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ARCHIVES OF AFRICAN AMERICAN AND CULTURE liner notes

NO. 24 / 2019-2020

Eddie Gilreath: The Man Behind the Music aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and Greetings, Music Icons Live” and a related exhibit, dissemination of materials for While the COVID-19 pandemic which would bring acclaimed the purpose of research and along with racial and political upheavals /composer Reggie Workman and study of African American have greatly transformed the social his sextet to campus for public workshops music and culture. climate in the and abroad, and a culminating performance. This www..edu/~aaamc I remain optimistic about AAAMC’s entertaining and informative gathering important undertaking to conserve, was sure to attract aspiring student document and widely disseminate artists, music instructors, researchers, Black expressive culture. My confidence and music enthusiasts within IU and the is fueled by reflections on the recent broader region. Unfortunately, due to Table of Contents 2019-20 academic year, as AAAMC the emergence of COVID-19, this event, collections were displayed in unique co-sponsored by the Jacobs School of From the Desk public forums. Instantly, what comes to Music and Neal-Marshall Black Culture of the Director...... 2 mind is the presentation of our holdings Center, was cancelled. On the bright side, during IU’s 200 Festival Collections we have already received confirmation In the Vault: Showcase, the headline event for the fall from Workman to revisit this program in Recent Donations...... 4 semester in honor of Indiana University’s the near future. So, stay tuned… Clearly, Bicentennial celebration. these collective happenings served to One-On-One Interview During this showcase, captivated “bring our collections alive” via public- with Gilreath...... 6 attendees had an opportunity to explore facing events. the various platforms where our media We have also increased AAAMC Introducing the collections are available online and holdings through new acquisitions Eddie Gilreath Collection... 15 experience firsthand the scope and such as the Eddie Gilreath Collection impact of our rich resources. Particularly and the Heather Augustyn Collection. One-On-One Interview popular among visitors was “The Golden Eddie Gilreath was one of the first and with Heather Augustyn..... 16 Age of Black Radio,” AAAMC’s four-part few African Americans in the music online exhibit in partnership with Google business to operate at the executive level Introducing the Heather Arts and Culture, which chronicles in marketing, promotions, sales and Augustyn Collection...... 21 the early years of Black-oriented radio distribution for R&B and Top 40 record programs, formative disc jockeys, Black labels such as , Warner Bros. and Sound Bytes: radio as community engagement, and . In these multifaceted Digital Initiatives...... 22 finally Black radio as a conduit for roles, he supported a virtual “Who’s gender equality and civil rights. I also Who” of artists across every musical Meet the New reflect on the annual national conference genre. A survey of photos, clippings, and National Advisory Board... 26 of the Society for , correspondence as well as certified gold hosted on IU’s campus in November, and platinum plaques in Gilreath’s where AAAMC was featured at a collection illuminates the breadth of dedicated information booth allowing his impact as an African American opportunities to gain new supporters at the pinnacle of the entertainment among registrants interested in the study complex. Researcher and author Heather On the Cover: of Black music. During spring 2020, Augustyn’s deposit extends the scope AAAMC participated in “Remixing Our of AAAMC’s treasure trove to include Collections: Hoosier Connections from cultural expressions within the broader IU Libraries,” hosted by IU Libraries. . Her collection Onlookers were fascinated by AAAMC’s comprises interviews with major and exhibit, “Black Indiana Remixed,” which music performers from , featured collections and specific cultural the and the United materials with an Indiana tie such as States. Connoisseurs of these genres the radio series, “The Afro-American might recognize interviewees such as in Indiana,” as well as artists and music Rupert Bent, Roy Panton, , industry executives including Angela Buster, , Eddie Brown, , , “Tan Tan” Thornton, Winston Jones, the Al “The Bishop” Hobbs, Dr. Leonard Eclectics, and the Toasters, among others. Eddie Gilreath, music industry Scott, the Ink Spots, Kenneth “” Accompanying Gilreath and executive. Edmonds and Noble Sissle. Augustyn’s collections are additional And finally, we planned an exciting installments to the Michael Nixon two-day marquee spring event, “Black Collection detailing the far-reaching

2 career of the marketing and promotions in the face of emergent social, political programming and facility operations. veteran in and other musical and economic challenges, which call As I have stated elsewhere, far more genres. The Logan H. Westbrooks for deep reflection and ingenuity. One work is warranted to successfully Collection has also been expanded of the most crucial issues of our day accomplish our vision to “bring with new materials centering on the is the COVID-19 pandemic, which inspiration and innovation to the pioneering executive and has profoundly shaped the nature of documentation, exploration and sharing minister’s connection to the largest human interaction, and our current of Black music and culture.” I hope you Pentecostal denomination in the United ability to host in-person public events. will consider supporting this critical States, the Church of God in Christ. Consequently, we have imagined and cause through your presence during our Together, these exceptional acquisitions developed online programming for public events, use of our resources in- represent our charge to document a the 2020-21 academic year, which will person and online, as well as donations broad spectrum of lived experience and heighten our visibility and engagement of cultural materials and financial gifts creativity within the Black performance with supporters as we continue to (see back cover to give). I am grateful community. During this year alone, our “bring our collections alive.” One to you in advance for championing holdings have inspired the works and program in particular is AAAMC the artistic and intellectual enterprise curiosity of diverse constituents from Connections: A Talk With… Co- as well as the preservation mission of film and television documentarians to sponsored by the Office of the Provost, Indiana University’s Archives of African exhibitors, from researchers to students, this show will highlight interviews with American Music and Culture. I look and from faculty to mere music lovers thought-provoking industry executives, forward to seeing you soon, and wish nationally and internationally. academics and who have you safety and good health. In addition to stimulating significantly contributed to the Black programming and cherished music continuum. Through AAAMC Cheers, collections, we have also reformulated Connections and other stimulating our National Advisory Board (NAB). programming, the role of the Archives The NAB consists of forerunners as a nationally recognized source for in music business, scholarship and understanding and affirming Black life community leadership who offer and creativity will be illuminated and expansive resources and expertise so vital, given the current discourse for the advancement of AAAMC’s regarding the literal bodies, breath, mission and objectives in preservation consciousness, contributions and and accessibility. A brief review of significance of African-derived people the board’s respective bios makes in our country and larger global space. clear their track record of innovation, AAAMC continues to build new leadership and capacity to firmly relationships by reaching across position AAAMC as the premiere diverse communities and organizations repository for Black music and culture. to increase support for collection Tyron Cooper, Ph.D. As we prepare for the future, we do so development, publication initiatives, Director of AAAMC

AAAMC staff at IU’s Festival Collections Showcase (L to R: William Vanden Dries, Chloe McCormick, Brenda Nelson-Strauss, Jamaal Baptiste, Dr. Tyron Cooper).

3 In the Vault: Recent Donations

In addition to the new collections featured in this issue, materials have also been added to the following AAAMC special collections: SC 74 Michael Woods Collection: addition of original jazz composition lead sheets SC 132 Michael Nixon Collection: addition of Black music industry periodicals SC 150 Linda Tillery Collection: addition of LPs in various genres SC 156 Logan H. Westbrooks Collection: addition of programs, press clippings, and other materials documenting the Church of God in Christ (1958-2018) SC 170 Marvin and Portia Chandler Collection (in progress)

The individuals and companies listed below have also generously donated CDs, DVDs, and books over the past year. Many of these items were submitted for review in Black Grooves, the AAAMC’s online music review site, and are now part of the permanent collection. ABKCO Music Cumbancha Lightyear Ent. Proud Papa PR Albany Records DL Media Louisiana Red Hot Real World Records All Eyes Media Easy Eye Sound Lydia Liebman PR Renee Spearman Alliance Entertainment eOne Music M.C. Records Resonance Records Alligator Records Epitaph Records McFarland Richie Love Archeophone Records Fat Possum Mack Ave. Records Rock Paper Scissors Avie Records Forced Exposure Mark Pucci Media Rocketnoodle Music Ballantyne Comm. FPE Records Mascot Label Group Ropeadope Records Basin Street Records Freestyle Records Motema Shake It Records Bellamy Group Fully Altered Media Mr. Wonderful Shanachie Entertainment Blind Raccoon Gava Music MVD Ent. Group Shorefire Media Engine Records Glass Onyon PR Natalie Ann Lee Sony Legacy Blue Note Great Scott PR Naxos Svart Records Images Harbinger Records New Haven Records Terri Hinte Braithwaite & Katz Highnote Records NMC Recordings Tru Thoughts Cambria Master Recordings Howlin’ Wuelf Media Now-Again Records Two for the Show Media Capitol Entertainment Integrity Music ORG Music Tyscot Records Cedille Records International Anthem Orice Jenkins Charterhouse Music JAG Entertainment Parma Recordings Verve Label Group Jazz Promo Services Per Notini WillWork4Funk Concord Jazz JDI Records Plaid Room Records WindingWay Records Concord Music Group Jus Like Music Media Press Junkie PR Wolf Records Conqueroo Leslie Gerber Pro Marketing Ent. Worldisc

The AAAMC welcomes donations of photographs, film, video, sound recordings, music, magazines, personal papers, and other research materials related to African American music.

Jared Walker with AAAMC exhibit “Black Indiana Remixed”.

4 Images from AAAMC’s Black Indiana Remixed Exhibit (clockwise from top left): Indiana composer Noble Sissle (left) with Eubie Blake, the Ink Spots, Al “the Bishop” Hobbs (center, Gospel Industry Today magazine), soprano Angela Brown, the Jackson 5 (with fans), Kenneth “Babyface” Edmonds, Paul Middlebrook (vocalist for The P.H.D.’s), Indiana State Mass Choir, and Janet Jackson.

5 Eddie Gilreath with Bob (Gilreath Collection). An Interview with Eddie Gilreath

On November 10, 2019, Dr. Tyron Cooper inter- just had a meaning to me. I could listen to it over viewed Eddie Gilreath at his home in La Quinta, and over again. about his extensive career in the music industry promoting both Black and White artists, as TC: How did you get into music? well as his work as a and humanitarian. These excerpts from the interview have been edited EG: My mother played a little bit, not very for length and clarity. well. My grandmother played at church and she was a really decent musician, mostly gospel. So, TC: First of all, where and when were you born? my mother had this edict, “If you live here, you’re gonna play something.” My sister said, “I’ll play EG: I was born in Maryland, in a rural area piano.” My mom asked me, “What do you want between Salisbury and Ocean City, in January to play?” I said, “Nothing.” And after I got hit, she of 1943. Once my father came out of the service, said, “What do you want to play?” I said, “I think he moved us up to a small town right outside of guitar might be good.” So, I took guitar lessons for called Chester. a few years. When I was about 14 years old, my sister and I used to hang around with this band led TC: Tell me about the musical environment by Jamo Thomas. Later they had a song called “I during your upbringing and how that impacted Spy (For the FBI)” (1966). I would be listening to you. the guitar player, watching the bassist, trying to get some ideas. Then I’d run home and try to figure out EG: Back in those days, we had almost no heroes a way to play the same thing, without reading, just to look up to. We really didn’t go to the movies, so playing the chord and getting some kind of rhythm. the radio disc jockeys became our heroes, because we listened to them every day. My very first record So, one evening they had a cabaret gig in I bought was ’ “Don’t Let the Sun Catch Philadelphia. There was a gentleman by the name of You Crying” (1959). I didn’t understand all the Dee Clark who had a hit record called “Raindrops” instrumentation with the strings and horns and so (1961). He was going to be the and the forth, but I liked the storyline and the song itself star of this cabaret, and Jamo was the . one-on-one

6 Now they had a bass player called Stump, ’s who in the music industry other records for their East Coast area. and he didn’t show up for the sound and you’ve had a hand in launching My job was to promote records at radio , and the union contract calls their careers. How did you become an stations and all the retail in the area. for a specific number of people on the industry executive in distribution, sales, So, you may go to a store, tell the owner bandstand. So Jamo called my mother marketing and promotions? about the record that just came out, give and said, “Get Eddie to put on some him a deejay copy to play in store, and black pants, a white shirt and a black bow EG: When I got back to Philadelphia make sure that the record continued to tie. We got Stump’s jacket for him. Tell [after serving in the Army in Vietnam get . Because if it gets played on him we need him on the bandstand.” So, and the Panama Canal Zone], I was still the radio, no doubt they’ll start getting I get on stage and they said, “Here, hold playing music. Once I got out of junior calls for it at the store and they’ll sell it. this bass.” I’m used to playing a guitar college I was recruited by Exxon. My job So, the job required you to be a complete and I could hardly reach the end of the was to process credit cards and we had promotions person, to go from radio neck of this bass. They said, “Just stand this incredible, huge IBM computer that stations to retail stores, then back to the there, act like you’re playing, but don’t took up the whole room. I was there for a distributor. You were constantly in your play anything! We’ll run the bass line couple of years when my cousin, Weldon car driving all around the Philadelphia through the B3 organ so you don’t have McDougal, who worked with Barbara area, Atlantic City, NJ, and Wilmington, to do anything, and when the union man and Motown, gave me a call. He DE. I had a large territory for my first job comes in, just smile and act like you’re said, “I’d like to set up an interview for in the business. playing.” That was my introduction to the you down at Chips Distributing.” music business, as a musician. After that TC: What kinds of connections did gig, I really felt good about how that bass TC: An interview for what position? you have to form to promote records? felt and I thought it might be fun to play. So, the next day I asked my mother for EG: As a promotion person at this EG: One of two things happened. If like $25 and I went to the pawn shop and distributor for Motown. They needed you had a hit record by the Supremes, bought an old bass. someone and Weldon knew I played they want to talk to you. But if I walked music. He said, “Since you’re playing in in there with Billy Joe & The Arrows, TC: You developed a real affinity for clubs you’re already in the industry in a nobody’s going to care. So, I walk in performance, but you’re really known as sense, and you know the local deejays. there with the Supremes and I’ll start my a in the music industry, particularly This might be a good fit for you.” So as a conversation and form that relationship. because of all of the artists whose records promotion person for Chips, I’m taking That’s how I can bring in lesser known you have supported. We could call out care of the Motown label releases and artists, by using my influence and

7 Gilreath with former Motown recording artist Meat Loaf Gilreath’s “Motown University” diploma, 1971 Gilreath with , who was his daughter’s (Gilreath Collection). (Gilreath Collection). godfather (Gilreath Collection). my connections from the Supremes. I to Top 40 markets as well. They signed TC: It’s interesting, at a remember going to a station in Baltimore Bobby Darin. They signed Sammy Davis, time when America was still relatively and they had these jocks named Hot Jr. and he used to wear me out. I’ve never segregated. Rod and Moon Man; Philly had Lord seen a little man walk so fast in my life. Fauntleroy, Georgie Woods, and Jocko They signed this British artist, Kiki Dee, EG: They were trying to figure out Henderson. Jocko did his “Rocket Ship and then R. Dean Taylor, who had a song, how they were going to accept this. They Show” from his house via tape, and I used you’ll appreciate this, “Indiana Wants weren’t sure. When it was time to identify to spend many evenings there. I hung Me.” And Tom Clay, he did a rendition the music, what would they call it? They with Jocko and got a lot of records played of “What the World Needs Now Is Love” didn’t want to play R&B, because they’re by him. So, if you didn’t have that deejay with children’s voices. I mean, it snatches not an R&B station. Again, that’s one of connection, look what you were missing. a tear from your eye. the reasons Motown tried as much as possible to stay in the center. We were the Now the thing about all these superstar TC: So, you were the regional sound of young America. We didn’t want disc jockeys, if you walk in there and promotions person. Where did you go to be , and we didn’t want to you hand these guys a record by Meat from there? be . We wanted to be Loaf, just the name alone almost gets somewhere in the center. you thrown out. If you’re on this station, EG: Motown was growing and the you gotta be hip and play James Brown sales side needed help, as well as the TC: Your career is expansive because and and . promotion side. I was the only one for you promoted within and beyond Black How do you even say, “And now, ladies the most part that had experience outside music for several labels. You have had and gentlemen, I’ll play Meat Loaf.” It just of Detroit. So, they said, “Eddie, we want your hands on, in terms of elevating their doesn’t roll off the tongue as it should. As you to help us in sales. We need you to go careers, , Nirvana, the Jackson soon as you say Meat Loaf, listeners might to our distributors and follow through on 5. The list goes on and on. say, “Let’s see what this other station is our sales and promotion requirements.” playing.” You had to be real careful, but I So now I have the whole country and EG: Over the course of my career, I finally got it played. all their labels, including the Spinners promoted artists such as , on V.I.P. I never will forget my days in , Motley Crew, , TC: You were at Chips, but then you . When I went to the urban , Simply Red, Traffic, and Kiss, made a transition to Motown? stations, I would wear a suit and tie. But to name a few. We had a great deal of then for the FM hippie-like stations I responsibility for them being hit artists. EG: Well, the second year I was at Chips, had to put on jeans and a T-shirt, maybe When I first started, they always had I became Promotion Man of the Year for a vest like Larry Graham, and promote the Black execs or promotion people Motown. Then I got the phone call: “We Rare Earth and freeform artists similar working only Black music, going to want you to come to Detroit.” This was to them. Then for the Easy Listening only Black stations, going only to Black around 1969. I became Motown’s regional station, I go back to the hotel for a normal accounts. They had guys that were White, promotion person for the East Coast, suit and tie. We had to do a whole lot of promoting White as well as Black music, where they knew I was doing well. I also maneuvering just to be accepted to talk going to Black-owned stores, and going covered part of the Midwest, including about our product. to “American Bandstand.” So, jocks like Detroit and across the bridge to Canada, Georgie Woods said, “This doesn’t make down to Louisville, Memphis, Nashville, TC: Because you’re promoting Black any sense. How come you have this record Richmond and Norfolk. Motown was and White artists at Motown, you’re by Wilson Picket or Carla Thomas, but growing by leaps and bounds, so they had going to Black and White stations? you don’t have anyone of color bringing me working all their product including this record to promote it at the station? their label Rare Earth. They wanted to EG: I’m going to New Age, Easy You think just because you bring it and expand not only their urban artists, but Listening, Top 40, FM and Urban stations. these artists have had success, we’re just

8 Tom Draper (right) presents Eddie Gilreath with Gold Record for Rose Royce album, In Full Bloom, circa 1978 (Gilreath Collection).

Gilreath with Alex Haley at a book signing for Roots, circa 1977 (Gilreath Collection). Gilreath with , Valerie Simpson and Nickolas Ashford, circa 1980 (Gilreath Collection).

Gilreath with jazz musicians Al Jarreau, and Warner Bros. staff, circa 1980 (Gilreath Collection).

9 Gilreath giving a presentation to the principal and teachers at a high school in Harrisburg, PA, circa 1970s (Gilreath Collection).

The Staple Singers (Gilreath Collection).

Warner Bros. Black Music Marketing staff: (clockwise from upper left) Eddie Gilreath, Marylou Badeaux, Gilreath with Ray Charles (Gilreath Collection). Cortez Thompson, Tom Draper, Jackie Thomas, Ron Ellison, 1978 (Gilreath Collection). going to play it? Don’t bring any more my training period. He said, “Now you Bros.: “We’ve been watching your career. of those records to my station for me to know how it works. You’re on your own.” We think that you would be an asset to play unless they’re being brought by an Warner Bros. and we’d like to talk to you African American.” So, what happened? TC: So, you left Motown… about a possible position. When can you They started hiring African Americans. get here?” I said, “I’ll be there tonight.” You want to be a promotion man, you EG: Well, Berry Gordy wanted to I went straight to the airport, flew to got a job. What do you have to do? I’m make movies. He had this idea about California. Warner Bro.’s vice-president, gonna give you this record, just take it to being a movie star, but he Eddie Rosenblatt, invited me over to the station. So that was the beginning. figured he couldn’t make that next step his house. Les Anderson was there, he But understand, they didn’t know how in Detroit. He needed to be in California, was overseeing their new Black Music the business worked at all. They weren’t which didn’t sit very well with a lot of Division. They had signed LaBelle and supposed to. They had no knowledge people because Motown, Detroit, the three or four other artists. They made or experience. They had no way to get Motor City, this is where we belong. me an offer and said I could stay in training. Just go in there, and you better Most of the Motown artists came from Philadelphia and work the East Coast, so come out with the record on air. You were Detroit. Four Tops didn’t want to go. about two weeks later I was working for very vulnerable. Some of them made it Temptations didn’t want to go. We put Warner Bros. and some didn’t, but management didn’t Detroit on the map. But Berry said, “I’m necessarily help, because then they’re going to California.” They had already After maybe six months, they decided telling you how to take their jobs. But asked me to go to to find office they needed regional marketing I was fortunate, because when I started space. It’s freezing there, but this was my managers around the country, because with Motown, Weldon McDougal took job, and I didn’t have another one at that Warner is growing. WEA was a really me on the road for two days. That was time. Then the phone rings, it’s Warner nice distribution company owned by

10 Gilreath at a record signing event with (Gilreath Collection).

Warner, which meant they also had nowhere!” You had that kinda attitude. TC: As Southeast regional manager, Elektra and Atlantic. They needed You could run! So, I took the job in what was your role? individuals in each of those branches Atlanta. I knew the branch manager to oversee all of their merchandise and because he was a Motown distributor in EG: I was Warner Bros. in the Atlantic product. So, they brought me in and Memphis. Now, I always looked at him as branch, and that meant I had some said, “We want you to go to Atlanta. one of the good old boys, and he always juice. I had to oversee everything: sales We’ve seen how you operate and we will dealt with me because he had to. It’s one numbers, returns, advertising, staff. I support you one hundred percent.” Now of those things you tolerate because that’s had to make sure that everyone was keep in mind, only a few years before how you do business, you don’t have a doing their job, because I had enough this, Martin Luther King was shot in choice. So, he said, “Okay, we’re gonna knowledge to analyze and review Memphis. This was going to be part of make this thing work.” I said, “That’s what numbers to see if things were being done my territory: Memphis, Tupelo, Little I’m here for, because everyone is looking properly. Rock, Puerto Rico, and Florida up to for us to succeed.” Well, we had some North Carolina. I had a huge territory days. I was the only African American in TC: You were the checks and balances that I was going to be responsible for. that branch at a management level. They for the entire regional operation. had a lot of African Americans, but they TC: You had an interesting territory, were all working in the warehouse, and EG: Also, the promotion person that racially and politically. Did you have any they finally hired two or three to work motivated staff to do an above average challenges? promotion but they weren’t considered job. Not only did I do that within the management. branch, but in each of the major cities EG: What’s that joke? “I didn’t plan on where they had salespeople. At the same jogging today, but those cops came outta time as the R&B side was growing, they

11 Bootsy’s Rubber Band, “Bootzilla” single, 1978. Autographed plaque with artwork for Aerosmith’s album Pump, 1989 (Gilreath Collection) asked me to continue to oversee the sales their job, and in order for them to keep TC: How long were you with Warner side for them, so I actually wore two their job, they had to protect me. We Bros.? hats. had to protect each other to make this thing work. So, I had gotten pretty good EG: I was in the Warner Bros. family TC: You were working Black music at coming up with marketing campaigns for 23 years. I was with Geffen over 10 and at the same time? and promotional plans and analyzing years, with Warner maybe 10 years, I was sales and product spread. Who could with Island two years, and I signed a two EG: I was working Black music on take what, who could sell what, where, year contract with Elektra. the urban division, and as regional when, and how. I could go to these guys marketing manager on the other side: and say we need to do this, this and TC: What would you say were some of pop, R&B, country and whatever releases that. If they had an idea I would listen, your biggest successes at Warner? they had for the Southeast. But I also and we worked it out and got it done. I worked nationally on the urban side. had a good relationship with my entire EG: That I survived! Because lot of After six years, Warner Bros. called and staff and we made incredible progress. people would have loved to have seen said, “Eddie, you know we’ve got seven I mean, we were kicking butt. Warner you fail. Think about all the people, branches. When you went to Atlanta, Bros. was growing and becoming a huge especially African Americans, that that branch was number six out of seven. label. started when I did, and went through Since you’ve it is now number what I went through with all the different two. Now we need you in New York TC: What was your relationship labels and projects. I reached the end of C it y.” like with other Black executives in the my career without ever having to look industry? for a job, and I survived coming out TC: That was an offer you couldn’t of the South. I remember going to a refuse. So, you ran a whole new branch, EG: It was really strange in a way, country station for the first time, and the Northeast? because I wasn’t always considered to the program director comes out and sees be one of them since I was promoting what you are, and goes into shock and EG: I was in charge of all the regional pop, rock, whatever else. So, I probably says, “By God, I didn’t know Warner had managers on the East Coast, from started to have a different viewpoint. no niggers promoting .” Boston to Miami, with the title of East I was talking to different people, and You know, those kinds of things. When Coast Sales Manager. you get into the habit of saying things a I was over in Little Rock with the Staple different way than you would do if you Singers for the first time, I went into the TC: Did you face new challenges in were hanging around areas that you were country club where no Black person had this expanded role? more familiar with years before. A lot of probably ever gone through the front people respected what I did and that I was door unless they were cleaning it. I’m EG: Well, you could almost write the able to do it, but I was sometimes looked there with Pops Staples and his girls and script yourself. I was the only African upon as an outsider, and sometimes I felt we’re promoting the record, “Let’s Do It American, and everyone who worked that way. If you weren’t accepted on the Again,” written by . Pops for me was White. Everyone. This was in pop side and you weren’t fully accepted looks at me and says, “Eddie, don’t worry the 1970s. I had to work with all these over on the urban side, you didn’t have about a thing. We’re going to get out of people and give them the same respect I anywhere to land. You had to constantly here okay.” He turns around and pulls up hoped that they would give me, and they try to find your own space to do what the back of his jacket and he has a gun respected me because I made a difference. you had to do. That did happen quite a in his belt. He says, “If anything jumps By us doing our job correctly, it protected bit. off, you get the girls out first, and I’ll be

12 Gilreath with Cher (Gilreath Collection). Gilreath promoting The Simpsons album release on , circa 1990 (Gilreath Collection). the last one out, but we’ll get outta here.” , because of everything he’d and you give me your first thoughts. And he was serious. Other times, I’m been through, he didn’t trust very many ! driving in the South and I get stopped by people in this business. When we started Deputy Bubba, and he asks me, “By God, working together, there was a comfort EG: “Knee Deep.” George Clinton. , what you drivin’ so fast out here on zone and he felt that I would tell him the Whooooo! You had to be ready for those my highway for?” Oh God, I’m looking truth, I wouldn’t lie to him. guys. They were wild! around, I’m not ready for a swamp in , they’ll never see me again. I’m TC: You also had a relationship with TC: How did you handle that? And probably gone forever. This is the kind of Michael Jackson. what did you do with them? things you had to deal with. EG: I had a good relationship with EG: They would me crazy. TC: You promoted so many A-list Michael when he was younger. I was Everybody in thought they performers. Who were some of your already at Motown when the Jacksons had some kind of management position, favorite artists that you’ve worked with came. When they went on the road the and they always had an issue that they during your extensive career? first time, I was still in Philadelphia. needed you to solve. You know, give me I met Michael, got with all the boys, just one person to talk to. I can’t talk to EG: I got to say , Ray got with their father Joe, and because seven people. Seven people got seven Charles, they both were geniuses, now I’m their contact, I’m the one problems out of my time. So, I would in the structure of their music, their who is going to make sure they have a talk to George, and he was incredible. whole look on life, and the struggles successful trip in the Philadelphia area. I mean, this is the person you want to they went through. That’s what I think I’m the one that knows all the radio emulate. Here’s a man that sits there with impressed me more than anything else. stations, all the jocks, where they have all this drab on, with the hair and the Ray Charles, with his blindness, but he to go, what’s going to happen hour by colors coming off of a rocket ship in the never considered it a handicap. He did hour. This was a pretty big responsibility middle of the stage. You got two bands, more for himself and hundreds of other at that time, because he had all of these one signed to Sony, and one signed to individuals than most people with all people you had to satisfy: the radio, the Warner Bros., but they’re both the same their senses in three lifetimes would ever disc jockeys, the retail, the venue where band. Now how great is that? One was do. No one knows how much money he they’re performing, the press. I guess Funkadelic and the other was Parliament. gave to Black colleges over the years, and the first time it was successful, so from Same people, and at the top was Bootsy a lot of that was anonymous. that point on Joe always came to me Collins. He was signed to Warner and whenever they wanted to do things. Joe we released “Bootszilla,” so it was a wild TC: Tell me about Bob Marley. kinda gave me his nod that yeah, you time. That’s one of those artists that you take care of Michael and I’ll take care of just had to take a valium before you go to EG: Bob was a gentleman. And even the rest of the boys, but Michael should work, ‘cause they would drive you nuts if though at one time he was responsible be around someone who is going to look you let them. And , their for making ten percent of the total gross out for him and keep him safe. So, I keyboardist, was absolutely incredible. income of Jamaica, he never talked about spent a lot of days with Michael hand-in- money. His jean jacket, his jeans, his hand, going different places around the TC: Yeah, Worrell was definitely skullcap, his house, and his religion as a country. cutting edge with advancing musical Rastafarian, and his family, that’s what he sound through technology. cared about. For whatever reason, he and TC: I’m just going to call out some I found a bond and he trusted me. I got names of artists you’ve worked with, EG: I’m so proud I had a chance to

13 Gilreath at a Warner Bros. record store event with colleagues Kirkland Burke and Cortez Thompson, circa 1978 (Gilreath Collection). interface with these people that were so So, we went to a nice restaurant and we individual. And he hadn’t had a hit yet, talented and brought such an incredible sat there for three hours. He told me what no one even knew who he was. And as sound that hadn’t been heard before. It had been happening with the band, what time went on, I think you’ll agree I was just blew up. I was part of that. Not as they wanted to do, what they’re willing proven right. Look at all of the wonderful a musician or a creative, but as one that to do to come back. He said, “They’re philanthropic things he has done around had the opportunity to market and sell fully open to anything you want to do the world. that incredible sound that people still with them. We’re going to put ourselves sing today. “Knee Deep!” in your hands.” We then put a marketing TC: For someone reading this plan together and that first album that interview, what would you want them to TC: Bonnie Rait. I had with them, Permanent Vacation take away about Eddie Gilreath? What (1987), sold over three million. would you like your legacy to be? EG: I mean, she was almost like a country artist. Laid back, quiet, and just TC: Wow! . EG: That I tried to do the right thing. I had this incredible wealth of the blues tried to be honest and look out for those and R&B. She had her own texture and EG: , the owner of that needed help. I never purposely hurt style, whatever song she sang, she made Island Records, said, “Eddie, I just anyone. I never tried to take advantage it hers. She always wore jeans and had signed this group called U2. I want you of anyone. If you put your career in my that red hair and she’d just sit there and it to come to the office, ‘cause the band is hands, I was going to do the best job I was amazing. No electronic gadgets. She coming from Ireland and we want to could for you. If you’re going to work has so much talent. That’s the people you have a meeting with them.” I said, “Fine in this business, the only thing that you gotta respect. let’s do that.” I got along with Bono really have is your word. You keep your word, well. I had their album, War. But I gotta do what you say you are going to do, and TC: Aerosmith. tell you, the first time I met Bono and success or not, that’s all you can do. So, at started talking to him, I could see he was night when you put your head on your EG: is my buddy. We a person who had depth in his soul. You pillow, you can go to sleep. I can go to had a great time together. I knew all the can see that he has something within him sleep at night. guys fairly well. His manager suggested that said it’s just not about the music, but to Eddie Rosenblatt, the president of universe, and what can I do to help TC: That’s beautiful. Your humanity Geffen, that we gotta bring Aerosmith make it better? How can I get involved? shines really bright. Of course, your back. They have had some problems, they I love my music, I love my band, I love business acumen is huge, and what got involved too much in recreational what I’m doing, but that’s just part of it. you’ve accomplished in the industry is drugs, but they’re all straight now and He didn’t have to actually say that, but extraordinary. Thank you so much for really wanted to make a comeback. So, just having a conversation gave you that spending time with me. Rosenblatt said, “Talk to Eddie Gilreath.” feeling. This is really a genuinely good

14 Dr. Tyron Cooper with Eddie Gilreath at his home in LaQuinta, CA, 2019. Introducing the Eddie Gilreath Collection

A consummate industry Entertainment in , JT Taylor, Ray Charles, the Gap professional and well-respected where he orchestrated sales activities Band’s Charlie Wilson and Dionne veteran of the music business, Eddie for the company’s burgeoning roster Warwick. Gilreath began his illustrious career of talent including , The Eddie Gilreath Collection at the legendary Motown Records in Motley Crue, Anita Baker, Metallica, reflects these multifaceted roles 1967 as a local promotion manager Simply Red, and Midnight Star. as well as his relationships with a in Philadelphia. Upon his rise to In 1986, Gilreath was tapped by multitude of artists. In addition National Promotion Director in 1970, and Eddie Rosenblatt to to photos, press clippings and Gilreath moved to Detroit where he launch a new division called Geffen correspondence, there are a dozen worked with artists such as Marvin Records. As VP of Sales for Geffen, certified gold and platinum album Gaye, the Supremes, the Jackson 5, Gilreath worked with superstar acts plaques ranging from Larry Graham’s , like , Nirvana, Cher, album, One in a Million You (1980), and . Guns N’ Roses, Don Henley, and to Aerosmith’s Pump (1989) to Guns In 1971, Warner Bros. recruited Aerosmith. Additionally, he oversaw N’ Roses Use Your Illusion (1991). Gilreath to become their Southeast sales of merchandise for the Broadway Also included is Gilreath’s 1982 study Regional Marketing Manager in shows , Miss Saigon, Les for Warner Bros., “Black Music is Atlanta, Georgia, where he had the Misérables and . He later served Green,” and papers documenting his pleasure of directing marketing as Senior VP of Marketing for MCA/ contributions to other organizations for the likes of , the Universal Distribution, launching including the Black Music Doobie Brothers, Alice Cooper, success stories with talents such Association, the Manufacturer’s , Rod Steward, and as Trisha Yearwood, Meat Loaf, Advisory Committee, and American the “Chairman of the Board,” Mr. jazzier , George Strait Jewish Committee. Last but certainly . From 1975 to 1982, and Wynonna—and as Managing not least, the interviews with Gilreath was based in L.A. as National Director of Domo Records where he AAAMC Director, Dr. Tyron Cooper, Sales VP for Warner’s Black Music elevated New Age music guru, Kitaro, capture Gilreath’s unique insights and Division, which had signed George to Grammy winning status. In 2000, personal experiences in the music Benson, Ashford & Simpson, Curtis Eddie and four industry luminaries industry. The AAAMC is honored Mayfield, Al Jarreau, Chaka Khan formed a successful marketing to have a role in preserving Eddie and Bob Marley. He then landed company, the E-nate Music Group, Gilreath’s significant legacy. the VP of Sales position for Elektra signing artists such as Kool & Gang,

15 Jamaal Baptiste and Heather Augustyn. one-on-one An Interview with Heather Augustyn

On March 6, 2020, AAAMC graduate listening to things that were out of the assistant and Ph.D. candidate Jamaal British incarnation of the genre. I did Baptiste, a native of Aruba, interviewed my undergraduate studies at Bradley Heather Augustyn about her extensive University and my masters at DePaul research on Jamaican music and the University in . At that time, donation of her collection to the AAAMC. from 1994-1996, a lot of ska bands were The following excerpts from their coming through Chicago. The music discussion have been edited for length and was really popular then and a lot of older clarity. Jamaican musicians were touring with the younger musicians, so I got a good JB: The first thing I want to ask is exposure to the music. I was maybe 21 where did you grow up? Can you tell us or 22 when I became really interested in about your early years and your musical ska, and then that was it for me! background, if any? performing at Subterranean in Chicago JB: In the introduction to your in 1998 (Photo by Heather Augustyn). HA: I grew up in Chesterton, Indiana, book, Ska: An Oral History (2010), you at the very tip of Lake Michigan, near the it definitely gave me the ear and I’m mentioned that your first experience Indiana Dunes National Park. My family thankful for that. I’ve always been just with ska was through the group and I were connoisseurs of music, but a massive fan of music. And when I get Madness. we weren’t musicians. I did take piano into music, I get into it deeply. That’s why lessons for ten years. I know thirds and when I was a teenager, especially those HA: Right. There was a show called fifths, and majors and minors, but I years where everything is dramatic, my “120 Minutes” on MTV and it featured don’t think I could play anything today. music became very personal to me. I what they called alternative music at the I wish I had taken piano more seriously wasn’t into ska music completely at that time, or progressive music. They would and kept up with the discipline, but point, but I did dabble in ska and started play a lot of music coming out of the

16 UK, like the band English Beat, which I record people with my microcassette JB: Why was it important to you to would listen to. But Madness appeared tape recorder and started from there. I document these oral histories? Why was on a show called “The Young Ones”—I didn’t like to interview people at shows that your method? loved that show! When I heard Madness because they were busy and I didn’t want I thought, what the heck is this? This is to infringe. I wanted to have a good HA: What is there besides storytelling? crazy and fun. And then I ran out and space to be able to spread out and talk. I think that’s at the heart of who we are as bought the as soon as I So usually my interviews were on the human beings. If I want to know who the could. phone because this allows you to talk human being is, why would I go anyplace to anybody. You can call somebody in else besides the human being? And that’s Kingston, Jamaica or somebody in the always what I wanted to know—who UK. Once you talk to one person, they was the human behind the story. There say, “Oh, did you talk to this person? are plenty of historians that are more Did you talk to that person?” Now you interested in records, which is great. have two more contacts and it just grows They collect records, they want to know exponentially. I think the very first the matrix numbers, they want to know person that I talked to gave me five more who the producer was. I get that, that’s phone numbers. great. That’s one part of it, but that wasn’t me. I was more interested in the person. JB: How did you get in contact with That’s where I make my connection. I these international Jamaican artists and want to know, how did this happen? And their family members? I get so excited when they’re telling me some story about how they discovered HA: Well, I got a phone plan so I music or that they took a papaya stalk could make cheap international calls, and turned it into a flute or whatever. and also got advice from others in AOL That’s how Johnny “Dizzy” Moore got chatrooms. Now don’t forget these guys into music, that’s how he loved music. were touring, so I would contact their That’s how he tried to convince his manager. That’s how I got in touch with parents to go to Alpha Boys’ School, by . They were coming to the playing papaya stalks. University of Chicago to play in 1997. I JB: You mentioned in your ska book contacted their manager and said, “I’m How does that compare to a matrix that there wasn’t a lot of information on writing a book, can I interview them?” number on a record? It’s all important, the genre in the library, but there were People are really generous. People want but I’m really all about the primary fan-based networks or communities that to help. source because I don’t want it interpreted shared fan art. How were you able to by anybody, not even me, which I do in get in contact with these ska lovers and my books, which is tough. If you ask enthusiasts? somebody how ska started, you’ll get as many different stories as [the people] HA: Right, there wasn’t anything on you ask. That’s the beauty of it to me. ska in the library, and that’s when I So, you put it all out there and make decided that I was going to make that everybody’s perspective a reality. The my mission. I was getting my master’s stories are their experiences. Storytelling degree in writing, so interviewing people is at the heart of this culture too. So why as a journalist was part of my method. would you use a different method? It’s an I wanted to interview band members oral tradition. when they came through Chicago on tour and ask them questions like, “Hey, JB: You mentioned the Alpha Boys how did you get your start and who are and I know that you published a book you influenced by?” And so I started with Adam Reeves in 2017, Alpha Boys’ small. School: Cradle of Jamaican Music. Can you talk about the process behind the The fan base was a pretty tight book and also your collaborations with community. It’s more like a family, other scholars? everybody kind of knows everybody. Once I talked to somebody, they might HA: As far as Alpha Boys’ School, say, “Oh yeah, I can put you in touch the way that that came about was that with Buford O’Sullivan. Let’s go talk Adam had gone down to Kingston, Lloyd Brevett of The Skatalites performs with the to him.” I would mostly call people on band at the Metro in Chicago, March 1998 (Photo by Jamaica, to shoot a documentary on the phone, and I got a device so I could Heather Augustyn). Alpha Boys’ School. He had done a lot

17 Boys. And I thought, Johnny’s going to JB: To have her voice and insight as hate this because here are two White part of the oral history and narrative is people talking about the school he amazing. So, let’s talk about your first attended, what he lived through. But experiences in Kingston. What was it during the session he turned to the like for you? audience and said, “They got this right.” That was everything for me, to have Johnny Osbourne’s stamp of approval, because I respected him so much and valued his opinion. To have him say, “You got it right,” that was it for me!

The danger in oral histories is that there’s a tremendous responsibility in retelling a story. When I’m talking to everybody and getting feedback, I’m also trying to make sure that I have it right, if there is a ‘right’ [version of the story].

JB: Can you tell me about your first experiences traveling to Jamaica and interacting with the people on the of interviews with older Alpha Boys ground in their space? And also your in the UK, because a lot of them went collaboration with Cedella Marley? there to find work. So, then he went to Kingston to film some interviews HA: Okay, I’ve never actually met there as well. That documentary never Cedella Marley. This is kind of funny. came to fruition, but Adam had all of Most people who know about Jamaican these materials and he still retained the music know Bob Marley, because you rights to all of the audio interviews with can go into a Walmart and find his face HA: I first went to Kingston in 2011, artists like Winston “Yellowman” Foster on a shirt. I really wanted to make the where I attended a conference at the and Emmanuel “Rico” Rodriguez and connection between ska and Bob Marley University of the West Indies at Mona. Edward “Tan Tan” Thornton. Adam and and reggae, because I want people to I was on campus there and just explored I knew each other from the Facebook understand that those are of the city a little bit by getting a cab driver world, and he had helped me do stuff Marley and his music. Without ska, and going out to some of the places that in the past, like source some photos. So, there’s no reggae. So, I wanted a Marley I wanted to visit. Then, two years later, he said, “Have you ever thought about to do the foreward for my book, Ska: I went back for the conference and felt doing a book on Alpha Boys’ School?” I An Oral History. And I thought, I’ll just comfortable branching out a little bit said, “Yes, I thought about it, I pitched it make a list of the names of his children more. I’ve been there a few times now to them but they didn’t have the time.” and I’ll go down the list and see what and I’ve been able to get to places like And so I said, “Yeah, let’s do it.” So that’s happens. If I get a no, I’ll just move on [ska trombonist and composer] Don what we did. Adam and I literally made to the next one. That’s what I did, and Drummond’s house. I was there twice an Excel spreadsheet that listed about 40 Cedella said yes. What I said is, “I would and I’m so glad I visited his house musicians that we included in the book. love to have you talk about your dad because it was just recently torn down. Each chapter features a biography of and his connection to ska.” I told her the The last time I went to Jamaica was a a different musician. I took the earlier people that were part of the book because year ago, in February 2019. When I go history—the jazz and the ska. Adam those were all of her dad’s friends and covered the later period—the roots, the people that played with him. Then reggae, , and dub. It was so I said, “I’ll donate a percentage of my much fun. profits to a charity of your choice.” She has the One Love Foundation, so that That book was really pretty well received. was what we did. The foreward that she We went to one of the biggest concerts wrote was just beautiful, very poetic, in Spain called the Rototom Sunsplash and talked about how her father could European Reggae Festival, because they hear American R&B on transistor radios also have some panels they call Reggae as a kid in Kingston. You can picture University. They invited Adam Reeves it. I mean she’s a Marley, she wrote a and I to speak on a panel with Johnny beautiful story. Augustyn and vocalist at his home studio Osbourne and Vin Gordon, two Alpha in Kingston, Jamaica in 2015.

18 down there now I stay with Byron Lee’s like Stranger [Cole] and Patsy, Owen daughter. She knows everybody and can [Gray] and Patsy, and Derrick [Morgan] take me around, so that’s super helpful. and Patsy. Sister Mary Ignatius Davies, She took me over to Ken Boothe’s house who was responsible for building and I would never be able to get entrance the band program at the Alpha Boys’ to these places on my own. School, has a whole chapter. I was able to interview , and she JB: So how many of these musicians talked about traveling with Bob Marley and artists have you met in person? Do in the tour bus with her one-year-old you have any stories about artists you baby. Hortense Ellis, one of my absolute interviewed over the phone, but met favorite musicians, is also in the book. with face to face for the first time in She was ’s sister and beat Jamaica? him in talent competitions. I tried to interview anybody who was really a central figure, or if they had passed away, then I would try to interview their family members. Enid Cumberland is another one of my favorites. She must be about 95 years old now, and she worked at Studio One for 40 years. Enid set up all self-published Songbirds, it hasn’t been the microphones, she ran all the wires, added to many libraries. So, I decided to ran the equipment, ran the board, and if revise it and started with Nanny of the they needed a backup female voice, there Maroons, because she’s an important she was. I think a story among woman who has influenced everything these women is how they were able to and is a national hero. And then I went balance all of the very traditional roles of through folks all the way up to dancehall motherhood and of housewife. with Lady Saw, among others. I also added in a whole chapter on and I also have a whole section on the how they reference women, which was mothers and the wives. Some of the very revealing. women do talk about the sexism in the industry and , but the Angelo Moore of performing at the Riviera in Chicago, May 1998 (Photo by Heather Augustyn). mothers and the wives like Sheila Lee, Byron Lee’s wife, ran the whole label. HA: Yeah, a lot of them. Like Derrick She ran the whole thing, she was the Morgan, I think I interviewed him a manager, and she ran a tight ship. Sheila couple times on the phone before I is still alive and keeping Byron’s legacy actually met him. Meeting these artists alive by making sure that he is part of in person is sweet. It’s like a family. It’s the history. Byron Lee went everywhere, like a homecoming and you just hug up that’s why so many people knew him. He a lot, and now that you’ve gotten all of was playing soca in Trinidad and doing the stories out of the way, you can just be carnival every year. Somebody had to Augustyn, , and Millicent “Patsy” Todd in with each other. That’s the best thing. Minneapolis, 2016. run the label. That label was crucial because of the studio, Dynamic Sounds, JB: You have a book coming out was where they recorded the Rolling called Women in Jamaican Music (May Stones. Goat Head Soup was recorded 2020). Can you share a little bit about there. recorded there. But who will be included and what topics then every Jamaican musician also will be discussed? recorded there because of Sheila Lee.

HA: A few years ago I wrote a book, Then there’s Norma Dodd, Coxsone Songbirds: Pioneering Women in Dodd’s wife. She’s not sitting at home, Jamaican Music (2014), that was self- she’s there working at that studio. And published. There are now four books I’ve Coxsone’s mom. She was really the first done through traditional or academic Augustyn and Derrick Morgan in Chicago, 2013. selector (deejay) because she’s telling publishers. My whole point since day him what to buy in the US to play back at one has been to get these histories in There is quite a lot of Millie Small her store, Nanny’s Corner. So, she’s like, the library or in a place where people [who died shortly after this interview]. “Hey, pick these up while you’re there. can learn where ska came from. Since I Millicent “Patsy” Todd, who did Bring them back and play them outside

19 of my store.” That’s a deejay. Come on, she’s a selector!

I wanted to make sure these stories were recorded somewhere for current and future historians and fans. If you don’t get to these marginalized voices before they die or at least get to a family member who can relay their story secondhand, then you’re never going to have it, the history is going to die.

Heather Augustyn on the Walk of Fame outside of ’s iconic Treasure Isle studio in Kingston, Jamaica, 2017.

of them in downtown Kingston. The Anthem. I’ve not been able to prove Gleaner has been digitized and I use that its provenance, but I have a story of a lot, but that was a colonial paper and the day that the National Anthem was as such, they rarely covered “lowbrow” recorded and pressed at . music. The Star covered music to some They made 100 copies and they put one degree in the and 1960s and these on each desk of the politicians in the articles are gold because it’s likely the Jamaican Parliament for that day. I’m only information that exists outside of pretty sure my copy is one of those, but I’ve not been able to prove it. But I know it’s from 1964 and I can’t imagine that it’s a reissue, because it’s black and practically blank. There’s a report on that the government issued in the early 1970s. ’s death certificate and birth certificate, not the original, but the one the government issued which stated JB: I’m definitely looking forward his cause of death. I explain in the book to reading Women in Jamaican Music. why that’s so revealing, and his date of My mind has expanded to think about birth is really important because it was the influential roles of the wives, the written down wrong at Alpha Boys’ mothers, and the sisters. I can definitely School. There are also some postcards see the strong influential role of mothers from the , promotional photos of One of the first recordings of Jamaica’s National bands today, fanzines from the , when advising their sons to buy specific Anthem, 1962. . and a National Geographic magazine the oral histories. So that’s what I would that’s over a hundred years old and HA: That’s why it is so cool when people like to see happen in terms of historical includes an article on Jamaica. It’s very hear these stories. Then you can make preservation. But as for a next book, or a interesting, I think, to see how Jamaica the connections. And because of your next project, I always have a million ideas was perceived at that time. So, all of these unique experiences, you’re going to make at one time. Part of what I want to do materials inform my research and place it connections in a way that somebody next would be women artists during the in context. But the most significant aspect else isn’t going to, and this could really era in the UK, but I’m not of the collection is the interview tapes. illuminate your perspective. quite ready for that yet. JB: Speaking as a non-Jamaican JB: What is next for you as far as JB: What nuggets can we find in the citizen, but as a someone from the your research into oral history and new Heather Augustyn Collection at the Caribbean, I think your approach to preservation? AAAMC? oral histories is definitely significant because you’re connecting narratives of HA: I’m really interested in the Jamaica HA: The collection includes all of the people and providing a new contextual Star newspaper and preserving these tapes from those recorded interviews, understanding of the artists and their documents. I know the National Library there are over a hundred. As far as music. So, once again, thank you for your of Jamaica has been trying to get funding photographs and ephemera, there are a donation and for visiting with us at the for about four years for digitization, lot of photos that I took of the Skatalites AAAMC. and in the meantime these newspapers at shows that I think are valuable. There are crumbling. There are only two sets is a 45-rpm record of the National HA: Thank you for valuing my work.

20 Augustyn’s interview tapes. Augustyn at AAAMC, March 2020. A graphic novel (comic book) version of Jamaica’s history. Introducing the Heather Augustyn Collection

Heather Augustyn, a journalist and Film Festival. Augustyn continues to and promoters. These include artists lecturer from Northwest Indiana, is consult on documentaries on ska and such as Bob Andy, one of reggae’s most perhaps best known as a devoted fan Jamaican music and has lectured widely influential ; Calypso Rose, and historian of ska, , and on these topics at academic and reggae Trinidad’s first female calypso star; reggae music. She has authored multiple conferences and festivals across the saxophonist and drummer books on these topics, including Ska: An US and globally in cities ranging from of The Skatalites; former Oral History (McFarland, 2010), with Kingston, Jamaica to Ho Chi Minh City, Jamaican prime minister Edward Seaga, a foreword by Cedella Marley, which Vietnam. In addition, she has been a founder of WIRL studios; Jamaican-born was nominated for the ARSC Award frequent co-host and contributor to DJ Kool Herc, one of the originators of for Excellence; Don Drummond: The WBEZ-FM, Chicago’s NPR station, and ; and various colleagues Genius and Tragedy of the World’s Greatest has been interviewed for radio shows and family members of Byron Lee, Trombonist (McFarland, 2013), with in , Kingston, Toronto, leader of the Dragonaires. Augustyn’s a foreword by ; Ska: Brussels, Minneapolis and Tampa. Her handwritten transcriptions of her many The Rhythm of Liberation (Rowman & music-related articles have appeared in interviews are preserved in bound Littlefield, 2013); Songbirds: Pioneering publications such as The Village Voice, notebooks. Also included are several Women in Jamaican Music (Half Pint Wax Poetics, Downbeat, Caribbean hundred images from 1996 to the present, Press, 2014); Alpha Boys’ School: Cradle of Quarterly, and Jamaica Journal, as well primarily documenting bands touring Jamaican Music (Half Pint Press, 2017); as blogs and websites devoted to ska. in the US, as well as research materials, and her most recent publication, Women She is currently a continuing lecturer in ska related magazines, and reports and in Jamaican Music (McFarland, 2020). the English Department and director of ephemera from Jamaica. Copies of these books were included in the Writing Center at Purdue University The Heather Augustyn Collection her donation to the AAAMC. Northwest and is pursuing her Ph.D. in represents the AAAMC’s first major foray Two of Augustyn’s books, Alpha Rhetoric and Composition at Purdue into music of the Caribbean and will Boys’ School and Don Drummond, have University West Lafayette. serve as an important primary resource been optioned by Playmaker Media/ An advocate for preservation and for scholars. Those who are interested Sony Pictures for development into a oral history, Augustyn has approached in tracing the influence of American feature film written by Andrew Knight. her research with meticulous detail. The jazz and music on the She has also served as a scriptwriter bulk of her recently donated collection development of ska and reggae music in for the documentary Pick It Up! Ska includes nearly 200 interviews conducted Jamaica and the UK will find a wealth of in the 90s by PopMotion Pictures, an from 1997 to 2018 with musicians, significant material. award winner at the Newport Beach producers, engineers, record label owners

21 sound bytes: digital initiatives

Eartha Kitt and Nat King Cole in the film, St. Louis Blues, circa 1968 (Rita Organ Collection).

22 New Finding Aids

Since the last issue of Liner Notes, the AAAMC has published five new finding aids on IU’s Archives Online:

• Soul and : The Naptown Sound: a collaborative initiative between the Indiana Historical Society and the AAAMC that consists primarily of interviews with funk and soul musicians who were active in the 1960s and ‘70s. The interviews were conducted from 2004-2005 by former AAAMC Project Manager Jason Housley and videotaped for an exhibition at the IHS. Also included are related production materials and photographs.

Jodie Hearon standing alongside his truck, circa 1960 (Jodie Hearon Collection).

in the area of Drew, Mississippi. Most The IU finding aid website, of the photographs were taken at Archives Online, has undergone major Brooks Farm or Greenwood Farm. changes and is now available with a new URL (https://archives.iu.edu). • Michael Jackson Commemorative Meanwhile, the original site is still Publications: a collection of magazines available but will eventually be phased and special commemorative out as content is migrated to the new publications assembled by the site. AAAMC following Jackson’s death in 2009. Image Collections Online Four collections of photographs were published in IU’s Image Collections Online (ICO) over the past year. The new additions include • Prince Commemorative historical photographs from rural Publications: a collection of comics, Mississippi, images taken during an magazines and other special oral history project documenting funk commemorative publications music in Dayton, , and publicity assembled by the AAAMC following photographs of African American Prince’s death in 2016. artists. The new additions to ICO include: • Jodie Hearon Photograph • Jodie Hearon Photograph Collection: images depicting Black Carla Thomas performing at Festival, 1973 farm families and rural life in (Rita Organ Collection). Collection (39 images) Mississippi from 1953-1964. Hearon and his wife, Ella, used industrial and • Rita Organ Collection of African • Rita Organ Collection of African mechanized farming equipment to American Musician Photographs: American Musician Photographs, harvest cotton, corn and soybeans, features publicity photographs, 1948-1987 (73 images) while also employing local families including movie and television stills, as sharecroppers and wage-workers of African American musicians • Something in the Water: on land that was previously part of a representing classical, jazz, gospel, soul Flavor of Dayton Funk, 1980-2004 (37 plantation owned by Palmer H. Brooks and rhythm and blues genres. images)

23 • Jock Hickman Photograph • Susan Oehler Collection (interviews Collection, circa 1950-1979 (54 and concerts featuring blues musicians) images) • Charles Connor Collection (radio We invite everyone to browse these programs, speeches, and performance images and assist with our cataloging highlights) efforts. If you have information to share, including the identities of the • William Barlow Collection artists, please click on the “Contact the (interviews featuring blues musicians Curator” link at the bottom of the page and radio disc jockeys) and add a brief note. • Nelson George Collection MDPI Updates (interviews with musicians and radio disc jockeys) Over the last year, IU’s Media Digitization and Preservation Initiative • John A. Jackson Collection Legendary Bahamian folk “Blind Blake” Higgs (interviews with Philadelphia soul (MDPI) digitized hundreds of audio (Rita Organ Collection). and video items from AAAMC musicians and producers) collections. Though the current phase tapes were already published in MCO, of the digitization project is winding • Jack “The Rapper” Gibson over 800 open reel and audiocassette down, we were able to submit a final Collection (interviews, airchecks and tapes from the Johnny Otis Collection batch of previously excluded formats, lectures) were recently added to MCO with such as a small collection of EIAJ content notes. These include complete moving image reels and MiniDV tapes • Mellonee V. Burnim Collection episodes of Johnny Otis’s radio shows, documenting Black rock musicians (interviews with gospel musicians, broadcast in California from 1970 to from the James Spooner Collection, GMWA concerts and events, and 1995. Many of these programs feature as well as newly accessioned VHS worship services and choir rehearsals live performances by popular blues, and DVD-R items. As with all IU in the US and Malawi) rhythm and blues, gospel and jazz operations, the MDPI project has musicians such as Freddie King, Albert been affected by the pandemic, but • Miles White Collection (interviews Collins, , Ruth Brown, the project staff is doing their best to and concerts primarily related to hip Clora Bryant, and Richard ensure that the digital preservation hop music and culture) Berry, among others. of media items continues. We look Another large collection of forward to the completion of the • Craig Seymour Collection radio broadcasts from the Lee project in the coming year. (interviews with R&B musicians and Bailey Collection was also recently DJ mixtapes) added to MCO. These airchecks on audiocassettes are primarily from Media Collections Online In addition to these non- two long running series syndicated commercial media, the AAAMC Pandemic-related changes to staff by Bailey Broadcasting Services continues to publish and describe workflows resulted in the prioritization in : RadioScope: The items from commercial LP, of projects that can be completed Entertainment Magazine of the audiocassette, 45rpm, 78rpm, and remotely. As a result, staff have been Air (1990-1996) and The Hip Hop VHS collections that were selected enhancing metadata and publishing Countdown & Report (1991-1998). for digitization through MDPI. These thousands of digitized and born- Since audiocassettes were an commercial recordings are available digital media items across multiple affordable and accessible format to all IU students, staff, and faculty collections to IU’s Media Collections for recording, AAAMC collections via MCO; non-IU researchers may Online (MCO) site. Whenever contain thousands of interviews, request single-user authorized access possible, media is made available concerts and field recordings made on by contacting the AAAMC. online without access restrictions; this format. Digitized audiocassettes however, due to copyright, the from the following collections are now For additional information, go to majority of digitized audio and video available in MCO: files, as well as related transcripts, the “Explore Collections” tab on are limited to single-user authorized • John Richbourg Collection (Sounds the AAAMC website or go directly access. Please contact the AAAMC for of the Fifties & Sixties radio programs) to: aaamc.indiana.edu/Collections/ details. Online-Access (follow the links to Over the last year, focus has shifted • Portia K. Maultsby Collection Archives Online, ICO, and MCO). to newly digitized open reel tapes and (interviews, lectures, concerts, audiocassettes. While many of these workshops, rehearsals) —William Vanden Dries, Digital Collections/Project Manager

24 Dr. Portia K. Maultsby interviewing drummer James “Diamond” Williams, 1997 (Something in the Water: The Sweet (Jock Hickman Collection). Flavor of Dayton Funk Collection).

Leontyne Price, circa 1960 (Rita Organ Collection).

25 Introducing AAAMC’s New National Advisory Board

Mellonee V. Burnim, Ph.D. Valeri Haughton-Motley Dr. Burnim is professor emerita in the IU Haughton-Motley has spent her entire career in Department of Folklore and Ethnomusicology, public service. After working as a mental health and immediate past Director of the AAAMC. counselor for almost 20 years, she earned her As an ethnomusicologist with a specialization law degree from the University of Iowa and is in African American religious music, she has currently a Judge of the Monroe Circuit Court in conducted fieldwork, workshops and lectures Bloomington, IN. She also serves on the Boards across the globe. She is also co-editor, with Dr. of Directors of several community organizations, Portia K. Maultsby, of African American Music: is an active member of the NAACP, ACLU, An Introduction (Routledge 2006; 2nd ed. 2015), Fraternal Order of the Elks, and Monroe County and Issues in African American Music: Race, Black Democratic Caucus, and is a member and Power, Gender and Representation (Routledge, former Chair of the Bloomington Human Rights 2016). Dr. Burnim is a Distinguished Alumnus of the University of North Commission. In 2015 she was named the City of Bloomington’s Woman Texas and was the first Distinguished Faculty Fellow in Ethnomusicology of the Year, and in 2018 was a recipient of Bloomington’s Living Legends and Ritual Studies at the Yale Institute for Sacred Music. Award.

Reggie Calloway Curtis Barry Martin, Sr. A five-time Grammy-nominated artist, A veteran of the music industry, Martin is Calloway has over 30 years of experience in the recipient of 18 gold and three platinum the entertainment industry. Best known as albums. After working as a radio writer and disc the founder and leader of -funk band jockey, he shifted his focus to marketing and Midnight Star, he led the group to international distribution, working for the renowned gospel success by writing, producing and arranging music labels and Integrity a string of hit songs. In addition to writing Music, and coordinating functions for the songs for other chart toping artists such as Gospel Music Workshop of America, Gospel , Levert, and Music Association and Bobby Jones Retreat. In & the Pips, he has developed music publishing 1996 he founded The Orchard Promotional Firm companies, a record label, and other music in Mobile, AL, and currently serves as CEO and production entities. Most recently he co-founded Royalty Exchange, an President, creating marketing and promotional campaigns and events for online marketplace for buying and selling royalty streams, and also serves top gospel artists such as Shirley Caesar, , Kurt Carr, Kirk as a board member for the California Copyright Conference. Whalum, and BeBe & CeCe.

Dr. Marabeth E. Gentry Portia K. Maultsby, Ph.D. (Honorary Member) Dr. Gentry, nationally known as “The Sanctified Dr. Maultsby is Laura Boulton Professor Emerita Opera Singer,” is an acclaimed psalmist who has of Ethnomusicology in IU’s Department of performed extensively throughout the US and Folklore and Ethnomusicology, and founding abroad. In 2012, she made history when she director of AAAMC. Her research has focused was elected as the third overall and first female on religious and popular traditions in African President of the National Convention of Gospel American music, the music industry, and music Choirs and Choruses, Inc., after serving as globalization. She has published and lectured Vice President for almost 20 years. A two-time around the world, and her research has been recipient, Dr. Gentry has received used extensively in the productions of cultural numerous awards for her civic, educational and institutions, museums, and documentaries for religious involvements, including the Thomas A. radio and television. She recently served as lead Dorsey Most Notable Achievement Award, and an honorary doctorate senior scholar for the opening exhibition of the National Museum of from Webster University. In 2018 she was inducted into the Stellar African American and Music in Nashville. Dr. Maultsby is the recipient Awards Honors Hall of Fame. of many awards and honors, including the President’s Medal from IU.

Eddie Gilreath William Morris A veteran of the music industry, Gilreath has Morris is a lawyer in Bloomington, IN, who held top level executive positions with some focuses on anti-discrimination law. A native of the most significant record labels in the of Indiana, he majored in journalism at country. After working his way up to Senior Lehigh University, earned a master’s degree in Vice President of Marketing for Motown, he communications at Howard University, studied was hired by Warner Bros. in 1971 and was law at the University of North Carolina in Chapel later appointed head of the Black Music Sales Hill, and has taught legal studies at Ivy Tech Division. Following were stints as Vice President Community College in Bloomington. He is also of Sales for Elektra Entertainment and Nonesuch an ordained Deacon in the Episcopal Church. Records, and similar positions at Island Records, Known to local radio listeners as Brother Geffen Records, MCA/Universal, and Domo William, Morris hosts the popular WFIU radio Records, where he served as Managing Director. In 2000, he formed a series, The Soul Kitchen, where he “blends tunes with a groove with successful new marketing and consulting firm, the E-nate Music Group, music with a message,” as well as the Friday afternoon edition of the jazz with four other industry luminaries. program, Just You and Me.

26 Frank Motley Ruth M. Stone, Ph.D. A graduate of Columbia College and Columbia Dr. Stone is the Laura Boulton Professor Emerita Law School, Motley served as Dean of of Ethnomusicology and African Studies at Admissions for IU’s Maurer School of Law for IU. Her research has focused on temporal more than 25 years, admitting nearly 5,000 dimensions of musical performances among the students. He has held positions at three other law Kpelle of Liberia, West Africa, which she has schools, and has taught courses in law, business, detailed in the books, Let the Inside Be Sweet African American studies, and humanities. At (2010) and Dried Millet Breaking (Indiana 1988). IU he also served as Associate Vice President Other publications include Music of West Africa for Academic Support in the Office of Diversity, (Oxford 2005) and Theory in Ethnomusicology Equity, and Multicultural Affairs. Following his Today (Routledge 2007, 2nd ed. 2019 with Harris retirement from the law school, he continues Berger). During her tenure at IU, she also served to teach courses in IU’s Department of African American and African as Associate Vice Provost for Arts and Humanities, Director of the Diaspora Studies. In 2018, he was a recipient of Bloomington’s Living Institute for Digital Arts and Humanities, and Director of the Archives of Legends Award. Traditional Music.

Dr. Leonard Scott Verlon Stone, Ph.D. Dr. Scott is the founder and CEO of the nation’s Stone began his career as an educator in New oldest Black-owned and operated gospel York. During research trips to Liberia in the music recording company, Tyscot Music & 1970s with his wife, Ruth, to conduct M.A. Entertainment in Indianapolis, IN, where he and dissertation research, he developed an also pastors the Rock Community Church. expertise in photography, field recording, film In addition to his music ministry, Dr. Scott and video production. After receiving a Ph.D. has served his community for over 40 years in instructional systems technology, he worked as a dentist at Scott Dentistry. Along with his for Saudi Aramco in Dhahran, Saudi Arabia business ventures and ministry endeavors, he as a media specialist and internal corporate has honed his skills as a musician and writer, communications producer. Upon his retirement recording several albums and publishing three books. A pillar in the from Saudi Aramco in 2001, he returned gospel music community, he is the recipient of the Stellar Honors Hall of to Bloomington, IN where he formally established the IU Liberian Fame Award, Thomas Dorsey Most Notable Achievement Award and the Collections, which he headed until his phased retirement began in 2016, Gospel Music Association Legacy Award. and now continues to serve as a Special Advisor.

Marietta Simpson Reggie Workman Simpson is Rudy Professor of Music (Voice) Recognized as one of the most technically at IU’s Jacobs School of Music, where she has gifted American avant-garde jazz and served on the faculty since 2005. The acclaimed double , Workman was a member of the mezzo-soprano has sung with every major Quartet in the early 1960s. He orchestra in the US under many of the world’s went on to perform and record with many jazz greatest conductors and has performed leading icons including ’s Jazz Messengers, roles in opera companies throughout the US , Eric Dolphy, , and Europe. She was recently elected to the , , , prestigious American Academy of Arts and , , and Herbie Sciences for outstanding achievements as an Mann. As a professor at The New School College artist, and was awarded the title of Distinguished of Performing Arts in New York, he mentors Professor, IU’s highest academic title for its most outstanding scholars. a new generation of jazz musicians as he strives to preserve jazz music Other awards include Temple University’s Certificate of Honor for performance, education, and unity. Workman recently received the Distinguished Alumni and the Leontyne Price Award. National Endowment for the Arts Jazz Masters Fellowship Award, the nation’s highest honor in jazz.

Evelyn Simpson-Curenton Tyron Cooper, Ph.D. (Chair) Simpson-Curenton’s versatile skills as a Dr. Cooper is Director of IU’s Archives of composer, arranger, pianist, organist, vocalist, African American Music and Culture, an artistic director, lecturer and producer have associate professor in the Department of African made her one of the most sought after musicians American and African Diaspora Studies, and in the country within musical genres ranging adjunct faculty in the Department of Folklore from classical to jazz to gospel. As a composer, and Ethnomusicology. Along with his teaching she has received many commissions and her and research in African American music, works have been performed and recorded by Cooper is recognized for his extensive studio major artists, orchestras and ensembles. Her recording and live performance experience as music gifts and ministry are also featured in music director, guitarist, vocalist, composer worship services at churches in Washington, and arranger for many national artists. As a DC, Alexandria, VA, and her hometown of Philadelphia. A graduate composer, he has garnered four Emmys, one Telly and several Emmy of Temple University, she was recently honored with an award for her nominations for his music in PBS documentaries such as Attucks: The distinguished career and contributions in the field of music. School That Opened a City (2017) and Eva A-7063 (2018).

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]

Donate online at go.iu.edu/APlaceForArts and selectNonprofit AAAMC Organization Enrichment Fund U.S. Postage PAID Bloomington, IN Permit No. 2 AAAMC Staff: Tyron Cooper, Ph.D., Director Brenda Nelson-Strauss, Head of Collections William Vanden Dries, Digital Collections/ circle of Project Manager Student Assistants: friends Bobby E. Davis, Jr., Graduate Assistant Jamaal Baptiste, Graduate Assistant I would like to join the Circle of Friends of the Archives of African American Chloe McCormick Music and Culture. My donation will support the activities of the AAAMC. Jared Walker Faculty Research Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Associates: Supporting Friend ($50-$99) Other Valerie Grim, Ph.D. Alisha Lola Jones, Ph.D. Sustaining Friend ($100-$999) Fernando Orejuela, Ph.D. Charles E. Sykes, Ph.D. Enclosed is my/our contribution of $ ______to the Archives of African American Music and Culture. All contributions to National Advisory Board: the AAAMC are tax deductible. Mellonee V. Burnim Reggie Calloway Marabeth E. Gentry Name______Eddie Gilreath Valeri Haughton-Motley Address______Curtis Barry Martin, Sr. Portia K. Maultsby City______State______Zip______William Morris Frank Motley Phone ( )______Leonard Scott Marietta Simpson Please make checks payable to: IU Foundation Evelyn Simpson-Curenton and mail completed form to AAAMC • Smith Research Center, Suites 180-181 2805 E. Tenth Street • Bloomington, IN 47408-2601 Ruth M. Stone Verlon Stone Reggie Workman Newsletter design & layout by Dennis Laffoon