ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 12 / WINTER 2007 Roots of Techno: Black DJs and the Detroit Scene aaamc 07-08.indd 1 12/11/07 4:01:21 PM aaamc mission: From the Desk of the Director The AAAMC is devoted to the collection, preservation, and With this issue of Liner Notes, the “modular” traveling exhibits that dissemination of materials for AAAMC is pleased to introduce a focus on various genres and themes the purpose of research and new publication format and layout, in African American music. Drawing study of African American content from the AAAMC’s signature music and culture. which we hope will be more reader- collections, the exhibits will feature www.indiana.edu/~aaamc and library-friendly and allow us topics as diverse as the Rhythm & to more easily phase in new types of Blues era (1945-1965), music of the content. We welcome your feedback Civil Rights and Black Power eras, Table of Contents about this change! Comments can exploration of rap and hip-hop be sent to [email protected]. culture, funk as a philosophy and From the Desk of musical style, and the little-known the Director ......................................2 Over the past year, the AAAMC roles of black pioneers in genres such developed some exciting new In the Vault .........................................4 as rock and techno. These exhibits are initiatives and continued to implement funded by a grant from IU’s Office of AMGP Series Book Release ...4 projects that are part of our five-year the Vice Provost for Research under plan. A major highlight of the year the “Moveable Feast of the Arts” Featured Collection: was our extremely successful October initiative—a program allowing IU’s John A. Jackson .............................5 2006 conference, “Roots of Techno: cultural resources to be showcased Black DJs and the Detroit Scene,” that around the state—and will travel to Roots of Techno..............................6 attracted an audience of scholars, various colleges, universities, libraries, performers, students, and techno museums, and public schools in In Memorium: aficionados from as far away as New Phyl Garland ..................................11 the state of Indiana with whom we Jersey and Toronto. Participants had will co-sponsor relevant live public A Conversation with Murray the opportunity to listen to the first- programming to complement and Forman .............................................12 hand accounts of techno artists and augment the exhibit content. Such witness their live performances (see events provide ongoing opportunities Keith McCutchen........................16 story inside). We have since indexed for students and the general public to the videos from the conference and are learn about and connect to the rich 2007 Extensions of the Tradition pursing various options for making legacy of African American expressive Concert ...........................................18 these materials publically accessible in forms in American arts and culture. a variety of media formats. AAAMC Welcomes Visiting The AAAMC will also develop a semi- Continuing our drive to spark Scholars ..........................................20 permanent gallery exhibition as part formal academic interest in under- of ArtsWeek (February 20 – March 1, James Brown Memorial .......22 represented areas of black music, 2008), an annual celebration of artistry the AAAMC is now in the process of and creative activity that highlights Black Grooves ..............................24 conceptualizing and planning another creative writing, dance, visual arts, conference in this series, this time on music, theatre, film, museum exhibits, black rock. Tentatively scheduled for panel discussions, youth events, and On the Cover: October 2009, this conference has a lectures. The AAAMC exhibition, purpose similar to that of “Roots of entitled “‘A Change is Gonna Come’: Techno”—to document the African Black Music and Political Activism,” American origins and evolution of will explore the ways in which black genres that have not been broadly communities drew on their sacred and recognized as “black music,” and to secular musical traditions to create encourage scholarly research and the sounds which powered both the curricular development in these areas. Civil Rights and Soul/Black Power In addition to conference eras, discussing the use of music not programming, the AAAMC developed only as a symbol but also as a potent DJ Mike “Agent X” Clark spins two related outreach exhibition political device for change. This at Bloomington’s Second Story projects, both to be curated by Dr. Nightclub during the “Roots of project was funded by IU’s Office of Techno” conference Sunni Fass, AAAMC’s Administrator/ the Vice Provost for Research, and the (photo by James Rotz) Project Coordinator. 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OFFURTHERSTUDYISELECTRONICDANCEMUSIC1011 or 812-855-2292.) THISSESSIONONh!RIZONA$RANESAND%ARLYAfrican American music scholarship s5NEARTHING)NDIANAPOLIS FACEv%DMONDS !FTER 4HE*ACKSONALSO The AAAMC continues to engage !LTHOUGHTHEEARLYSTYLESOFTHISMUSICWERE The AAAMC is pleased to announce'OSPEL-USIC2ECORDINGSv/THERSPEAKERS as transnationalism, religious music, &UNK3OUL KNOWNAS4HE*ACKSONS ,A-AR#AMPBELL in the development of teaching CREATEDPRIMARILYBY!FRICAN!MERICANS THEthe publication of the second book in INCLUDED3UZANNE&LANDREAUOFTHE#ENTERpopular music, women in music, 2ODNEYresources. "RYANT AND Research !L (OBBSTHERE Associate Dr. ARE ROLEOFTHESEPIONEERSISRARELYACKNOWLEDGEDthe Archive’s African American Music FOR"LACK-USIC2ESEARCHAND*OHN2USSICK music criticism, musical aesthetics,