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Home , Charles Brown (musician), Delinquent Habits, Forget Me Nots, Leon Bibb (musician), Patrice Rushen, Shanice

Music and Culture at the Archives of African American Music and aaamc mission: Culture,” at a spring symposium “...you have demonstrated The AAAMC is devoted to the collection, geared for academic counselors and preservation, and dissemination of materi- tremendous courage, support personnel on “Making the als for the purpose of research and study of fortitude, and determination Most of College,” which was spon- African-American music and culture. in a way that provided sored by the offices of IU’s Vice www.indiana.edu/~aaamc inspiration and leadership for Chancellor for Academic Affairs and the Vice Chancellor for Student the rest of the country. “ Affairs. We also completed an instructional website on hip-hop music and culture No. 6/No. 7) – (see Liner Notes #4 for more details), Fall 2001/Spring 2002 which was tested in a class of seventy- Special Double Issue one students during the 2002 spring semester. An on-line pilot version will be offered at IU’s Northwest campus IN THIS ISSUE: in the spring of 2003 and will be used by AAAMC in future workshops on African American music for educa- Letter tors. Our activities for the spring of From the Desk of 2002 concluded with a visit from Dr. the Director Lutgard Mutsaers of the University of Utrecht in the , who was a Fellow in IU’s Institute for Advanced In the Vault Study. She spent three weeks in • Recent Donations March collaborating with me on our • Featured Portia K. Maultsby research project, “Black American Collection: Director Music in Dutch Culture” (see story AAAMC General inside). Collection From the Desk Susan Oehler, contribute to our mis- In this issue of Liner Notes, I am sion. The first installment of Jones’s proud to present the work of two • Donor Profile of the Director collection--awards, articles, programs, undergraduate members of our staff, posters--offer insight into his innova- Laura Gonzales and Tangera Sharp, On behalf of the staff of the Archives tive career in gospel music. Lydon’s who each wrote a featured article on Visiting of African American Music and audio recorded interviews gathered the collections they processed over the Scholar Culture, I would like to express both for his book : Man and past two years. I am also pleased to our condolences and admiration to Music (1999) bring together the experi- welcome two new Research • Jennifer Searcy the residents of . ences and perspectives of many per- Associates, Professors Tyron Cooper Despite the loss of loved ones in the formers who knew or worked with and Daniel Walker, to our staff. Past Events unfortunate tragedy of September 11, Ray Charles over the years. The audio Cooper, a renowned and versatile gui- • Michael Lydon 2001, you have demonstrated tremen- interviews and field notes Oehler tarist-vocalist, is the Director of the Lutgard dous courage, fortitude, and determi- gathered for her Ph.D. dissertation Indiana University Soul Revue and an • nation in a way that provided inspira- Aesthetics and Meaning in Professional adjunct professor in the Department Mutsaers tion and leadership for the rest of the Performances: An Ethnographic of African-American and African country. Such tragedies remind us of Examination of an African American Diasporic Studies. Walker, whose People the importance of preserving our his- Music in Intercultural Context (2001) research encompasses black gospel • New AAAMC tory, culture, and personal memories offer new perspectives on blues per- music, is a professor in IU’s through diaries, letters, cards, photo- formance and meaning. Department of History. I conclude Assistant Director: graphs, oral histories, video and audio Over the past twelve months, the this issue by announcing the appoint- Stephanie recordings, and various artifacts. AAAMC has engaged in a variety of ment of Stephanie Shonekan as Shonekan Since September 11th, the AAAMC activities to broaden the exposure of Assistant Director of the AAAMC (see has had an increased number of our collections, to meet the diverse story inside). Shonekan has made • National Advisory requests for these and other materials needs of patrons, and to support our many valuable contributions as a Board Member: for projects that document our past, educational mission. Past issues of graduate assistant over the past five interpret the present, and chart new Liner Notes have been put on-line and years. Her presence in this new posi- tion will enable us to undertake many ground for the future. indices to our general and selected • Research special collections will be available on projects that have been in the planning Three major collections donated by Associate: our updated website in fall of 2002. stages for several years. Specifics two of our board members, gospel Valerie Grim singer Bobby Jones and author-musi- Stephanie Shonekan gave a Power about these will appear in the forth- cian Michael Lydon, and by scholar Point presentation, “Exploring Black coming issues of Liner Notes.

In the Vault LINN Records Limited Vibe Magazine Compact disc – Willard White: The Legacy of Continued complimentary subscription (2002) Recent Donations Warner Bros. Records Compact discs James Abbington Michael Lydon The Michael Lydon Collection – audio recordings Book -- Readings in African American Church Michael Woods of interviews for Lydon’s biography of Ray Music and Worship (2001) Addition of original scores to existing Charles, Ray Charles: Man and Music (1999) Michael Woods Collection Compact discs Susan Oehler The Susan Oehler Collection – field research Bobby L. Jones material (audio recordings, notes, documents) The Bobby Jones Gospel Music Collection – related to the study of live blues performances in video, audio recordings, awards, articles, and intercultural contexts other memorabilia collected throughout Jones’ producing, broadcasting, and performing career Adam Sechooler in gospel music Video recording of Interview with Fayard Ladies First Nicholas (2001) Inaugural compact disc recording of Ladies First, Indiana University a cappella group, Ticket to Squint Entertainment Anywhere (2001) Compact disc of materials to anyone interested in Featured black popular music and its contexts. Collection: Our facilities are open to educators, researchers, and the public. Teachers The AAAMC General and students often use our resources for class. Recently, students used the Audio & Video archives to study materials for their Collection classes on “Hip-Hop Music,” “,” and “African-American Need music by ? History," which were taught by Portia Information about the history of the Maultsby, Charles Sykes, and Daniel blues or rock ‘n’ roll? A music video of Walker, respectively. Music clips and Public Enemy? Words to gospel songs? photographs from the collection have The AAAMC may have just what been utilized for various websites, you’re looking for in its large collection including the “Survey of African of CDs, cassettes, LPs, 45s, videos, and American Music” and “Hip-Hop DVDs. Music,” the former currently under con- The Collection had its beginnings in struction. People doing research on any the mid-1980s, as Dr. Portia K. Maultsby number of subjects contact the AAAMC and other faculty began to acquire in search of relevant materials. The audio and video material on the music AAAMC also hosts workshops, and is a and culture of . In popular destination for field trips – even 1991, the AAAMC was officially estab- from abroad. A few years ago, a group lished by founder and director of German students visited to learn Maultsby, through a grant from the more about gospel and hip-hop tradi- Ford Foundation. Since then, she and tions. her staff, as well as members of the The AAAMC is a wonderful source for National Advisory Board, have attract- research, education, or just pleasure. No ed special as well as general collections. matter where your interest lies, you are Awealth of additional materials have sure to find what you need here at the filtered in through personal donations, Archives. See you soon! complimentary copies from record com- - Laura Gonzales panies, and purchases. Gonzales worked at the AAAMC Distinct from the “Special as an Archival Assistant. She graduated Collections,” which contain materials from Indiana University in May 2002. pertaining to specific topics or perform- Box sets cover individual artists like we have a wide range of visual media ers, or from an individual donor, our Diana Ross, Al Green, and Jackie including over 273 VHS and 24 beta * The term “” was first used as a mar- “General Collection” comprises materi- Wilson, as well as subject anthologies videos, as well as a growing DVD col- keting label to identify all types of music recorded by such as The Sugar Hill Records Story, The African-American artists. Introduced in 1949 to replace al that cuts across subject, genre, period, lection. These media productions the race music label (a term in use since 1920), “rhythm and format. From classical to hip-hop, Complete Stax/Volt Soul Singles, and The include programs in music, history and and blues” (also referred to as “R&B” at this time) encom- blues, rhythm & blues*, soul, , to Doo Wop Box. culture. Our video collection houses passed all black musical traditions, including rural and We also have cassettes, LPs, and 45s, movies (White Men Can’t Jump, urban blues, boogie-woogie, black swing, jazz combos, R&B*, rock, jazz, and gospel to the vocal harmony groups, and club lounge trios. The term music of the African Diaspora, all are and the means to play these sound for- Remember the Titans); newscasts (60 also identified a musical genre that began evolving in the represented on more than 2,000 CDs, mats on site. Our cassettes cover genres Minutes on Racial Tracking, ABC News mid-1940s as reinterpretations and hybridizations of ver- such as gospel (The Indiana State Mass on Nelson Mandela); educational histo- nacular traditions. Although the blues provided the 120 cassettes, 107 LPs, and 83 45s. The foundation for rhythm and blues, other elements came collection includes music by many pop- Choir, Reverend Milton Brunson, CLC ries (History of Rock ‘N’ Roll, Motown: from jazz, spirituals, gospel, and mainstream popular ular artists--, Aretha Youth Choir), hip-hop (Az-1, Cypress ATime Capsule); music videos (Janet music. By the 1960s, gospel elements began to dominate, Franklin, Prince, The Supremes, Miles Hill, Goodie Mob), blues (Alberta Jackson, Ice T, Afrika Bambaataa); lec- transforming rhythm and blues into a distinctive genre Hunter, Trudy Lynn), soul (Jerry Butler, labeled soul. Promoted by the Black Music Association, Davis, LL Cool J, Bobby McFerrin, B.B. tures (Evelyn Johnson, The Memphis the term “Black Music” replaced "Soul" in 1982 to reflect King, Yolanda Adams, Femi Kuti, Billy Johnny Taylor), R&B (Monica, Luther Blues Tradition Symposium); documen- new trends and stylistic diversity in black popular music. Eckstine, Queen Latifah, Parliament, Vandross), African Diaspora (Talking taries (Eyes on the Prize, Our House: In 1990, Billboard reintroduced the term “R&B” “as a Drums), and soundtracks (Stormy broad umbrella to refer to a variety of musical styles, and Destiny’s Child, to name a few--as Gays and Lesbians in the Hood); instru- including such contemporary genres as rap, hip-hop and well as lesser-known figures such as Weather, Black Caesar). Our LP hold- ment features (Piano Legends, Trumpet funk. In addition, R&B as a label is less likely to create Body Count, , and ings include hip-hop (Brand Nubian, Kings); interviews (George Clinton, “In expectations about the race or ethnic origins of the The Lox, ), folk (Estella the Rapture”); ‘live’ gospel (Gospelfest, music’s creators.” The AAAMC will use “rhythm and Jurassic 5; plus a few local artists, blues” to refer to 1940s–1960s rhythm and blues and including Beeble Brox, Angela Brown, Conwill Alexander, Leon Bibb), R&B The New Life Community Choir); “R&B” for the rhythm and blues of the 1990s and beyond. and Charles Denson. (Mariah Carey, Faith Evans, ), jazz dance shows (Dance Theater of Harlem, Sources: (Billie Holiday, Lena Horne), rhythm & Masters of Tap); and much more. The Maultsby, Portia K. “Rhythm & Blues and Soul” in The Our CD collection includes more than Garland Encyclopedia of World Music.” Vol. 3 United 1,450 individual CDs, 255 compilations, blues (, Toussaint McCall), beta videos showcase the music of Brian States and Canada Music. General Ed. Ellen Koskoff 134 soundtracks, and 40 box sets. The African Diaspora (Bhundu Boys, Juba, McKnight, A Tribe Called Quest, (New York: Garland Publishing, 2000), 667-679. compilations have tracks by various Mahlathini and The Mahotella Queens), Shanice, Boyz II Men, the Neville ------. ": Its Sociological and Political classical (William Grant Still), comedy Significance in American Popular Culture," Journal of artists in blues, hip-hop, soul, gospel, Brothers, , and others. Popular Culture. XVII (Fall 1983), pp. 51-60. R&B, Christmas, song interpretations, (), and spoken word (Ossie Our DVD collection comprises movies “Billboard Leading a New Rhythm Section: Chart-Title funk, , dance/club, go-go/house, Davis & Ruby Dee). Our 45s include (Shaft, Superfly, and Foxy Brown); doc- Changes Stress Style of the Music” Billboard. October 27, Motown, and rock. The soundtracks mostly blues (Charles Brown, Lightnin’ umentaries (The Legends of Rock ‘N’ 1990. p.6,35. cover movies such as Waiting to Exhale, Hopkins), rock (Tina Turner), country Roll); as well as live performances (Willie Nelson, Randy Travis), and soul **Information concerning our General Collection holdings The Brothers, and Made in America; and (James Brown; Otis Redding; and Earth, will soon be available on our website http://www.indi- musicals such as Porgy and Bess, The Wiz, (Bobby Powell, Ted Taylor) artists. Wind & Fire). ana.edu/~aaamc . Until then, any questions about the and Bring in ‘Da Noise, Bring in ‘Da Funk. In addition to our audio collections, The AAAMC offers a diverse selection collection should be referred to [email protected].

“My only regret, is that I don’t live closer to Bloomington so that I could spend more time at the Archive!”

Visiting Scholar Donor Profile – Jennifer Searcy Karen Shearer: Jennifer Searcy, a first year doctoral student of American From Rhythm to History/Public History at Loyola University, visited the AAAMC in April, 2002. She made the four-hour road trip from Chicago to Rhinos Bloomington twice in her quest to study the material in our Black When Karen Shearer graduated she loved her work, and it became the Radio Collection and the William Barlow Collection. from San Diego State University, she basis for a rewarding and successful During her first year of graduate studies, Searcy became planned to become a teacher. But the career in the recording industry. “extremely interested in the role African-American radio played in course of her life took a dramatic turn as For Shearer, the road to success was creating race and community consciousness from 1920-1970.” the result of a post-graduation trip to joyful, but sometimes bumpy. She faced After discovering the AAAMC on the internet and through cita- Europe; she ended up living abroad for many obstacles, including gender dis- tions in some of the works she had researched, particularly the several years, and drastically modified crimination. “Particularly at record work of William Barlow, she decided to make the trip to her career plans. Inspired by live per- companies,” she reminisced. “Women Bloomington. She was specifically interested in the Chicago radio formances by Jimi Hendrix and many were publicists, [and] could even station WVON while it was owned by Leonard Chess in the 1960s. other artists, she became interested in become the director of publicity, but you By the end of her second trip, Searcy had gathered a significant the documentation of African-American were not going to become the Head of amount of information for her research. “My only regret,” she music. On her return to the United A&R.” After working for Capitol said, “is that I don’t live closer to Bloomington so that I could States, she began working as a publicist Records, Shearer landed one of her most spend more time at the Archive!” for Capitol Records and was assigned to noted gigs at Westwood One when she cover black and country music. This was introduced to Norm Pattis, a per- was a major turning point for Shearer; son she fondly refers to as the compa-

2 Lutgard Mutsaers: Studying Black Music in the Netherlands Apetite unassuming Dutch woman full of enormous and exciting ideas about the globalization of African-American music and culture–that describes Dr. Lutgard

photo by Fernando Orejuela Mutsaers in a nutshell. But a nutshell is hardly big enough to contain her passion

about the worldwide influence of black photo by Fernando Orejuela music, particularly in the Netherlands. Mutsaers spent three weeks in March 2002 as a visiting fellow at IU’s Institute for Advanced Studies. This visit was ini- tiated when Mutsaers was nominated for the fellowship by her colleague, AAAMC director Portia K. Maultsby, in Tangera Sharp, Lutgard Mutsaers and Stephanie August of 2001. The two scholars had Shonekan met at an international conference and shared ideas about black music and its manifestations in Europe. Their scholarly collaborations took on a firmer quality when, in the spring of 1998, Maultsby was Belle Van Zuylen Professor of African American Music in the Musicology Department of Utrecht University in the Netherlands, where Mutsaers is a Lecturer of Popular Music Studies. Past Events identified with it.” Lydon cited Ideas for continued collaborations on documenting concepts on global black events like the civil rights move- music formed the bedrock of Maultsby’s successful quest to bring Mutsaers to the Michael Lydon: ment and the Vietnam war as being IU campus in March. Mutsaers, working out of an office at the AAAMC, spent responsible for opening up the heart her days studying and analyzing video footage and audio recordings of per- Writer and and the ears of America’s youth. formances and interviews that had been collected by Maultsby during her field Performer Many of the musicians Lydon research in the Netherlands. Together, they fleshed out their initial ideas and admired and interviewed (Keith defined a preliminary framework for the study. In September 2001, the AAAMC Richards, Bo Diddley, Chuck Berry, Mutsaers’ tenure in Indiana also involved two formal speaking engagements hosted a campus visit by board John Lennon, Paul McCartney, and which were both extremely well received. On March 19, 2002, she was guest lec- member Michael Lydon. The versa- B.B. King) inspired and encouraged turer in the Survey of the Culture of Black Americans class at the IU satellite cam- tile Lydon brought much flavor to him to step in from “the sidelines” pus in Indianapolis. The students were fascinated not just by her lecture, but also campus, drawing on his multi- and start performing himself. He by the audio/visual material she presented which made her words come to vivid faceted experiences as a journalist, explained that “playing the music life. These young American students, many of them African Americans, were able to assess and evaluate for themselves the performances and views of the biographer, composer, and per- was like dropping the notebook” former. While at IU, Lydon capti- young Surinamese-Dutch artists who aspire to become adept performers of soul, that stood between him and the funk, R&B, and hip hop. “Yes, he can make it here, but he’s going to have to keep vated audiences at the School of musicians. Creating music helped Journalism as he regaled them with it real,” was the overwhelming response to one artist that Mutsaers showcased. him to see musicians in a more real- Mutsaers facilitated an intense class discussion that concluded that the “real life” stories and wisdom gained from his istic light—not as untouchable 35-year career, including tales of his of a Dutch youth was very different from the life of a young African American geniuses, but as regular guys who past as one of the founding editors and this essence would have to emanate in their version of hip hop. just plain worked hard to achieve of Rolling Stone Magazine, his work On March 21, 2002, in IU’s Ballantine Hall, Mutsaers gave a public lecture titled with Newsweek Magazine, and his success. Although it was pop music “Seeking to Sound Black: Popular Music in the Netherlands in the 20th Century most recent project of writing a and rock ‘n’ roll that inspired him, and Beyond.” While this presentation also introduced Dutch performers of comprehensive biography of Ray Lydon’s own musical style has African-American music, Mutsaers adopted a more conceptual approach for this Charles. He described how his evolved into an easy-going jazz in lecture. Her detailed models of historical migration and export of black music “God-given” writing talent and his the manner of George Gershwin from the United States and the Caribbean attracted some reflective questions and avid curiosity led him to destina- and Cole Porter. On the weekend vibrant discussion. tions such as Yale, London, San during his visit, again armed with While she was here, she formalized her attachment to the AAAMC by launch- Francisco, and New York. Defining his guitar and accompanied by bass ing her personal collection and joining our “Circle of Friends.” Mutsaers’ pleas- ant personality and fresh ideas endeared her to everyone at the AAAMC. In the journalism simply as “contempo- player Dave Fink, Lydon performed gentle way that is characteristic of her, Mutsaers left a warm note for the staff, rary history,” he advised the bud- a set of pop-jazz standards and orig- ding journalists about the process of which was only found after she had left Bloomington: “Thank you for creating a inals at the Borders bookstore café. unique experience for me at AAAMC and IU Bloomington! Love, peace, and god- becoming a successful writer, no Lydon’s schedule also included a matter what the format or audience. bless, Lutgard.” The sentiments are mutual! tour of the AAAMC and a meeting - Stephanie Shonekan Lydon was also guest lecturer in an with the staff to discuss strategic ethnomusicology class, World and programming ideas. Lydon Music & Culture, where he talked consistently draws on his experi- about his work as a writer and per- former. Focusing on music and ence as a writer, critic, and per- armed with his acoustic guitar, he former to help to steer the AAAMC Her detailed presented his thoughts on the devel- on the right course towards its models of histori- opment of American music. vision. We are indeed honored to cal migration and Highlighting the interrelationship have such a versatile, thoughtful, export of black between music and political ideolo- and accessible individual on our photo by Stephanie Shonekan music from the gy, Lydon explained that in the mid- board. United States and , when he first became inter- the Caribbean ested in music, was - Stephanie Shonekan attracted some just exploding on the scene–“thou- Shonekan is Assistant Director of the AAAMC. reflective ques- sands of American kids were find- She is a doctoral candidate in folklore and ethno- tions and vibrant ing black music to be the natural musicology specializing in the biographical study discussion. expression of themselves… they of African and African- American musicians.

Lutgard Mutsaers and students.

“I am absolutely delighted the “Westwood One: Special Edition the work she had done on black music believed that artists speaking in their that the collection represents Collection;” production and research and culture. But time constraints result- own words are the best sources of infor- at least 20 years of work on material are housed in the Karen ing from her new job in wildlife pro- mation about their music and careers. my part and my career... and Shearer Collection.) ductions prevented her from doing so. Housing the Karen Shearer Collection will be used. This is of Shearer left syndicated radio when the As a result, she decided to donate her at the AAAMC is a mutually satisfacto- tremendous satisfaction.” industry was in the midst of going collection to the AAAMC because of her ry arrangement for Shearer and the through major changes. She now personal relationship with and trust in AAAMC. On the one hand, patrons of ny’s “soul-reigning god.” enjoys producing wildlife features for Portia Maultsby. the Archives will gain rare access to the Westwood One provides over 150 television. “All of those years of doing Donated in June 2000, The Karen words and voices of popular African- news, sports, music, talk, entertainment rock ‘n’ roll tours have made me incred- Shearer Collection consists of research American performers. On the other programs, and features to the radio and ibly well qualified for dealing with and production materials from the hand, as Shearer said, “I am absolutely television industries. At Westwood crews and rhinos at the sea hold. work she did on “Special Edition” and delighted that the collection represents One, Shearer was in charge of “Special Nothing shocks me, nothing surprises “Rock Chronicles.” It covers a wide at least 20 years of work on my part and Edition,” preparing and producing me.” While music was her “first love,” range of African-American music my career, and I’m thrilled to know that shows that featured interviews and wildlife has become a major part of her including hip-hop, jazz-fusion, doo- it didn’t disappear with [just] a single music of a wide range of artists, includ- heart and life. Shearer warmly remem- wop, soul, funk, and R&B. The materi- airing on radio and that this material ing the Temptations, Kool and the bers the hundreds of television and als in the collection include publicity can, and will be used. This is of tremen- Gang, Luther Vandross, Aretha music interviews she did over the years, information, photographs, transcripts, dous satisfaction.” Franklin, Jermaine Jackson, Stephanie but her most memorable interviews artist biographies, and interviews. - Tangera Sharp Mills and Rick James. Artists talked were those she did with the survivors of Shearer envisions her collection as Sharp is an archival assistant at the AAAMC. about their lives and careers as well as the Oklahoma City bombing. being of great value to students, schol- She is a senior at Indiana University with a double how their music and particular songs When Shearer left syndicated radio ars, and the general public as a docu- major in History and Political Science. After were created. (Recordings of these she planned to write a book, which mented oral history and a primary graduating, she plans to teach Social Studies and shows are available at the AAAMC in would introduce her grandchildren to resource because she has always coach gymnastics and cheerleading.

3 Her scholarly pursuits have led her to envision creative ways in which African and People African-American music, literature, history, and culture can be used to enlighten, New AAAMC educate, and empower people across continental, regional, and racial boundaries. Assistant Director – envision creative ways in which African tered around the portrayal of the lives of ious computer applications including and African-American music, literature, African-American musicians. Her spreadsheets, word processing, data- Stephanie Shonekan history, and culture can be used to Ph.D. dissertation identifies and investi- bases and graphic presentations. She enlighten, educate, and empower peo- gates the critical issues surrounding the also led teams of consultants from the ple across continental, regional, and autobiographical portrayal of Camilla manufacturing, banking, educational, racial boundaries. As an undergraduate Williams, a notable African-American and oil sectors on various projects rang- English major at the University of Jos in soprano whose contributions to classi- ing from strategic diagnostics to per- Nigeria, she studied literature and class cal music deserve to be examined. formance management analyses. She issues in Trinidadian society. Her mas- During her doctoral studies, Shonekan was responsible for proposal develop- ter’s work at the University of Ibadan, developed and taught a course titled ment, project planning, monitoring, and Nigeria focused on the folk musical and “20th Century Africa” at IU’s implementation. She also edited and photo by Portia K. Maultsby literary traditions of Langston Hughes, Northwest campus in Gary. Her stu- wrote articles for the consulting divi- Leroi Jones (Amiri Baraka), Louis dents learned about contemporary sion’s internal newsletter. This back- Armstrong, and Miles Davis. She is cur- Africa through the use of music and lit- ground will be of immense value in rently completing a doctorate in erature, drawing relevant parallels to writing grant proposals; strategically Folklore and Ethnomusicology with a peoples of African descent worldwide. managing and positioning the minor in African-American Studies at She has been a guest lecturer on various AAAMC; coordinating effective com- IU Bloomington. topics ranging from black radio in munication between the AAAMC, the Throughout her graduate studies, she America, to life histories, to African university, and patrons; and in editing has concentrated on the propagation, popular music. Archives publications. promotion, and participation of all gen- Before beginning her doctoral work, Stephanie Shonekan joins the AAAMC res of African and African-American Shonekan took a 5-year hiatus from aca- with the experience and skills–as well as music from a historical and socio-cul- demics to apply herself to the practical her qualifications in the study of African Stephanie Shonekan assumed the tural perspective. Her research into the and productive aspects of business, by and African-American music and litera- newly-created position of Assistant connections between African and working for Arthur ture–to help the AAAMC pursue its Director/Research Assistant of the African-American popular music Andersen/Andersen Consulting in mission and vision. Her dual back- AAAMC in August of 2001. The posi- resulted in a research paper titled Lagos, Nigeria. She learned valuable ground as a Nigerian and Trinidadian tion, designed to address programming “Nigerian Rap: Reinterpretation of an management and administrative skills also give her a valuable African and strategic vision needs of the African-American Musical Tradition,” there such as change and human Diasporic perspective. She and her hus- archives, entails research, writing, and which she presented at the Society for resource management, visioning, strate- band have three children. The AAAMC teaching, as well as development and Ethnomusicology National Conference gic planning, client proposals and pre- welcomes her on board. management. Shonekan’s background in November 2000. sentations, and team leadership. She makes her perfectly suited for the job. Another dimension of her research rose to the position of Senior Consultant Her scholarly pursuits have led her to interest involves the study of issues cen- and became proficient in the use of var- - Portia K. Maultsby

American rural life) as well as Research her ideology of teaching. Associate – She tries to get her students to envision themselves as teammates whose goal in Valerie Grim: Tending the class is to win simply by under- standing what other people’s realities Her Rural Roots are. Even the idea of bringing team-

photo by Portia K. Maultsby work into the college class stems from As part of its organizational structure, the Archives of the farm: while Sundays on the farm African American Music and Culture maintains a were reserved for church activities, group of Resident Research Associates from various Saturdays were dedicated to basketball. disciplines who serve as resource consultants to the The Grims rigged up lights in their barn staff and the patrons of the archives. This issue features and held all-night basketball tourna- historian Valerie Grim, whose research centers on ments that attracted teams from around African American rural life. Her studies provide a con- the county. Valerie loved to play, and text for the scholarly interpretation of African her love of sport remains a vital part of American vernacular traditions such as the blues, her life. She has coached girl’s teams worksongs, game songs, folk spirituals, and other rural throughout her career, wherever she forms of religious expression. was. Currently, Grim is working on three As a five-year-old, Valerie Grim got major projects which sprout from her up early every morning at her family’s passion and interest in presenting black farm and, after a hearty rural life. In addition to a formal aca- breakfast, eagerly went outside to tend demic manuscript, she is working on a her little patch of vegetables. Her more vibrant work, a collection of grandparents and then her parents had essays and oral histories she has collect- taught her how to weed, water, and ed from aging black folk in the care for each type of vegetable. She Mississippi Delta. She also plans to pro- worried about the weather and she duce a documentary using live footage watched as the tiny seeds grew into fat, “Growing up on a rural farm in the Mississippi Delta, I learned and still photography that she continues ripe fruits and vegetables. She was so much about life and respect for life. We used to sit on the to collect in the Delta region. As a completely fascinated by the watermel- porch and watch every kind of animal born.” research associate of the AAAMC, Grim on. How could such a tiny seed yield Now, in the lofty ivory tower of acade- happy and tired. such an enormous thing? And as she has deposited some of her material in mia, she presents that lifestyle in an On school days, there were still farm the Archives and plans to design and grew, she took on new jobs on other educational package designed to chores to do early in the morning. But parts of the vast farmland where her produce exhibits in the future. enlighten students and scholars about the Grim parents did not take formal “Growing up on a rural farm in the family grew cotton, cucumber, okra and an essential part of black history that education lightly. They insisted that all sugarcane—milking cows or doing a Mississippi Delta,” Valerie Grim she believes has been neglected in tradi- the Grim children go to school and fol- explains, “I learned so much about life shift on the sausage production line. tional history books. While the history lowed their progress closely. The PTA She grew accustomed to seeing calves and respect for life. We used to sit on books had covered the urban political was very active—both parents and the porch and watch every kind of ani- emerge timidly into the world. Once, terrain surrounding black leaders such teachers were fully involved in the edu- when a dairy cow died after giving mal born.” For years, black people have as Sojourner Truth, Frederick Douglass, cational advancement of the children. owned their own land and lived off of it. birth, she bottle-fed the orphaned calf W.E.B. Dubois, and Booker T. According to Grim, the teachers were for weeks and, like a proud mother, Grim’s passion is to remind African Washington, “the rural presence was “absolutely fabulous,” constantly urg- Americans in particular, and anybody watched it thrive. As she traipsed really absent with the exception of the ing their students to do better than the through the grass with her nine siblings who wants to study black life, that these downtrodden story commonly and previous generation. The six siblings rural folk have flourished for decades studying leaves and insects and per- overly told about the share cropper.” who had preceded Valerie in grade on their own land, by their own devices forming experiments designed by her Professor Grim utilizes the oral histo- school had maintained a high academic and means. Whether to scholars in an vivid imagination, she may not have ries she has collected over the years to standard that she was expected to academic environment, or average imagined that she would one day study and present black rural life in uphold. Valerie went to historically African-American teenagers in urban or become a college professor. general, and black rural property own- black Tugaloo College, and soon got rural environments, Valerie Grim is Today, Dr. Valerie Grim teaches ership in particular. It is important to hooked on history even though her ini- African-American history in the her that people realize that many tial plan was to become a lawyer. In determined to communicate the vigor, Department of African-American and African Americans existed and lived off 1984, Grim went to graduate school at value, and valor of black rural life— African Diasporic Studies at Indiana the land for many decades, just as her Iowa State University where, for the past, present, and future- and its influ- University. The years and miles that family and many others continue to do. first time, she had to step out of her hith- ence on black musical creativity. Like separate her from her farm days in All ten of the Grim children were taught erto all-black experience. She made a the watermelon that so fascinated her Sunflower County in the Mississippi to work the land. They each had their successful transition into a very differ- years ago, Valerie Grim’s career has Delta have not severed her ties to her own jobs and they worked hard, 10 ent cultural and geographical environ- grown from a tiny seed to a large rural roots. Instead, she propagates that hours a day, with breaks for hearty ment. fruit…and like the watermelon, the way of life from a different vantage home-cooked meals. Grim fondly Grim’s background has influenced her seeds of her research are being sown to point. On the farm, she could embrace recalls, “it was a good simple agrarian teaching in terms of content (she teach- cultivate another flourishing crop. life, breathe it in every day, and watch life regulated by the farm work.” At the es classes on African-American history the rural world respond to each season. end of the day, everybody went to bed and on twentieth century African- -Stephanie Shonekan

4 Board Member – Patrice Rushen Sampling and the hip-hop generation In spring 1997, AAAMC established its National Advisory Board, a volunteer group of prominent, dis- practice? Rushen: Well it’s all one music to me. Shonekan: How do you feel tinguished professionals who are committed to our One language, different dialects. I about your work being used Rushen: I think there was a period by hip hop artists? mission and lend us their support and expertise. where I wanted to do it, and you know could never say that one is better than Members are actively involved in the production, pro- how kids are, you go through a period the other one. There is a level of excel- Rushen: I think it’s good. A writer likes motion, and study of African-American music and cul- where you don’t want to do it. But not lence and a level of energy and passion to feel that her work has a certain kind ture. They have contributed to our growth and influ- wanting to do it doesn’t necessarily that transcends all categories when one of value and validity to be used, or ence by aiding in the acquisition of materials, in pro- reflect on your passion. I think it’s more is connected to the artistic aspects of played or read years after it’s done, gram development, bringing national visibility, and the peer pressure. At about ten or what they do. That’s the common link. hopefully even after the writer is gone. providing valuable input to discussions on future proj- eleven you become acutely aware that The knowledge from one “category” is I think that’s one of the highest compli- ects. you want to be just like your friends. So transferable if it is coming from a place ments that a or composer Multi-Grammy-Award nominee Patrice Rushen is a in my preteens I probably went through where there is an understanding that can get. world-renowned performer, composer, producer, and that period in my life where I didn’t there’s art in all of music. To look for Some years ago, we went through a music directors she has worked with artists such as want to practice because nobody else the art in it and operate from that place period where music was part of every- Stevie Wonder, , Prince, Lionell had to practice. Then later in my doesn’t leave you a lot of room to draw day life in a school environment. When Hampton, , Boys II Men, George teenage years I was totally into it again. too many more conclusions other than I was in school, especially in elementary Benson, Jean Luc Ponty, Tom Jones, Nancy Wilson, I began to gain popularity by playing an it being something that you can appre- school, music, singing, and dancing Michael Jackson, Dianne Reeves, , instrument. Also, by this time, I had ciate but don’t like, or something you were as much a part of your day as a Stanley Turentine, and Joshua Redman. She has also come close to other kinds of music on appreciate and love. And there is no history, English, or math lesson. Music recorded 14 solo albums. Her work has frequently been the radio that were really interesting for grey area when you are coming from was part of a well-rounded education. “sampled” by artists like Mary J. Blige, R. Kelly, Then this changed. When a lot of music Shabba Ranks, Heavy D., and, perhaps most notably, programs disappeared from schools, it Will Smith, who sampled Rushen’s “” coincided with the explosion of rap. for his hit, “Men in Black.” She has directed the music Every generation needs an opportunity for a number of television shows including the BET to express itself, to have a voice, and awards, Emmy awards, NAACP Image Awards, what is heard comes through music. People’s Choice Awards, and HBO’s Comic Relief. I’m a better player These young people didn’t have instru- ments to play and they weren’t learning Here are excerpts from a May 2002 conversation with because I’ve been a Stephanie Shonekan. music fundamentals in the same way. producer; a better So when they fought through with their voice it was more rhythmic. They beat Background writer because I’ve on stuff, used turntables, scratched records. They got creative with what Shonekan: Where did you been a leader; a bet- they had to find this voice. They grow up? ter performer retained the concepts of rhythm and Rushen: I was actually born in Los rhyme. Melody and harmony went out Angeles. My parents migrated from the because I’m a writer. the window for a while but the most south and built a life out here in Los I’m very fortunate in basic elements of music-making Angeles, and raised us. I grew up in remained and presented itself in rap what was classified as South Central that my exposure has and hip hop. Now we’ve got some . The neighborhood was work to do on lyrics but there is a lan- really nice and diverse, from lower mid- resulted in transfer- guage and a whole lifestyle and culture dle class right on up to upper class, able knowledge. that have developed out of it. I think African-American families. Every kind they’ve been very creative for the most of household was represented—teach- part. An entire category, an entire type ers, domestic workers, social workers, of music was born and has progressed doctors….My friends and their families in terms of what it is musically. So sam- were close. We hung out a lot and our pling could be a good thing. parents were active parents. They went to school meetings and those kinds of that angle. Now all the other things that Shonekan: I’m curious. How me. Not that I did not enjoy classical did it work with Will Smith normal things. The families looked out music…. But in high school I became enter into it – popularity, money or per- for each other. There were a lot of kids ception of certain types of life styles – and “Men in Black”? Did he more aware of contemporary music, call you or did his people call and most of us still keep in touch. particularly jazz. It had a different contribute in part to the perpetration of the idea that all are so different. your people? How does that meaning for me in that it was some- work? Beginning Music thing that was casual and relevant to me. I became aware of the legacy and Breaking Barriers Rushen: That was an anomaly. I had Shonekan: How did you start history of jazz, its value to American gone to see another film and saw the out in music? culture, and in particular African- Shonekan: You’ve broken trailer for the movie Men in Black. This Rushen: When I was 3 years old, my American culture. By this time I had several barriers in some of was before they had attached any music preschool teacher told my parents to enough vocabulary and technique to the things that you’ve done. to the film. Some weeks later I got a let- consider enrolling me in a program at really get turned on to this jazz. As I got What was your mindset going ter and tape in the mail from Columbia the University of Southern into it I found out more and more how into some of these projects Pictures. The letter said something to designed for young children. It was demanding it was and then the idea of that were new territory for the effect that they had ascertained that actually a graduate course for students practicing took on even a different someone who was black or a small sample of my song “Forget Me of the school who were majoring in meaning for me. I was practicing before female, or both? Not” was used in this new song by Will education, and they were developing because it was something I was sup- Rushen: I really was not setting out to Smith for “Men in Black.” I listened to the tape and I said, “Wait a minute, some theories about how young chil- posed to do to play better. Now I’m be the first to do anything. I just small sample?” So I called my attorney dren learn the fundamentals of music. practicing on a certain piece that I’m focused on the task at hand and the This was right around the time when working on and trying to keep on top of and we sorted it out appropriately. I challenge was, “Wow this is a big job. I was not by any means concerned about kids’ music programs were becoming my instrument because, most of what think I know what to do, now let me go increasingly popular. Within this pro- you try to do in jazz particularly, is get anything at that point other than mak- do it.” So it wasn’t until afterwards that ing sure that I and the other co-writers gram, children were taught rhythms to a point where your instrument is no it was brought to my attention that I first. At five, you started on an instru- of the piece from which “Men in Black” longer a physical barrier to listening to was the first to do some of these things. ment and so I started playing (piano) at evolved were credited properly and the music. So that’s what brought me to I really don’t have a big flag to wave or five. I went all the way through that that understanding and now I can fairly compensated. In the end it was a program…until I was out of high anything like that. Now when I look win-win situation for everyone and Will apply that understanding to classical back on it, I’m glad I didn’t think about school. Today the program is still alive music and every other kind of music. Smith did a great job with the track. but it is so much bigger. Now it’s called it. The additional pressure may have “The Art Colburn School” which is Rushen’s Music derailed my focus. What it has done Collaborations located downtown Los Angeles. though is that it certainly enhances my Shonekan: Your works have ability to stand out in a crowd. And it Shonekan: Not only have you Shonekan: Were you ever been classified as jazz, classi- becomes some sort of catalyst for others had your work sampled many the kind of kid that had to cal, and pop. How did your to work in these areas; it opens up times but you’ve also worked be forced to sit down and music evolve? opportunities. continued on back page

5 Rushen continued...

with other artists. What do essary to say absolutely nothing at all. other roles. I’m a better player tious effort to get back to that. I have you do to maintain control They created an atmosphere where because I’ve been a producer; a better done several films for television. I’m when, for example, you are people were absolutely comfortable writer because I’ve been a leader; a also teaching a little bit and doing the director or the and therefore felt like going for it just better performer because I’m a writer. clinics and workshops on various producer? a little more. I apply some of that I’m very fortunate in that my expo- subjects including improvisation, jazz Rushen: Whether it is recording in a understanding to just about every sit- sure has resulted in transferable background, jazz and symphonic studio environment or for a television uation where I find myself working knowledge. composition, and piano playing. I show, people are depending on some- with other artists. Approaching it like also give a couple of private lessons. body to steer the ship. Steering the that has given me a lot of positive Current projects Now I’m working on the second ship and knowing where to go and results and has allowed me to be flex- annual BET awards show. how to get there doesn’t mean that ible. There is a knowledge of when Shonekan: What projects Then of course there is my life at the person doesn’t need full coopera- you have to push hard or when you are you working on right home as wife and mother. I have a tion from other people. It means they have to lay back. Each situation is dif- now? three-year old son. It’s a big balanc- need to know how to assemble the ferent. Most people respond best Rushen: I’ve had a very exciting and ing act but my husband is so cool and best team to get there. There isn’t when they get a sense that, whatever amazing couple of years. I feel I’ve that helps a lot. You know you make anything about it that is done com- your technique or your particular reached a different plateau in just up your mind somewhere along the pletely by yourself. The end result is style, the setting is one of empower- about every aspect of my life. I don’t way to prioritize and that is one of the usually a collaborative collective ment. get to perform quite as much in terms reasons I’m not performing as much. effort. As a studio musician, I always of what you called “pop music.” The I do get out and play, but I have to watched the producers, how they Shonekan: What’s your body of work and the recordings that choose now. I tend to favor, at the were able to either empower people favorite role? Is it that of I’ve done in a more urban-popular moment anyway, performance con- to give their best performance on a composer, performer, pro- vein continues to be stimulated by texts that will allow for me not to certain day or create an environment ducer, director? What sample usage. That’s going very very have to be away from home so long. that was intimidating. As a session would you say is the role well. As a composer of symphonic So most of them are special events. I player I could observe a lot. I tended that gives you the most work, I’ve had three commissioned can do a television project very quick- to gravitate towards and appreciate pleasure? works performed in the last year and ly. The good part about it is that it is producers who knew how to empow- Rushen: I enjoy all of it. But I don’t a half. The symphonic work is some- an intense burn and then it’s over and er and inspire the performance, those like any of it well enough to just do it thing I’ve always wanted to do but I can get home. Ultimately it’s the who knew when it was necessary to to the exclusion of all the others. For it’s just within the last four or five family life I adore. say something and when it was nec- me, each role makes me better in the years that I’ve really made a conscien- Edited by Stephanie Shonekan photos courtesy of http://www.yamaha.com

Reebee Garofalo Kellee Patterson CIRCLE OF FRIENDS (Please type or print clearly) National Advisory Board Anthony B. Gray Tom Reed I would like to join the Circle of Friends of the Archives of African American Music and Suzan Jenkins Robert E. Rosenthall Culture. My donation will support the activities of the AAAMC. Harry Allen Bobby L. Jones Patrice Rushen Lee Bailey Regina Jones Leonard S. Scott Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Regina Harris Baiocchi Ryan S. Kelly Velisa M. Scott Supporting Friend ($50-$99) Student* ($15) Sustaining Friend ($100-$999) Other Kirkland R. Burke A. Roni Looper Karen M. Shearer Mark del Costello A.G. “Billye” Love Alan Slutsky *Please provide proof verifying your status (photocopy of school identification, transcripts, etc.) Sharon P. Davis Michael Lydon Monica Starr Enclosed is my/our contribution of $ to the Archives of African Charles H. DeBow III Debbie May Olly W. Wilson American Music and Culture. All contributions to the AAAMC are tax deductible. Ed Eckstine Barry A. Mayo Phyl Garland Michael McAlpin Name Address City State Zip aaamc staff: Telephone ( ) Portia K. Maultsby, Director in memoriam: Please make checks payable to Indiana University/AAAMC Stephanie Shonekan, Thomas H. “Dr. Beans” Bowles and mail completed form to: AAAMC • Smith Research Center, Suites 180-181 (1926-2000); 2805 E. 10th Street • Bloomington, IN 47408-2601 Assistant Director; Editor, AAAMC Liner Notes Or fax all credit card donations to (812) 855-8545 Jack “The Rapper” Gibson (1922-2000) Credit Card Name Newsletter design & layout by Expiration Date Account number Dennis Laffoon All contributions to the Archives of African American Music and Culture are tax exempt. Additional Editing by Mary Spohn