, I networked from there, interfacing to break major hip hop acts and rappers. company’s history they had never had a with all the marketing vice presidents of the We’re talking about artists like LL Cool J, X Black account executive, and Terri thought various companies. Brian, on the other hand, Clan, Cypress Hill, NWA. During the 1991 it was time to change that. I agreed, but worked out of the San Francisco office, and conference, the record companies quickly naturally I had to dissolve my company— together we developed a network that was signed to become major sponsors for the hip Gavin, Rap Sheet, you name it—but I unheard of in the industry. We took the entire hop showcases already in place that year. The thought it would be worth it. I started that first year, until mid-1990, to get to know all ’92 and ’93 conferences were even bigger— summer, and thought I would be selling the major players in the rap industry, and we just took the whole conference over and the Billboard rap retail chart and the R&B then we connected with them at the various had so many showcases and were breaking chart, but no. They gave me other account annual conferences—the Gavin Seminar, the so many acts. Right around that same time, categories—music publishing, laser discs, Impact and BRE conferences, and Jack the just before the ’93 Gavin Seminar, I started karaoke, mini discs, and Latin music. Latin Rapper’s Family Affair. my own independent hip hop publication hadn’t even started to break out yet! So, I agency I called StreetZine. At that time, all got to learn new areas of the industry—

18 19 music publishing for one. I got to know all work. They agreed. Then I went to all the PKM: What else did these new lifestyle the players. Music publishing is a different different labels and set up the same thing. marking street teams do to brand your area, and unless you’re actually a player in Independent labels started calling me, corporate clients? it, you really can’t comprehend what that is. wanting me to do theirs, too. When I first So, I was able to learn it firsthand. I had so started, it was just me. I would tell them I MN: One of my biggest and most many questions every time I met with the had street teams, but it really was just me. successful street campaigns we engineered executives at Leiber/Stoller and Warner/ But after a while, it was too much so I put was based off the “Nike Fun Police” Chapell, and they would teach me. But laser together several street teams and trained campaign already on TV. It was centered discs and all the other technology I was them. By 1995, I was working with at least around Kevin Garnett and Gary Payton. We over were never really viable categories, so 32 different labels., sniping posters on the auditioned and hired a special “Fun Police” it was really hard to make my quota. I lasted streets, in the record stores and the clubs. street team, outfitting them with yellow in that job for only about a year before we trench coats, sweatsuits and two new pair mutually decided to part ways. PKM: How did you go about developing of Nikes. We had two “Fun Police” vehicles. the street teams? One was an actual ‘old skool’ police car re- PKM: So you left Billboard at that point. painted with the “Fun Police’ logo complete What did you do then? MN: Kids in the clubs eventually found with lights and siren. The other was a re- me. They knew who I was from passing furbished limo complete with a Play Station MN: I went independent at that point out product in the clubs, and when they unit. I even worked with some graffiti artists and started N5 International Marketing. I approached me, I hired some of them. I to create a special Nike West Coast logo. We started my own street teams, and we were would go out with them and train them with would drive our cars to local high school running the streets of L.A. for several major the basics of street marketing. That was how basketball games and at halftime we would labels and many independent labels. I formed my street teams. By the late ‘90s I bust into the games and distribute T-shirts, started calling them “lifestyle marketing hats, stickers, and posters. As soon as we PKM: Can you explain the concept of teams” in order to give them more corporate were out of merchandise, we would leave. I street teams and how you came up with appeal. I noticed the corporate world’s would take all the pictures and videos and that? desire to be branded with the youth culture, Nike would post them on their website. and heard they were aware of my street MN: Right before I quit Billboard, teams. Corporate needed a hook-up to the PKM: What demographic were you Snoop Dogg had just come out with his first hip hop tastemakers. We knew all the top targeting with these “Fun Police” record. I was still going to all these hip hop influences and artists in Los Angeles, New campaigns? clubs and events, and I started seeing kids York, Chicago, Atlanta, Washington, DC at these clubs giving out cassettes of hip and Miami and we were able to get them to MN: The hip hop community. Any- hop artists that were getting ready to come wear the newest and coolest swag. Converse where I knew there was going to be a hip out. I was like, “Hmmm. That’s interesting.” was the first client we consulted. Next was hop event, that’s where we would hit. That’s I asked them who gave them these tapes, Reebok, with Nike following soon after. We how the “Nike Bling Bling” campaign and they answered, “Def Jam Records. topped it out with EA Sports [which we started. The Lakers won the NBA finals that We passing it out for them.” I said, “Are marketed] for eight years. year, and Nike was their corporate sponsor. they paying you for that?” They answered, Shaq was all over the news referring to the “They give us free records and T-shirts.” I PKM: So essentially what you did was trophy as bling, so I suggested to Nike they said, “Wait a minute. That’s work. Are you take your street team strategy and apply it to do a “Bling Bling” campaign for the next kidding me?” So, I went to the labels and corporate America within the mainstream NBA final. The word “bling” was strongly told them I had a street team and we would of pop culture? linked with hip hop because of a rap song, so give out their records and T-shirts to record it fit perfectly with the demographic we had stores and clubs. Because I knew all the hip MN: Yes. We personally branded these already been targeting. They created posters hop deejays, I knew I could market those companies into the hip hop culture. It was and stickers for the “Bling Bling” campaign artists on a different level, but I told the at that point that I started using the term, and we put them up all over L.A. and gave labels I needed to be paid for that level of lifestyle marketing. them out at the NBA finals.

Entertainment industry veteran Michael Nixon began his collaboration with the The AAAMC in 2015 with the donation of hip hop and Black music/radio industry Michael magazines from his personal collection, documenting his affiliation with these publications as an advertising and marketing executive. More recently he donated Nixon photographs and business records from his companies StreetZine and N5 International Entertainment Marketing. The images used on these pages are drawn Collection from the Michael Nixon Collection.

20 Michael Nixon at the NAACP Image Awards, 2018.

After discussing a number of other topics, Rap Pages was kind of [tertiary], because MN: 1992. And I had all those other Maultsby returns to Nixon’s involvement with it was Rap Sheet and The Source, neck and ones. Those old small ones like Flavor, Round regional hip hop publications. neck. The Source became more of a slick the Way Connection, and Booty Crack. publication. It was just better looking. We PKM: You worked with another rap wanted to keep Rap Sheet as that funky- PKM: Were they regional? magazine, Rap Pages? looking underground type publication. MN: Yeah. They were totally regional. MN: Rap Pages was started by PKM: You worked with Rap Sheet. The Bomb and Booty Crack were in San Larry Flint of Hustler magazine—Flint Francisco. Straight from the Streets was in Publications. He just got in the game late. MN: Yeah, but we kept it real street and San Diego, and The Chronic was in L.A. He saw he could make money, so he took underground, because we were considering Connecticut even had one called One Nut. a chance and did Rap Pages. It was kind of changing it from the newspaper to a slick They were all part of StreetZine—my agency. patterned after Rap Sheet, and people would publication like the rest. But I said, “No. This always mix them up. But the only saving is what makes us different.” Underground PKM: This has been very instructive. grace was that Rap Sheet was a hip hop heads and independents liked it better that Thank you very much! newspaper. Rap Pages got lost in the sauce way. We did too, ‘cause it really set us apart, — edited by Amy Aiyegbusi because The Source became the number one and no one else could copy us. with assistance from Michael Nixon hip hop magazine publication and foremost place to go for hip hop and rap information. PKM: When was this, 19…

21 Featured Collection:

Robinson playing the saron with the UCLA Javanese Gamelan ensemble, 1960s.

From D.C. to Bali – The Gertrude Rivers Robinson Collection

The Gertrude Rivers Robinson Within the collection are numerous music of the score and accompanying spiral Collection documents the career of the composition exercises, arrangements and bound sketchbook. Other works in the pioneering composer, ethnomusicologist sketches, presumably completed as part collection composed for the Cornell Dance and Balinese music specialist. Born of Robinson’s coursework, in addition to Club include “Child” (manuscript score, in 1927 in Camden, South Carolina, manuscripts for early works such as “Two 1948), “Sooth Song (Lullay)” (manuscript Gertrude Eloise Rivers was the daughter Moods for Flute and Piano” bearing the score, 1948), “Studies in Composition” of distinguished academics. Her father, penciled note, “July 1948, New London, (manuscript score, 1946-1951), and a Dr. W. Napoleon Rivers Jr., was a professor Conn.” collection of shorter works bound together of Romance languages at D.C. Teachers One highlight of Robinson’s years in as “Music for Modern Dance” (manuscript College, while her mother, Dr. Gertrude Ithaca was her involvement with the Cornell score, 1948-1950). Burroughs Rivers, was an English professor Dance Club. While she performed as a After marrying fellow Cornell graduate at Howard University. Young Gertrude dancer, Robinson primarily used her time Spencer M. Robinson in the fall of 1950, went in a different direction, studying piano with the club to explore the relationship Robinson and her husband relocated to from an early age during her childhood between music and dance, which was Los Angeles, California where Spencer in Washington, DC, then continuing her an area of interest that would shape her worked as an engineer in the burgeoning studies at the Northfield School for Girls in later career. According to newspaper aerospace industry. Pursuing her interest Massachusetts, which had a long tradition clippings, she was on the Cornell faculty in dance, Robinson became a composer of welcoming African American students. for three years as instructor and composer- and accompanist for the influential Lester In 1943 Robinson enrolled at her parent’s accompanist for modern dance, writing Horton Dance Theatre from 1950-1953, alma mater, Cornell University, where incidental music such as American Dance while maintaining an affiliation with the she graduated with a Bachelor of Arts in Story for chamber ensemble and dancers, Cornell Dance Club during this period. composition and performance in 1947. documented through a manuscript copy Handwritten lecture notes indicate she

22 Robinson (standing left) and Gloria Newman Schoenberg (standing right) with dancers at the SARK Studio in Los Angeles, 1950s. was also teaching a music for dancers Robinson’s initial interest in the gamelan process from early drafts through the final course from 1951-1955 at Eugene Loring’s was apparently sparked by a concert bound volume submitted as Robinson’s American School of Dance in Hollywood, she attended in New York given by the M.A. thesis, while recordings capture and there are sketches dated 1951 of Peliatan gamelan ensemble (possibly numerous performances of Bayangan, music for children’s classes in modern during the group’s 1952 world tour). While possibly including the 1984 performance dance, “composed while working with at UCLA, she studied and played many led by Robinson at the International children from the ages of four to six instruments in both the Balinese and Congress on Women in Music in Mexico years.” Robinson’s interest in educating Javanese gamelans, developing a particular City. Field recordings collected during children in the arts appears to have been specialization on the Balinese ugal. On the Robinson’s 1970 trip are also included the catalyst for her next venture, the SARK 1963 Columbia Masterworks recording, in the collection; selections were utilized Studio of Music, Dance and Art, which The Exotic Sounds of Bali, Robinson for the album Bali South, released by the she co-founded in 1954 with several artists performed with the UCLA gamelan UCLA Institute of Ethnomusicology in including Gloria Newman Schoenberg, ensemble and Balinese musicians under 1973. another alum of the Cornell Dance Club. the direction of Dr. Hood. Robinson began teaching at Loyola Robinson’s affiliation with the Robinson’s gamelan experience and Marymount University in 1970 and University of California, Los Angeles interaction with visiting musicians to soon thereafter purchased a Balinese began in the fall of 1955 when she enrolled the UCLA ethnomusicology program gamelan angklung so she could continue in a folk music course, documented left a deep mark on her future musical her pedagogy at LMU. Several early through handwritten class notes outlining compositions and educational work. In performances of the LMU Balinese her studies of world music traditions 1970, she made her first trip to Bali and Gamelan Society under Robinson’s from Asia to Africa to the Caribbean. The Java to conduct research for her master’s direction were captured on video. Over following year she was admitted to the thesis in composition, culminating in her 300 color slides in the collection were likely graduate school and, after completing a best known work, Bayangan (1972), for used for Robinson’s LMU music courses course on Folk Arts of the Pan Pacific, an octet of gamelan instruments played in and are organized into the following series: was invited to join the Javanese gamelan the Balinese gong kebyar style alongside popular dances of Turkey and Greece, ensemble led by Dr. Mantle Hood, director a Western septet and dancers. Multiple gamelan instruments (from photos by of UCLA’s new ethnomusicology program. copies of the score trace the compositional Colin McPhee), African instruments (from

23 Robinson and LMU students with visiting Balinese musician/instructor I Wayan Suweca, who is playing the gamelan angklung kantil, late 1970s.

materials related to her Semester at Sea in joined the Society for Ethnomusicology in 1987. The following year she composed 1962 and remained an active member until a new school song, “LMU: A Gift to the her death in 1995. She was also a founding West,” and the process is documented member of the Southern California Chapter through correspondence and song texts as of SEM, twice serving as president. Other well as the original manuscript score. professional activities documented in her Robinson returned to Indonesia on several papers include her affiliation with the occasions for research on her dissertation Los Angeles Urban League during the topic, “The Ceremonial Repertoire of the Civil Rights Movement, as well as Delta Balinese Gamelan Angklung: A Study in Sigma Theta Sorority and the National Regional Variation and Compositional Endowment for the Arts. Transference.” Numerous audiocassettes, The Gertrude Rivers Robinson open reel tapes, and 8mm films in the Collection was generously donated to the collection were recorded during these trips, AAAMC in several installments by her capturing the performances of various son, Spencer M. Robinson Jr., who assisted gamelan ensembles as well as ceremonies with the identification of the films and Gertrude Rivers Robinson, early 1990s. and dances. A binder marked “Gamelan audio recordings. Spencer accompanied Notation, Java Project” may also have been his mother to Bali on several occasions, Phil Sonnichsen), musical instruments compiled as part of Robinson’s fieldwork. including her initial trip in 1970, and served from around the world, and Japanese Aside from one folder containing a brief as her recording engineer. The collection is music and culture (primarily related to outline of her dissertation topic, however, now open for research, and the digitization instruments and dance). Robinson’s papers there is no indication she had begun of the audio, film and images is ongoing. also include syllabi for LMU courses on drafting chapters. — Brenda Nelson-Strauss, based on a biography by ethnomusicology, Afro-American music, The final portion of Robinson’s papers former AAAMC graduate assistant David R. Lewis and Western classical music, as well as shed light on her professional activities. She

24 Dr. Mellonee V. Burnim and Dr. Ruth Stone at IU retirement celebration (courtesy Dept. of Folklore & Ethnomusicology) Dr. Mellonee V. Burnim Retires from Indiana University

The following remarks were excerpted “Culture Bearer and Tradition Bearer: An translated the unity of her expertise as from a presentation given by Dr. Tyron Ethnomusicologist’s Research on Black a scholar and creative artist to national Cooper during a retirement celebration Gospel Music,” challenging the widely and international stages, as she led on Thursday, March 29, 2018 for Dr. prevalent contention that the ethnicity choral music workshops, undergirded Mellonee V. Burnim and Dr. Ruth Stone, or race of the scholar adversely impacted by lectures, which grounded the music’s hosted by the IU Department of Folklore objectivity in research conducted in performed in historical and socio- and Ethnomusicology. like communities. Burnim’s crowning cultural context. Burnim’s engagement scholarly achievement came with the in the Bloomington community includes Over the course of her career, Dr. publication of African American Music: her 17-year tenure as Minister of Music Mellonee Victoria Burnim has made An Introduction (Routledge, 2006), at Bethel AME and her 15 years as Music many contributions to the Department co-edited with Dr. Portia K. Maultsby. Director at Fairview United Methodist of Folklore and Ethnomusicology and Written to expand on the pioneering Church. Indiana University broadly, while the work on African American music by During her IU tenure, Burnim scope of her import as a groundbreaking musicologist Eileen Southern, this text was chair of the Department of Afro- scholar, performer, teacher, administrator was quickly adopted by universities American Studies from 1991-1994, and human being extends well beyond across the nation. In recognition of its served five years as Director of the the academy. Upon her retirement in top selling status, Burnim and Maultsby Ethnomusicology Institute, and most December 2016, Burnim had completed were solicited by Routledge to produce recently, as Director of the Archives of 41 years of distinguished service to an updated second edition in 2015 along African American Music and Culture IU. She arrived here in 1975 as a Ph.D. with the companion volume, Issues in from 2014 until her retirement. In student in ethnomusicology, recruited African American Music: Power, Gender, this latter role, Burnim focused on by Dean for Afro-American Affairs Race, Representation (2017). programming designed to raise the and Director of the Afro-American As a public speaker, Burnim has profile of the Archives within the IU Arts Institute, Dr. Herman Hudson, to shared her seminal research on Black community at large, evident through create what is now known as the African religious music with audiences across several extremely successful sponsored American Choral Ensemble, the final the globe, giving presentations at many public events. We recognize and salute unit in the Institute’s Black performing institutions of higher learning as well Dr. Mellonee Burnim, a premiere arts trifecta. In 1985, Burnim published as seminaries and schools of theology, ethnomusicologist and scholar of in the Ethnomusicology journal her and most recently the Apollo Theater. Black music and culture, for her many most widely read and referenced article, Over the span of her career, Burnim has contributions.

25 sound bytes: digital initiatives

Dr. Herman Hudson and Dr. Mellonee Burnim with composer Undine Smith Moore in Richmond, VA, circa 1978 (SC 102; photographer: Scott L. Henderson).

New video: The Teresa collection to the audience at a donor of these finding aids for publication in Hairston Collection recognition event in honor of Dr. Hairston, IU’s Archives Online site (http://tinyurl. Liner Notes No. 21 featured the recently which is now available online at https://purl. com/ydga24rn). The finding aids are also donated Teresa Hairston Collection, which dlib.indiana.edu/iudl/media/b88q37ww6w. accessible via the ‘explore collections’ tab includes thousands of materials created on the AAAMC website – look under the or collected during her career in the Finding aids categories indicated in parentheses: gospel music industry such as magazines, Finding aids to eight collections have been photographs, videos, and sound recordings. published online over the past year. Several • Robert Marovich Collection, 2007-2013 This extensive collection is available for of these (Gospel News Journal, Ronald C. (religious) onsite research at the AAAMC on Indiana Lewis, and Arizona Dranes) include links • Brian Lassiter Southern Rap Collection, University’s Bloomington campus, and to images of documents in the collections. 1986-2013 (hip hop) portions are currently being digitized Special recognition goes to Levon Williams • Gospel News Journal, 1966-1968 for online access. The AAAMC recently and Emily Baumgart for their excellent (religious) produced a video to introduce this rich work completing and encoding many • Ronald C. Lewis Collection, 1986-2017, undated (popular and religious)

Jocko Henderson campaigning during his run for Black Forum Records, Guess Who’s Coming Home: Black Adelaide Hall publicity portrait, circa 1937 (SC 134) a seat in the U.S. House of Representatives, PA 2nd Fighting Men Recorded Live in Vietnam, 1972 congressional district, circa 1978 (SC 136)

26 • Arizona Dranes Okeh Records and non-commercial videos, along with Two collections in MCO feature content Correspondence, 1926-2004, bulk CD-R and DVD-R discs. In addition related to IU’s African American Arts 1926-1929 (religious) to analog and digital audio and video Institute. The Black Composer Speaks • Vy Higginsen Collection, 1982-2012 carriers, the project has now expanded Collection contains interviews conducted (religious) to film! We look forward to receiving by David and Lida Baker for the book, The • Debbie May Gospel Music Collection, digital preservation copies of films in the Black Composer Speaks (1978). In support 1985-2001 (religious) Gertrude Rivers Robinson Collection. For of Dr. Charles Sykes’ recent lecture on the • Adelaide Hall Collection, 1928-2003 more information about how we are using Black Forum label, Motown’s short-lived (popular) these digitized items, keep reading! venture into explicitly political releases, the AAAMC is providing streaming Image Collections Online Media Collections Online access to all of the Black Forum releases (ICO) (MCO) (currently limited to IU faculty, students, Photograph collections big and small As the AAAMC receives digitized audio and staff). are continually added to IU’s Image and video files from MDPI, they are Collections Online site. New additions uploaded to IU’s Media Collections The AAAMC has been organizing include selected gospel industry event Online site for access. When possible, educational public events, including photographs from the Teresa Hairston these recordings and videos are made lectures and exhibits, for many years. Collection which were digitized over the freely available to the public online; We’re excited to bring video online from summer. These are among thousands however, due to copyright and other a 1998 lecture by hip hop scholar Harry of images in the Hairston Collection, so restrictions, the majority of digitized Allen. For soul and funk fans, we’re continue to check back for more in the audio and video files, as well as related providing online access to interviews with coming months! transcripts, are limited to authorized Indianapolis musicians, conducted in access. Please contact the AAAMC for partnership with the Indiana Historical Photographs from seven additional details. Society as part of an exhibit and oral collections were also recently scanned and history project, “Soul and Funk: the uploaded to ICO. View these collections Radio-related collections added to MCO Naptown Sound” (2004-2005). and more at https://tinyurl.com/y99fsobv. include the Rhythm & Blues Foundation’s “Let the Good Times Roll,” a series of 13 Several additional collections digitized • Vy Higginsen Collection, 1982-2012 hour-long programs hosted by Jerry “The by MDPI have also been added to MCO. • Tom Barton Collection Iceman” Butler, distributed by National Media from the Logan H. Westbrooks • Ronald C. Lewis Collection, 1986-2017 Public Radio. “Every Voice and Sing!” is Collection includes Westbrooks’ public • Patrice Rushen Collection a five-part radio series on Black choral lectures while visiting Indiana University • Jocko Henderson Collection, 1971-2003 music that explores the social/political and LPs released by his label, Source • Debbie May Gospel Music Collection, context of the Civil War/Reconstruction Records. Digitized Umatic tapes and 1985-2001 era that brought about the formation BetacamSP tapes from the Johnny Otis/ • Adelaide Hall Collection, 1928-2003 of Historically Black Colleges and William Griffiths Collection document Universities and their amazing singing the production of two of Otis’ television MDPI updates groups. Interviews from the Jacquie Gales shows from the 1970s: “The Johnny Otis IU’s Media Digitization and Preservation Webb Collection conducted for the radio Show” and edited footage for a proposed Initiative continues to digitally preserve series “Jazz Singers” (Smithsonian and “Oldies But Goodies” series. Last but thousands of audio and video items Public Radio International) have also been not least, audiocassettes from the Robert from our collections. This summer we digitized and are currently being indexed Marovich Collection, featuring interviews sent the second batch of VHS tapes, for improved accessibility. with Chicago gospel pioneers, have including several hundred commercial been digitized and are now available for research.

Helen Baylor publicity portrait for the album Love Mr. Wonderful recording artist Jerry Green, undated Vy Higginsen publicity portrait, undated (SC 28) Brought Me Back, 1996 (SC 62) (SC 126)

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

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

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

AAAMC Staff: Tyron Cooper, Ph.D., Director circle of Brenda Nelson-Strauss, Head of Collections William Vanden Dries, Digital Collections/ friends Project Manager Amy Aiyegbusi, Graduate Assistant Jamaal Baptiste, Graduate Assistant I would like to join the Circle of Friends of the Archives of African American Music and Culture. My donation will support the activities of the AAAMC. Student Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Supporting Friend ($50-$99) Other Assistants: Chloe McCormick, Jared Griffin Sustaining Friend ($100-$999) Enclosed is my/our contribution of $ to the Archives of African American Music and Culture. All contributions to the AAAMC are tax Faculty Research deductible. Associates: Valerie Grim, Ph.D. Name______Alisha Lola Jones, Ph.D. Address______Fernando Orejuela, Ph.D. City______State______Zip______Phone ( )______Charles E. Sykes, Ph.D.

Please make checks payable to: IU Foundation Newsletter design & layout by Dennis Laffoon and mail completed form to AAAMC • Smith Research Center, Suites 180-181 2805 E. Tenth Street • Bloomington, IN 47408-2601

Donate online at go.iu.edu/APlaceForArts and select AAAMC Enrichment Fund