Collections : [Archives of African American Music and Culture]

Manuscript and printed scores, photographs, biographical material, and recordings by Black composers active from 1950 to present.

This collection consists primarily of audio and video files of interviews with alumni of the IU Soul Revue and African American Arts Institute at Indiana University, including students, administrators, and directors of performing ensembles. The majority of the interviews were conducted with individuals who were members of the IU Soul Revue during its first ten years, under the direction of Dr. Portia K. Maultsby.

Extensions of the Tradition is an annual event featuring a concert of music by black composers with related exhibits and programs, co-sponsored by Indiana University's African American Arts Institute, the AAAMC, and the Jacobs School of Music. The event is documented through program booklets, flyers, photographs, and video and audio recordings.

This collection includes interviews and research materails used for the production of the book The Black Composer Speaks (1978), a project initiated by the Afro-American Arts Institute at Indiana University, and co-edited by Lida M. Belt, David N. Baker and Herman C. Hudson. The majority of the interviews were conducted by Lida Belt (Baker).

Collection includes articles, magazines, transcripts, lectures and interviews. Time-based media content primary pertains to his Indiana University lectures in 1998, sponsored by Archives of African American Music and Culture.

The collection consists primarily of CD-R copies of the radio series "Lessons in Jazz," produced by Kevin Anderson for MD Illegal Rap Radio. The series began airing in 2002 on Hampton University's student radio station WHOV 88.1 FM. Co-hosts of the series are Marcel "Big Cel" Canady and Montez "The Wiz" Martin.

The collection consists primarily of interviews regarding ska music and musicians conducted by Heather Augustyn. Also included in the collection are interview summaries, research files and ephemera, published books and recordings, and photographic prints and slides.

This collection consists of manuscript scores of Banfield's music, promotional and ephemeral material relating to Banfield, and recordings and transcripts of interviews that Banfield conducted with a variety of African-American composers as well as recordings of Banfield's radio show, Landscapes in Color.

The collection consists primarily of interviews and articles regarding radio stations and music in New Orleans, including information about the first African American deejays in New Orleans and the Poppa Stoppa radio program.

A collection of 100 publicity photographs of Black artists featured in PBS television programs from approximately 1972-1989.

A collection consisting primarily of programs, newspaper and magazine clippings, photographs, awards, correspondence, memorabilia, audio recordings and video related to Angela Brown's career.

The collection includes 11 issues of the periodical Gospel News Journal. The collection does not contain a complete run of the journal, but includes issues from Volumes 2-5, dating from 1966-1968.

The collection includes Burnim's dissertation research on African American religious music conducted primarily in Indiana between 1976-1979 with an emphasis on gospel music performance and practice; and post-dissertation research on African and African American religious music conducted between 1980-1996 in the U.S., Cuba, Liberia, and Malawi. Also included is documentation of the 1984 Smithsonian American Folklife Festival and gospel sheet music. The collection was primarily recorded on analog audio formats and includes audiocassettes, open reel tapes, videocassettes, open reel video, slides, sheet music, song texts, and additional documentation.

Includes the personal papers of Edith Casteleyn, founder and director of Dutch community gospel choirs in the Netherlands, as well as scrapbooks, recordings, videos, clippings, programs, publicity materials, and photographs documenting the Soesterberg Gospel Choir, Friendship Gospel Choir, Life Line Gospel Choir, Alive! Gospel Choir, Rainbow Gospel Singers, and other choirs directed by Casteleyn.

The collection consists of personal papers, photographs, and a video documenting the career Ed Castleberry, a pioneering black radio disc jockey and newscaster.

These materials comprise a thirteen-part radio series of public service broadcasts produced by Sam Chase for WLIB radio in New York in cooperation with Newsweek Magazine.

This collection consists of printed and manuscript scores of music by Charles Coleman, including sacred and secular choral works, as well as ephemeral materials related to the composer.

Materials documenting the period Charles Connor, known as "Little Richard's original drummer," spent on the road with Little Richard, Sam Cooke, Dee Clark, Larry Williams, Chuck Willis, and others. Included are more recent articles, interviews, and audio recordings of Connor and an unpublished book manuscript.

Collection documenting the AAAMC's 2014 panel discussion and exhibit, Hot Buttered Soul: The Role of Foodways & Musicmaking in Building and Sustaining African American Communities, which explored the intersections between sacred and secular music genres and traditional foodways as signifiers of African American life and culture. Featured panelists include Dr. Psyche Williams-Forson, Dr. Tyron Cooper, Dr. Alisha Lola Jones, and Dr. Mellonee Burnim. Includes audio, video, image, and research files.

A collection of recorded interviews and transcripts, photographs, press clippings, posters, and research materials related to Detroit techno music. The bulk of the collection materials span the years 2007-2011 and include audio and written interviews with notable Detroit techno artists such as Derrick May, Juan Atkins, Carl Craig, Mike Banks, Anthony Shakir. Also included are video footage from Movement Festival and photographs from Dalphond's dissertation research.

Video documentation of the first decade of the annual DJ competitions in the United Stated and abroad, hosted by DMC (Disco Mix Club) and Technics. Includes World DJ Championships, World Mixing Championships, USA DJ Championship, and American Mixing Championship Finals.

Materials documenting audiovisual exhibits produced by Donna Lawrence Productions.

A small collection of photographs from the 1950s-1960s. The bulk of the photographs feature Jackie Wilson. Also included is early Motown recording artist Gino Parks.

The collection consists primarily of contracts and correspondence between Arizona Dranes and the Consolidated Music Publishing House (owner of the Chicago OKeh Records franchise) from 1926-1929. Contracts for Nov. 15, 1926, include one song not commercially released (and possibly not recorded), "He's Got Better Things for You." Also included are articles about Dranes and this collection by the donor, Malcolm Shaw, and gospel historian Dr. Daniel E. Walker.

Draper's collection documents the career of an African American music executive and covers his tenures at RCA Records and Warner Bros. Records.

Honeyboy Edwards performing live at Indiana University for Professor Glenn Gass's History of Rock Music class, videotaped by the Archives of African American Music and Culture in Ballentine Hall 013.

Every Voice and Sing: The Choral Music Legacy of the Historically Black Colleges and Universities is a 5-part series on Black choral music that explores the social/political context of the Civil War/Reconstruction era that brought about the formation of these Historically Black Colleges and Universities and their amazing Singing Groups. The project is collaborative production of EVT Educational Productions, Inc. and JAZZ88.3FM WBGO Radio of Newark, New Jersey. The series was broadcast by over 240 public radio stations.

This collection documents the activities of Dr. Winona Fletcher as Producing Director of the Indiana University Afro-American Arts Institute's 1986 revival of the Federal Theatre Project's 1939 production Prelude to Swing, entitled Prelude to Swing +50.

Magazines and articles collected by Murray Forman during research for his book, The 'Hood Comes First: Race, Space, and Place in Rap and Hip-Hop (Wesleyan University, 2002).

A collection of 13 photos copied from the personal collection of David "Panama" Francis for use by Portia K. Maultsby and the Smithsonian Institution for the 1986 symposium and accompanying booklet and exhibition, Rhythm and Blues, 1945-1955. Francis participated as a panelist. The original photographs may now be in the possession of the Smithsonian Institution.

Photographs documenting the career of Houston deejay Skipper Lee Frazier, copied from his personal collection. Additional photo descriptions with biographical information transcribed from an interview with Frazier are available in accession folder. The collection consists of 12 b&w photographs with negatives primarily documenting Skipper Lee Frazier's activities in connection with KCOH in Houston during the 1970s and '80s.

Research on the Black gospel quartet tradition including recorded interviews, transcripts, programs, sheet music, hymnals, subject files, sound recordings and videos.

Black radio photograph collection documenting events and personnel, including photos with rhythm and blues musicians, at Houston station KCOH in the 1960s and 1970s. Photographs were copied from the personal collection of Gardner. Accompanied by a transcription of an interview with Gardner which includes descriptions of each photograph.

The Phyl Garland Collection consists primarily of personal papers, including original typescripts for Garland's columns in Ebony and Stereo Review, and related research and photographs. Also included are 41 original audiocassette recordings of interviews conducted by Garland (except as noted) primarily with various African American musicians, artists, and filmmakers. Topics include African American composers and musicians as well as various genres of music including, but not limited to, jazz, R&B, soul, rock, classical, and blues. Record company publicity materials include publicity photos and press releases for over 900 artists.

The collection consists of materials related to Smithsonian Institution programs, including the Duke Ellington Youth Project, in addition to gospel sheet music and related research materials from George's personal collection.

The collection consists primarily of materials collected during research for Nelson George's book Where Did Our Love Go?: The Rise and Fall of the Motown Sound (St. Martin's Press, 1985). This includes interviews (audiocassettes and transcripts), photographs, newspaper clippings, magazines, photocopies of legal documents, manuscripts, and correspondence.

Jack "The Rapper" Gibson was a pioneer in Black radio, as well as an innovator, a leader, and a mentor to many in the radio and music industries. His work as a Black radio deejay spanned the early days of Black radio in the 1940s through the Civil Rights Movement, and included stints at WERD-Atlanta, WLOU-Louisville, WMBM-Miami, WCIN-Cincinnati, and WABQ-Cleveland. After retiring from radio in 1961, he became a successful music industry executive working for Motown, Decca, and Stax Records. In 1976, he launched the industry magazine Jack the Rapper, the oldest Black trade publication targeted to radio, and for the next twenty years organized the annual "Jack the Rapper's Family Affair," a Black music convention drawing generations of performers and music industry executives. His professionalism, continuous fight for racial equality and justice, and endearing human qualities made him a legend in the industry. This collection documents his long career in radio and music through personal correspondence, clippings, memorabilia, photographs, publicity materials, airchecks, interviews, lecture materials, and over 500 issues of his trade magazine "Jack the Rapper's Mello Yello."

Eddie Gilreath was one of the first African American music industry professionals to hold executive level marketing and sales positions with major record labels including Motown, Warner Bros., Elektra Entertainment, Geffen, and MCA/Universal Distribution, promoting major artists across multiple genres. Included are personal papers and correspondence, marketing reports, press clippings, photographs, certified gold and platinum album plaques, clothing, and time-based media in both published and unpublished audio and video formats.

A collection of 26 photos copied from the personal collection of Michael Graham for use by Portia K. Maultsby and the Smithsonian Institution for the 1986 symposium and accompanying booklet and exhibition, Rhythm and Blues, 1945-1955.

This collection documents Dr. Teresa Hairston's work in the gospel music industry from the late 1980s into the early twenty-first century and consists of materials related to the publication of her gospel music magazines Score, Gospel Today, and Gospel Industry Today as well as events and television programs produced by Dr. Hairston. Included are publicity materials, photographs, press kits, magazines, correspondence, business records, and time-based media in both published and unpublished audio and video formats.

The collection contains photographic materials, articles, programs and ephemera related to Hall's performance career.

Audio recordings of taped radio show episodes, primarily from the series The Afro-American in Indiana, but also including the additional programs Reflections in Black and Black Heritage, as well as a radio special and recordings from a NAACP convention. The radio shows, hosted by Fr. Boniface Hardin, featured multiple high-profile guests. The episode topics includes sports, music, education, historiography, slavery, the American Civil War, Reconstruction, segregation, the Indiana Constitution, the United States Constitution, church, religion, the NAACP, WWI, WWII, medicine, black businesses, the Institute of Afro American Studies, prison, labor history, and more.

Thirty-nine photographs depicting rural life in Mississippi circa 1953-1964.

This collection consists of postcards focusing on women of the Harlem Renaissance and women in social protest, along with documentation, correspondence and research pertaining to Helaine Victoria Press.

Doug "Jocko" Henderson was a pioneering "rapping" deejay primarily associated with Philadelphia radio station WDAS in the 1970s. Collection primarily documents Henderson's Get Ready company, which published materials to be used in schools to teach American history, spelling, and the dangers of drug abuse using rap lyrics. Also included is material documenting Henderson's bid for a seat in the United States House of Representatives in Pennsylvania. Materials include audiocassettes, teaching manuals, correspondence, photographs, business cards, press clippings, flyers, and other memorabilia.

A collection of publicity photos copied from the personal collection of Jock Hickman for use by Portia K. Maultsby and the Smithsonian Institution for the 1986 symposium and accompanying booklet and exhibition, Rhythm and Blues, 1945-1955. For the majority of these images copies exist at both the AAAMC and the Smithsonian Institution.

The collection consists primarily of materials related to the gospel musicals Mama, I Want to Sing; Mama, I Want to Sing II; and Born to Sing! Mama 3. It includes scripts, programs, promotional materials, posters, photographs, videos, and sound recordings. Records of the Mama Foundation include programs, press clippings, publicity, and posters.

This collection consists of gospel song books and sheet music, song texts, photographs, and other ephemeral material related to Blondell Hill's participation with choirs in Richmond, Indiana, Petoskey, Michigan, and Harbor Springs, Michigan.

The collection consists primarily of interviews conducted by AAAMC Project Manager Jason Housley for the 2005-2006 Indiana Historical Society Exhibit, "Soul and Funk: The Naptown Sound," as well as related production materials and photographs.

This collection consists of documentation and one-on-one interviews from the AAAMC's two-day conference on Black rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009. The conference and related activities were open to local and regional musicians, scholars, students, and brought together Black rock musicians from different generations and regions with music critics and scholars to discuss the socio-political history, musical developments, and the future of Black rock.