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ORANGE COUNTY ARTS COMMISSION z
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THIS AGREEMENT, entered into this 12th day of December, 2013, by and between Orange
County ("County"), by and through the Orange County Arts Commission ("Arts Commission")
and LJNC Center for the Study of the American South("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizations
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed one thousand five hundred dollars
($1,500) have been awarded by the Arts Commission to the Grant Recipient for the
approved Project. These funds must be matched at least dollar-for-dollar with cash from
the Grant Recipient's funds not derived from either Orange County appropriations or the
North Carolina Arts Council.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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Revised May 2012
A. Implementation. The Project implementation shall take place between January 1,
2014 and December 31, 2014. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereof.
Consent to project modifications shall not be unreasonably withheld. Arts
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein,the modifications shall be deemed approved.
C. Non—assi ngnment. The grant cannot be assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on January 16, 2015 . The Final Report shall be in the format required by
the North Carolina Arts Council. Failure to submit the Final Report or late
submission of the Final Report, for any reason, shall be grounds for denial and/or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Payment. The Arts Commission shall release the grant funds in the amount of
$1,500 to the Grant Recipient.
6. Publicity
A. Acknowledgement. Credit must be given to the Orange County Arts
Commission using the Arts Commission logo and if State funds are received
to the North Carolina Grassroots Program in brochures, news releases,
programs, and all other printed and online publications. Copies of such printed
materials must accompany the evaluation report. When no printed information is
used, verbal credit shall be given. In addition, all print and promotional material
must include the following credit line(check all that apply):
2
Revised May 2012
L x County Funds Only. "This program is supported by the Orange County
Arts Commission. "
ii. North Carolina Arts Council Funding. "This program is supported by
the Orange County Arts Commission with funds from the Grassroots Program
of the North Carolina Arts Council, a state agency. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHalARTS.com
website and display ExploreChapelHil ARTS.com publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChapelHillARTS.com publicity materials.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below(hereinafter referred to as
"default"),the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
3
Revised May 2012
(iii) Failure to adhere to the terms of applicable county, state or federal laws,
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or require
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. This Agreement shall be interpreted in accordance with the laws
of the State of North Carolina and the Orange County.
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
For and on behalf of the 4-a�Recipient
Saar
UNC Center for the Study of the American South
Date
For a a o 0 n C ver went
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For and on behalf of Orange County Arts Commission/approved as to technical content
Steve Brantley,Economic Deve ment Director Date
t d a o rm and legal sufficiency
I (S
4
Revised May 2012
Annette M. Moore, Staff Attorney Date
This instrument has been pre-audited in the manner required by the Local Government Budget
and Fiscal Control Act®
t.����Le�
Clarence G. Grier,Administrative and Financial Services Date
I
5
Revised May 2012
Arts Pro g ram Grant - Fall
2013- 14 Application Form
ORANGE COUNTY ARTS Orange County Arts Commission
COMMISSION
Promoting the artistic and cultural development of Orange County, North Carolina
Evaluation Criteria
• Artistic merit of program.
• Populations served— impact for geographic&traditionally under-served populations.
• Feasibility of proposed activity&effectiveness in fulfilling applicant's mission.
• Cooperation between organizations and artists.
• Evidence of feasibility of program, community support, and responsiveness to community needs.
• Emerging organizations are encouraged to apply.
1 Applicant Information
Applicant Name UNC Center for the Study of the American South (ConvergeNC Music Festival)
Mailing Address CB#9127 410 East Franklin Street Chapel Hill NC 27599
Daytime Phone (336) 339-6722 Fax Number (919) 962-4433
Email Address convergencfest(d)gmail com Web Site convergencfest.com
Project Director Patrick Horn Title Associate Director of Center for the Study of the American South
DUNS Number 608195277
2 Project Director Information
Project Director Home Address 5515 S Roxboro St-, :I�3q vr( O N, NC 3
Daytime Phone ! ��" ��2"X553 Evening Phone 910- 9$7- �Bo�
Email Address pathorn(cD_email.unc.edu
3 Grant Request Summary
Arts Program Grant Request $1500
Total Cash Match $16,212
Total Organizational Budget 2012-2013 $791,753 Past Year
2013-2014 $817,581 Current Year
2014-2015 $817,581 Projected for Next Year
Summary Statement for Proposed Uses of Arts Program Grant This grant will be applied to the cost of
booking musical artists for ConvergeNC Southern Music Festival 2014 The event will be free and open to
the public held at an outdoor amphitheater on UNC-Chapel Hill's campus and feature artists from
diverse areas of today's landscape of Southern music.
Questions? Call 9191968-2011. Delivery address: 501 West Franklin Street, Chapel Hill, NC 27516
Organiza ional Profile
ConvergeNC Southern Music Festival, a project of UNC's Center for the Study
of the American South (CSAS), was conceived as a nexus—of communities, resources,
and ideas. We recognized that a proud tradition and an evolving culture of music were
among the most significant features of the university and the region to which it belongs:
there was an academic community devoted to exploring and documenting the music, a
network of artists drawing on deep Southern roots and also making paths in innovative
musical directions, a successful and embedded structure of professionals and businesses
working with the music economy, and a grid of thoughtful listeners. Our task was, simply
and challengingly, to connect these dots.
For some time,we debated the inclusion of the word"Southern" in our title—
would it limit the diversity of our programming?But"Southern" became vital to our
mission, because we realized that it provided a powerful,provocative grounding for our
work. This community has a special investment in the meaning of Southern-ness, and
one responsibility attached to that investment is perpetual reexamination—how can we
enrich and complicate our understandings of what it means to be Southern?How can we
recognize the spectrum of often-contradictory understandings?
The recurrence of question marks is no coincidence; always, in our conceptual
framing of ConvergeNC, we strive to pose questions and hypotheses, not declarations or
essential izations. Our goal is dialogue, not resolution. The most important way we work
to foster that dialogue is by bringing a lineup of diverse, high-quality musicians to the
festival. We seek artists whose work is unique, challenging, and engaged with the South
in thought-provoking ways.
Central to ConvergeNC's mission and character is the fact that it is student-
founded and student-run. It offers students at UNC the chance to better understand work
in the arts through hands-on experience.More importantly, it connects students interested
in arts programming to the musicians,businesses, and other professionals who are
already working to support, produce, and propagate great music in this area.
ConvergeNC is connected with the resources, mission, and personnel of the
Center for the American South. Jocelyn Neal,the director of CSAS and a scholar of
country music, and Bill Ferris, a professor in the Center and an esteemed scholar of
Blues and Southern literature, both sit on the ConvergeNC advisory board, helping to
determine the structure of the festival and its lineup of performers. Our advisory board
extends beyond CSAS, as well, to include individuals like Art Menius,the director of
the Carrboro ArtsCenter and founder of the International Bluegrass Music Association;
Duncan Murrell, a professor in the Center for Documentary Studies at Duke who has
written on the South and music;Maxwell George, Assistant Editor of Oxford American
magazine; and David Garcia, UNC professor and expert on music of the Latin diaspora.
CSAS Current Programs and Services
Music On The Porch Series- Music on the Porch is an outdoor music series held
twice a semester at the Center for the Study of the American South.We seek to bring
together an eclectic mix of musicians from around the region to play on the Love
House porch and participate in a moderated discussion about the ways in which the
rich culture of the South influences musicians and their music.
James A. Hutchins Lecture Series - Named for a distinguished Carolina alumnus
who spent most of his life fighting world hunger,the Hutchins Lecture Series is
funded by the Hutchins Family Foundation.Speakers are selected with attention
to their ability to bring scholarly material to mixed public and academic audiences.
Consistent with the Chancellor's emphasis on outreach and engagement,the
Hutchins Lectures bring faculty and students into conversation with community
members to discuss issues of common topical interest. Hutchins Lectures are free
and open to the public.
Southern Film Series-The Southern Film Series is a curated presentation
of three films whose themes reflect a particular aspect of the South's history
or culture. For our inaugural 2011-12 program,we focused on the changing
personal demographics of the South and featured the films Show Boat, Mississippi
Masala, and The Loving Story, in partnership with the Ackland Museum.
Proposed Use of Grant Funds
ConvergeNC Southern Music Festival 2014—Planned Outline of Events:
Friday, April 41h
7:30—9:30 pm: Headline concert in Memorial Hall
Saturday, April Srh
10:00 am—1:30 pm: "Beyond Authenticity" -Panel discussions on new ways
of framing Southern music and culture
"3:00 pm to midnight: Musical performances at the Bell Tower
Amphitheater(will likely include rock, blues, electronic, hip hop, old-time,
Cajun,and Norteno acts)
*This is the portion of the festival for which we are applying for OCAC. funding.
OCAC grant funds will be applied to the cost of booking artists for the portion
of ConvergeNC Southern Music Festival that takes place from 3:00 pm until
midnight in the Bell Tower Amphitheater on April 5th, 2014.This portion of the
festival is free and open to all and takes place at a central location on UNC's campus,
right behind the Bell Tower on South Road.The amphitheater is a wide, open grassy
space, and we encourage people to bring a picnic blanket or Frisbee (we'll also have
food trucks).The amphitheater has a capacity of over 1500.
Last year,throughout the course of the day,we had approximately 1000
attendees to the festival.The balance between community members and students
was close to equal,with many families and community members attending the
festival during the day and the festival becoming more student-centric after
sundown.The diversity of attendees is,in large part, dependent on the performers
at the festival and their followings.We plan to focus on this area in 2014 by booking
a range of acts that will attract a more diverse audience.
The artists we will apply Arts Council funds towards booking will represent a
diverse offering of the many kinds of Southern Music.As our vision indicates,the
goal of our lineup is inclusivity and distinctiveness.We aim to present a unique
snapshot of some of the many different things Southern music can be and to then
put those different sounds into a conversation with each other.That way,we can
appeal to people from a huge diversity of demographic groups and hope to bring
them,too, into conversation.
In 2012,this snapshot took the form of 9 acts: Hiss Golden Messenger, Mipso,
Some Army,Virgins Family Band, Kaze,Turchi, Ironing Board Sam, Boo Hanks,
and Ben Payton.These acts range from folk to rap, psych-rock to blues. In 2014 we
hope to expand on our first year and present an even greater range of Southern
music.The OCAC funds will help us accomplish this goal by expanding our ability to
book local artists and also make it possible for us to book key artists who are based
outside the Triangle. Our booking decisions will be informed by our full advisory
board,which includes experts in country,bluegrass, Cajun, Latino, and electronic
music,plus input from students and other community members.
This year's lineup has not yet been finalized*,but the CD we've sent features
tracks from three artists we anticipate including.Alice Gerrard, now based in
Durham,is a legendary bluegrass/old-time singer, and she will also be a panelist in
our discussion on Saturday morning.The Lost Bayou Ramblers are an innovative
Cajun band out of the hearth of the tradition, New Orleans. Rey Norteno is a
group from Raleigh headed by Fred Huerta and his brothers,playing the norteno
music of Mexico that had a heavy influence on the development of Tejano or"Tex-
Mex".The track we choose comes from a compilation called "Viva Cackalacky", a
collection of North Carolina Latino music put together by one of our advisors, UNC
Music Professor David Garcia.These tracks give an example of the diversity in
representation of musical communities to which we are committed for ConvergeNC
2014.
*Because we don't know for sure which artists we'll be booking,we have included
resumes instead for our advisory board members,who will assist us in selecting the
lineup.
2013-14 Arts Program Application — Page Three
G
ORANGE COUNTY ARTS
COMMISSION
Financial Information
Please provide a projected budget for your proposed project utilizing the format below.
Project Expenses Cash = Grant Amount + Applicant
Expenses Requested Cash Match
A Personnel
Administrative staff 0 _0 0
Artistic staff 0 0 0
Technical/Production staff 0 0 0
B Outside Fees and Services
Artistic contracts 5000 1500 3500
Other contracts: 3800 0 3800
C Space Rental 1712 _0 _1712
D Travel 0 _0 0
E Marketing 700 _0 700
F Remaining Project Expenses 5000 _0 5000
G Total Cash Expenses 16,212_ _ _1500 + 14,712
Project Income Cash Income
A Admissions 0
B Contracted Services Revenue 0
C Other Revenue(specify)
Merchandise 600
D Private Support
Corporate support 0
Foundation support 0
Other private support 5612
E Government Support
Federal 0
State/regional(not including this request) 8500
Local(not including this request) 0
F Applicant Cash 0
G Grant Amount Requested 1500
in this application
H Total Cash Income 16,212
(must equal Total Cash Expenses,
Item G above)
/
G2013-14 Arts Program Application — Page Four
ORANGE COUNTY ARTS
COMMISSION
Signatures
Signature of Project Director Date
Typed or Printed Name – Project Director
f
,y
Signature of Authorizing Offici Date
5arbara Entwisle
'ice Chancellor for Research
Typed or Printed Name–Authorizing Official
The University of Noriri Carolina at Chapel Hill
INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
CSAS Budgets:
2012-13:
Personnel: $511,753
Operating expenses: $77,000
Programming: $203,000
2013-14:
Personnel: $527,581
Operating expenses: $80,000
Programming: $210,000
2014-15 (projected):
Personnel: $527,581
Operating expenses: $80,000
Programming: $210,000
(Please see next page for ConvergeNC Southern Music Festival's 2013
budget-2013 being its first year in operation)
Revenues
Student Congress Funding $8,700
........
CUAB Funding _._.... $1,400 ......
....................
_..
Private Donations $457
Kickstarter 2,1
T-ShirtjPoster Safe $574
_.
Center for Study of the American South 300
CGI ..................
......._ .
Music Department 250
..._......... .......... .....
.... .....
The ArtsCenter 100
...... ..__
_ ..
Suttons $50 ..._.
Carolina Creates Music 50
. ...... .. .. ........
.... ........
. .... .. ..._ _.
._. __
Resound
.. _. .......
. . . _.....
................... .
Total Revenues $14,311
.. _ ....... ......... . . .........
Expenses
.........
..... . ........_
Production
Stage Rental 1,600
Sound+ Lighting 2,000
..........
Labor
Generator 770
Total Production Expense �5,3bb
Artist Fees
TURCHI 200
_ .
Music Maker Blue Review ft. Ironing Board Sam, Boo Hanks, Ben Payton 1,200
Kaze $250
Hiss Golden Messenger $500
......
Mipso _ $0
.......
Virgings Family Band $0
_ ..
Some Army $350
Total Artist Expense $2,500
..........._
._...... _. _.. .......... ....... ...
DPS Officers (3 officers for 9.3 hours) $1,256
.. ....... . _.... .
ShowPros Staff $1,053
_........ ........... ...... ... .. ....... . .......... ..._........... ........ . . .. ........ ........... ..... ..... .. .. ...
Security $2,309
....... ...._...... _ .. ....._............... .... .
.-............................ ..................... . ........... ......... ....... .. ........ . ................................. .- .. ....... .. ,.... ........ ..._.....
Monitor at Top of Stage Access $432
......_. ...-. ...... ........... ......._ . ............ ..... ...... _....... ....._........ ..... ...... ..........
Porta Potty Parking Spots (2 for 4 ........ ... .._. . . _....._. ............ ..... ......... . ...................... .
Food Truck Parking Spots (15 for 1 day) $210
.. ........ .. ..... ......... .......... ....... ... . . .....
Total Parking Cost $754
.......... . ....... ........... .. ... .... ... ........ . .............. ..... ._......... . ......
..... ....
Marketing
_.... .. ....................
Design Fee $125
..... .......... . _..... ........... ..._.,. . ..... .
Flyers. ..... . ....._....... ....... . . ........ .............. ............ ............. ...........
Banner and Grommets $121.20
_.... . ... .... .... . ......... ..._..... . .. ........... .
1 Week ActiviTV Rotation $25
200 3*5 Oval Stickers $176
..... .
25 Volunteer Buttons _$9
Cube Rental $12 00
Screen Printed Posters $154 00
Reilly Finnegan $50.00
_...
Total Marketing Expense $699
Artist Tent $440
F.—B-a-cl.g.'es,l $233
......
Artist/All
$70
$262
tal -
Thrill City invoice $760
.._..
Libby Expenses -
$142
-
' ^
Net Revenue(Expense)
�
ConvergeNC Committee Members:
Students:
o Libby Rodenbough (Festival Co-Director)—UNC senior in Folklore
o Gabe Chess (Festival Co-Director)—UNC junior in Religious Studies
o Connor Kane (Festival Treasurer)—UNC junior in Economics and Latin
American Studies
Other student planning committee members include Hillary Stroud, Clyde Atkins,
Clay Sutton, and Jake Bernstein.
Community and UNC faculty members:
o *Patrick Horn—(Project Director)—Associate Director of CSAS, scholar of
American literature
o Jocelyn Neal—Director of CSAS, scholar of country music
o Bill Ferris— Senior Associate Director of the Center for the Study of the
American South (CSAS), renowned scholar of Southern music and culture. Bill
was one of our first advisors and advocates.
o Mark Katz—Chair of UNC Music Dept, studies DJ culture and technology in
music
o Art Menius—Director of the Carrboro Arts Center, former Director of the
International Bluegrass Association
o Duncan Murrell—NC writer/journalist on Southern culture, writer-in-residence
at Duke Center for Documentary Studies. His piece in the Oxford American
initiated the "Against Authenticity" series, which helped inspire the theme of our
panel discussion
o David Garcia—UNC Associate Professor of Music, scholar of Latino music
o Emil Kang—Executive Director for the Arts at UNC,professor of arts
entrepreneurship and performance theory
o Maxwell George—Asst. Editor and writer at The Oxford American magazine
o Rob Bruce—Director of the Friday Center for Continuing Education
o Michael Taylor—North Carolina folklorist, musician
o Aaron Smithers—Technical Assistant at the Southern Folklife Collection,
experimental musician, organizer of the International Accordion Festival
o David Garcia—UNC Music Professor, ethnomusicologist
*A note about our project director: UNC requires that, for purposes of grants, a UNC
staff member(rather than a student)must serve as project director. Pat Horn is our closest
contact at CSAS, so he has agreed to take on that role. However, this application was
completed by Libby Rodenbough and Gabe Chess,the co-directors of the festival (both
students). Libby and Gabe will be largely responsible for the execution of this project,
with Pat supervising.
CSAS Board of Directors:
Jocelyn Neal, Director
410 E. Franklin Street
Chapel Hill, NC 27599-9127
919-962-5665
ineal@email.unc.edu
Patrick Horn,Associate Director
410 E. Franklin Street
Chapel Hill, NC 27599-9127
919-962-0553
pathorn@unc.edu
Garcia, David F.
1
David F. Garcia
4144 Wallingford PL
Durham, NC 27707
(919)403-6906
daga@email.unc.edu
Revised November 12, 2013
Education
2003 The City University of New York, The Graduate Center.The Ph.D.—D.M.A.
Program in Music. Ph.D. in Ethnomusicology
Ph.D. Dissertation:Arsenio Rodriguez:A Black Cuban Musician in the Dance
Music Milieus of Havana, New York City, and Los Angeles. Advisor: Peter L.
Manuel
1997 University of California, Santa Barbara. Department of Music. M.A. in
Ethnomusicology
M.A. Thesis:Arsenio Rodriguez and the Reevaluations ofAfrocuban-influenced
Popular Music:Linguistic and Musical Codeswitching in the Afro-Son. Advisor:
Amy K. Stillman
1995 California State University, Long Beach. Department of Music.B.M. in
Composition
Professional Experience
University of North Carolina at Chapel Hill
Associate Professor, Department of Music, 2011-present
Assistant Professor, Department of Music, 2005-2011
Affiliated Faculty, Department of American Studies, 2009-present
Research and Study Leave, Spring 2009
Lecturer, Department of Music, 2004-2005
Postdoctoral Fellow, Department of Music,2003-2004
Kean University,New Jersey
Adjunct Instructor,Department of Music, 2003
Fordham University,New York
Adjunct Instructor, The Latin American& Latino Studies Institute, 2001
The City College of New York,New York
Adjunct Instructor, Department of Music, 1999
Garcia, David F.
2
Honors and Awards
2009 Most Influential Staff Award. The Alpha Iota Chapter of La Unidad Latina,
Lambda Upsilon Lambda Fraternity, Inc.
2009 Student Undergraduate Teaching and Staff Award (SUTASA). University of
North Carolina at Chapel Hill
2008 Indies Arts Award.Independent Weekly(Triangle, North Carolina)
2007 Certificate of Merit in the category Best Research in Folk, Ethnic, or World
Music for Arsenio Rodriguez and the Transnational Flows of Latin Popular
Music. Philadelphia: Temple University Press, 2006. The Association for
Recorded Sound Collections
2007 Most Outstanding Faculty Member. CHispA (Carolina Hispanic Student
Association), University of North Carolina at Chapel Hill
2006 Visiting Scholar. The Cristobal Diaz Ayala Collection of Cuban and Latin
American Popular Music Collection. Cuban Research Institute, Florida
International University
2003 The Barry S. Brook Dissertation Award in Music. The City University of New
York, The Graduate Center. The Ph.D.—D.M.A. Program in Music
Grants and Fellowships
Research Grant, Institute of African American Research, University of North Carolina at
Chapel Hill, 2013
$2500 to pay a graduate student research assistant to digitize analogue cassettes and videotapes
collected during my doctoral dissertation research.
Associate Professor Support Program. College of Arts and Sciences, University of North
Carolina at Chapel Hill, 2011-2015
A$6,000 one-time allocation is available to enhance the faculty member's research and/or teaching to
be spent during the first five years of his/her tenure as associate professor.
Moore Undergraduate Research Apprentice Program. University of North Carolina at
Chapel Hill, 2012
$8,000 to mentor two MURAP students and conduct my own research.This 10-week program
involved weekly seminar meetings,meetings with mentees,and regular faculty meetings.
Moore Undergraduate Research Apprentice Program.University of North Carolina at
Chapel Hill, 2011
IBM Junior Faculty Development Award. Office of the Executive Vice Chancellor and
Provost, University of North Carolina at Chapel Hill, 2009
$7,500 to support research on the impact of Afro-Cuban music and culture on African American
modern dance and music(bebop),American popular culture,and early American ethnomusicology,
1930s-1950s.Archival research at Northwestern University,Schomburg Center for Research in Black
Garcia, David F.
3
Culture,Institute of Jazz Studies at Rutgers University,New York Public Library(Library for the
Performing Arts),Phoebe Hearst Museum of Anthropology and Bancroft Library at UC Berkeley
Small Grant Program. The University Research Council, University of North Carolina at
Chapel Hill, 2009
$2,100 to support research on the impact of Afro-Cuban music and culture on African American
modern dance and music(bebop),American popular culture,and early American ethnomusicology,
1930s-1950s.Archival research at Library of Congress(U.S.Copyright Office,Archive of Folk
Culture,American Folklife Center)and Smithsonian Center for Folklife and Cultural Heritage
North Carolina Humanities Council, 2007-2008
$9,300 toward Festival on the Hill,July 2007-June 2008,University of North Carolina at Chapel Hill
Diversity Incentive Award. Office of Diversity and Multicultural Affairs, University of
North Carolina at Chapel Hill, 2009
$1,275 Los Pleneros de la 21 (Puerto Rican folkloric music and dance group)workshop for
Introduction to Latina/o American Music students,October 16,2009
Diversity Incentive Award. Office of Diversity and Multicultural Affairs, University of
North Carolina at Chapel Hill, 2007
$1,500 Master Class with Nestor Torres for Charanga Carolina students,May 2007
Carolina Seminars Program. University of North Carolina at Chapel Hill, 2007
$1,500 Gamelan Nyai Saraswati Wayang Kulit workshop and performance with guest artists
Midiyanto and Joko Sutrisno,April 28,2007
Diversity Incentive Award. Office of Diversity and Multicultural Affairs, University of
North Carolina at Chapel Hill, 2007
$400 Gamelan Nyai Saraswati Wayang Kulit workshop and performance with guest artists Midiyanto
and Joko Sutrisno,April 28,2007
Diversity Incentive Award. Office of Diversity and Multicultural Affairs, University of
North Carolina at Chapel Hill, 2006
$600 Mamadou Diabate,Sudha Iyar,and Nagi Hilal workshops with MUSC 59 World Musics in
Theory and Practice students
Johnston Center, University of North Carolina at Chapel Hill, 2006
$1,500 Mamadou Diabate,Sudha Iyar,and Nagi Hilal workshops with MUSC 59 World Musics in
Theory and Practice students
The Cristobal Diaz Ayala Collection of Cuban and Latin American Popular Music.
Cuban Research Institute, Florida International University, 2005
$1,750 to support archival research
The Carolina Postdoctoral Fellowship for Faculty Diversity. Office of the Vice
Chancellor for Research and Economic Development, University of North Carolina at
Chapel Hill, 2003-2004
Research on the music and career of Arsenio Rodriguez.Archival research and oral histories collected
in Miami,Florida and Curagao
Garcia, David F.
4
MAGNET President's Dissertation Fellowship. The Graduate Center, The City
University of New York, 2001-2002
Baisley Powell Elebash Dissertation Fellowship in the Music of New York. Department
of Music, The City University of New York, Graduate Center, 2001-2002
MAGNET President's Fellowship. The Graduate Center, The City University of New
York, 1997-2001
Publications
Books
The Logic of Black Music's African Origins:Music, Africa, and Race in the mid-
Twentieth Century(under preparation)
Arsenio Rodriguez and the Transnational Flows of Latin Popular Music.
Philadelphia: Temple University Press, 2006
Reviews in academic journals:Halbert Barton in CENTRO:Journal of the Center for Puerto
Rican Studies 21/2(2009);Elizabeth Coonrod Martinez in The Hispanic Outlook in Higher
Education 19/8(2009);Idigo Sanchez Fuarros in Revista Transcultural de Musica/Transcultural
Music Review 13(2009);David-Emil Wickerstrom in Popular Music 27/1 (2008);Geoffrey Baker
in Music&Letters 89/2(2008);Phil Samponaro in The Journal ofAmerican Culture 30/2(2007);
Susan Thomas in Latin American Music Review 28/2(2007);and Gema Guevara Latino Studies
5/3 (2007)
Book Chapters
"Feeling Music and Hearing Dance: Decentering Movement and Sound in Son
Montuno and Mambo." Towards a Musicology of Dance. Eds. Davinia Caddy and
Maribeth Clark(under preparation)
"The Afro-Cuban Soundscape of Mexico City: Authenticating Spaces of Violence
and Immorality in Salon Mexico and Victimas del Pecado."Screening Songs in
Hispanic and Lusophone Cinema. Eds. Lisa Shaw and Rob Stone. Manchester:
Manchester University Press, 2012: 167-188
"Contesting That Damned Mambo:Arsenio Rodriguez, Authenticity, and the
Puerto Rican and Cuban Music Cultures of El Barrio and the Bronx, 1950s." The
Afro-Latin@ Reader:History and Culture in the United States. Eds. Miriam
Jimdnez and Juan Flores. Durham: Duke University Press, 2010: 187-198
"Embodying Music/Othering Dance: The Mambo Body in Havana and New York
City."Ballroom, Boogie, Shimmy Sham, Shake:A Social and Popular Dance
Reader. Ed. Julie M. Malnig. Urbana: University of Illinois Press, 2008: 165-181
Refereed Articles
"Contesting Anthropology's Will to Power in the Field: William R. Bascom's and
Richard A. Waterman's Fieldwork in Cuba, 1948."MUSICultures(accepted)
Garcia, David F.
5
"`We Both Speak African': A Dialogic Study of Jazz."Journal of the Society for
American Music 5/2 (May 2011): 195-233
"Impugnando ese Endemoniado Mambo: Arsenio Rodriguez, Autenticidad, y la
Gente de El Barrio y el Bronx en la Ddcada de los Cincuenta."Translated by
Ndstor Emiro G6mez Ramos.Herencia Latina.
http://www.herencialatina.com/Arsenio_Rodriguez Nestor_Gomez/Arsenio_Rodr
iguez,_Nestor.htm
"Going Primitive to the Movements and Sounds of Mambo." The Musical
Quarterly 89/4 (Winter 2006): 505-523
"Contesting That Damned Mambo: Arsenio Rodriguez, Authenticity, and the
Puerto Rican and Cuban Music Cultures of El Barrio and the Bronx, 1950s."
CENTRO Journal of the Center for Puerto Rican Studies 16/1 (Spring 2004): 154-
175
Book Reviews
Transnational Encounters:Music and Performance at the U.S.-Mexico Border,
edited by Alejandro L. Madrid.Latino Studies 11/4 (December 2013) (in
production)
Music in the Hispanic Caribbean, by Robin Moore.Journal of the Society for
American Music 5/4 (November 2011): 562-565
Music in Latin American and the Caribbean:An Encyclopedic History. Volume 2:
Performing the Caribbean Experience, edited by Malena Kuss. Fontes artis
musicae 58/1 (January-March 2011): 88-89
Wildman of Rhythm: The Life and Music of Benny More, by John Radanovich.
The World ofMusic 51/3 (2009): 180-181
Reggaeton, edited by Raquel Z. Rivera, Wayne Marshall, and Deborah Pacini
Hernandez, eds. Centro, 22/1 (Spring 2010): 332-335
Music and Revolution: Cultural Change in Socialist Cuba, by Robin Moore and
Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary
Cultures by Sujatha Fernandes.Ethnomusicology 52/3 (Fall 2008): 471-473
Jazz Consciousness:Music, Race, and Humanity, by Paul Austerlitz.Latin
American Music Review 27/1 (Spring/Summer 2006): 104-107
"Cuban Music: A Review-Essay."Notes 62/1 (Sept. 2005): 95-100.
Reviews of Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba,by Leonardo Acosta;
Cuban Music from A to 7_,by Helio Orovio;Cuba and Its Music: From the First Drums to the
Mambo,by Ned Sublette;and Divine Utterances: The Performance of Afro-Cuban Santeria,by
Katherine J.Hagedorn
Garcia, David F.
6
Music in Cuba, by Alejo Carpentier.Journal of Musicological Research 21/3
(July-Sept. 2002): 267-71
Recording review of Said and Done, by Flaco Jimenez. Free Reeds Journal 2
(Spring 2001): 63-64
Tango and the Political Economy of Passion, by Marta E. Savigliano. Yearbook
for Traditional Music (1998): 147-48
Other Articles
" `We Both Speak African': Gillespie,Pozo, and the Making of Afro-Cuban
Jazz."Institute for Studies In American Music Newsletter 37/1 (Fall 2007): 1-2,
13-14
Encyclopedia Entries
"Son Innovations: Arsenio Rodriguez." Cuba:People, Culture, History. Ed. Alan
West-Duran.New York: Charles Scribner's Sons (in production)
"Alfredo Armenteros," "Deli Arnaz,""Cha cha cha,""Jerry Gonzalez," "Felix
Legarreta," "Mambo," "Noro Morales,""Louis Perico Ortiz," "Johnny Pacheco,"
"Charlie Palmieri,""Sonora Matancera,""Vicentico Valdes," and"Yayo el
Indio." Grove Dictionary ofAmerican Music. Second edition. Ed. Alejandro
Madrid.New York: Grove's Dictionaries of Music (in production)
"Mambo," "Tito Puente," and "Son."Encyclopedia of Latin American History
and Culture. Second edition. Eds. Jay Kinsbruner and Erik Langer. New York:
Charles Scribner's Sons, 2008
"Arsenio Rodriguez."African American National Biography. Eds. Henry Louis
Gates, Jr. and Evelyn Brooks Higginbotham. Oxford University Press, 2008
Liner Notes
Arsenio Rodriguez:El alma de Cuba. Tumbao Cuban Classics. TCD-316, TCD-
317, TCD-318. Six CDs, 2007
Siembra. Fania/Emusica 130 030. Released 1978; Re-Issued 2006
Reviews for Academic Presses and Journals
Ethnomusicology, Oxford University Press, Temple University Press,Latin
American Music Review,American Quarterly, Journal of Latin American and
Caribbean Anthropology
Recordings
/Viva Cackalacky!Latin American and Latino Music in the New South.
Independently released, May 2012.
Produced by students of MUSC 258 Musical Movements:Migration,Exile,and Diaspora.
Garcia, David F.
7
UNC's Charanga Carolina—La Familia(CD). Independently released,
September 2011.
Reviews:Nelson Rodriguez."Latin Beat Update."Latin Beat Magazine 21/1 (February 2012).
http://www.latinbeatmagazine.com/columns.himi;Sylvia Pfeiffenberger,"Charanga Carolina's La
Familia." The Independent(November 16,2011).http://www.indyweek.com/indyweek/charanga7
carolitias-la-familia/Content?oid=2706429
Damon con Salsa(CD). Independently released, May 2006
Conference Presentations
2013 "Cantan los negros su dolor: Arsenio Rodriguez y la presencia Afro-Latin@ en
los Estados Unidos durante la dpoca del movimiento Black Power." Coloquio
Latinos en las Artes y las Letras, Casa de las Americas, Havana, Cuba, October
16.
2012 "Contested Histories: Esteban Baro and William Bascom's Field Notes, Cuba,
1948."American Musicological Society/Society for Ethnomusicology/Society for
Music Theory joint conference,New Orleans, Louisiana,November 3.
This paper was read by Rebecca Bodenheimer as a result of my unplanned departure from the
conference due to a family emergency
2009 "Retentionists or Activists?A Reinterpretation of Fernando Ortiz's and Melville
Hersk:ovits's Contributions to African Diasporic Studies." Society for
Ethnomusicology: Fifty-fourth Annual Meeting, Mexico City, Mexico,November
22
"Identity, Diaspora, and the Politics of Cuban Popular Music."International
Association for the Study of Popular Music, U.S. Branch, University of
California, San Diego, May 31
2008 "Cubana Be, Cubana Bop: Musical Collisions and Coalitions in the Making of
Afro-Cuban Jazz."Festival on the Hill, University of North Carolina, Chapel Hill,
March 28
2007 "The Intersection of Race, Gender, and Identity in the Soundscapes of Mexican_
Cabaretera Films of the Late 1940s and Early 1950s." Society for
Ethnomusicology: Fifty-second Annual Meeting, Columbus, Ohio,October 24-28
"Race, Gender and Identity in Mexican Films of the Early 1950s: An
Ethnomusicological Perspective."Latin American Studies Association
International Congress, Montreal, Canada, September 6
2006 "Going Primitive to the Sound and Movement of Mambo: Colonial Discourses
and Latin Popular Culture of the 1950s."Carolina Symposium in Music and
Culture: Music, Race and Identity Symposium, University of North Carolina,
Chapel Hill, October 14
Garcia, David F.
8
2005 "La combinaci6n perfecta? Ethnomusicological Perspectives on Latin Jazz."
Chair, Society for Ethnomusicology: Fiftieth Annual Meeting, Atlanta, Georgia,
November 17-21
"Afro-Cuban Jazz: Beyond "Rhythm" and the Primitivist Myth." Society for
Ethnomusicology: Fiftieth Annual Meeting, Atlanta, Georgia,November 17-21
2001 "Arsenio Rodriguez and His Importance to the Study of Latino Music." Society
for Ethnomusicology: Forty-Sixth Annual Meeting, University of Michigan,
October
1999 "Music, Race, and Cuban Conjuntos in Havana, 1940s and 1950s: an Historical
Perspective on the Tipico Conjunto Movement and Salsa Aesthetics." Society for
Ethnomusicology: Forty-Fourth Annual Meeting, University of Texas, Austin,
November
1997 "Arsenio Rodriguez in Los Angeles, 1964-1970: The Final Years of an
Innovator's Career." Cuban Research Institute, Florida International University,
Miami, October
1997 "Arsenio Rodriguez and `Bruca Manigua': Towards an Understanding of Race
Relations in Pre-Revolutionary Cuba."The Rhythms of Culture: Dancing to Las
Americas, The University of Michigan, March
Invited Lectures, Panelist, Respondent, and Session Chair
2013 Panelist: "Lucumi and Arara Voices from the Western Colonial Archive." Lucumi
Music: Singing, Dancing, and Drumming Black Divinity. Center for African&
African-American Research, Duke University,November 7-8
Speaker: "On Beat Four: Where Afro-Cuban Music and Jazz Met."Then and
Now: Jazz Cubano Series. Montgomery County Community College, Blue Bell,
Pennsylvania, October 26
Speaker: "Music, Culture,Experience: Teaching Latin Music at UNC-Chapel
Hill."World View's 16`h Annual Global Education Symposium, UNC William
and Ida Friday Center for Continuing Education, Chapel Hill, North Carolina,
October 23
Session chair: "Contemporary Sounds." Southern Sounds/Out of Bounds: Music
and the Global American South. Center for the Study of the American South,
University of North Carolina at Chapel Hill, February 9
2012 Panelist: 8th Annual International Latin/Tropical Music Collectors Festival:
"Tribute to Arsenio Rodriguez: The Innovator of Salsa Music." Caribbean
Cultural Center African Diaspora Institute. Hilton New York, New York City,
New York, September 1
Garcia, David F.
9
Respondent: "Building Black Music at HBCUs: Perspectives on Hampton
University: Response."Videmus @ 25 Festival: Reflecting on the Past, Reaching
Toward the Future, Department of Music, University of North Carolina at Chapel
Hill, March 23
2010 "The Afro-Cuban Soundscape in Mexico City: Sounding National Identity,
Blackness, and Modernity in Mexican Films of the Golden Era."Department of
Geography, University of North Carolina at Chapel Hill, September 24
Panelist: "American Music in the Classroom." Society for American Music,
Ottawa,Canada, March 20
Seminar Participant: "La gente del Bronx: Arsenio Rodriguez, a `People's
Musician."Hostos Center for the Arts and Culture. Eugenio Maria de Hostos
Community College/CUNY, Bronx,New York, March 18
2009 "Democracy and Society: Perspectives in Cuban Hip Hop." Institute for the Study
of the Americas, University of North Carolina at Chapel Hill,November 8
"Artists, Academics, Activists: Music and the `New World Negro Movement' of
the 1930s and 1940s." Department of Romance Languages and Literatures,
University of Missouri-Columbia. February 27
"Arsenio Rodriguez and the Transnational Flows of Latin Popular Music." The
Afro-Latin@ Institute of Chicago. San Lucas United Church of Christ, Chicago.
Sponsored by The Center for Latino Research, DePaul University. February 6
2007 " `We; Both Speak African': Musical and ideological Collisions and Coalitions in
the Making of Afro-Cuban Jazz."Black-Latino Relations: Collision or Coalition?
Moore Undergraduate Research Apprentice Program, University of North
Carolina at Chapel Hill,July 21
"Arsenio Rodriguez and the Transnational Flows of Latin Popular Music."The
Sonja Haynes Stone Center for Black Culture and History, University of North
Carolina at Chapel Hill,April 11
"Chano Urueta's Al son del mambo (1950)and Imaginations of Primitivism and
Blackness in the Americas."Race, Representation, and Citizenship in the
Americas. Afro-Latin Issues and Perspectives Working Group at the University of
North Carolina at Chapel Hill and Duke University, March 24
"Embodying Music/Disciplining Dance: The Mambo Body in Havana,New York
City, and Mexico City." School of Music, University of North Carolina at
Greensboro, January 18
Garcia, David F.
10
2004 "Researching Arsenio Rodriguez: Race, Identity, and Style in Cuban and Latino
Popular Music."Race-ing Research, Researching Race Seminar Series, The
Institute of African American Research, University of North Carolina at Chapel
Hill, February 11
Courses Taught
Undergraduate
Music Fundamentals,Music as Culture: Latin/o American Music and
Transnationalism, Studies in Music Literature: Introduction to Latin American Music,
Introduction to Jazz, Introduction to World Musics, Introduction to Latina/o
American Music, Charanga Carolina(Latin music ensemble), World Music in Theory
and Practice, Musical Movements: Migration, Exile and Diaspora, Music in the
Community, Topics in the History and Culture of Music
Graduate
Proseminar in Ethnomusicology, Seminar in Ethnomusicology, Research Methods in
Musicology, Proseminar in Ethnomusicology, Seminar in Ethnomusicology,
Dissertation Colloquium
Advising
Ph.D. Dissertation Advisor:
Christopher Wells. "`Give Happy Feet a Chance': Chick Webb and his
Audience in Depression-Era Harlem" (in progress)
Anna Ochs. "The Mexico City Musical Stage: Italian Opera, French Opera Bouffe,
and Zarzuela, 1866-1890,"May 2011
Marc Medwin. "Listening in Double Time: Temporal Disunity and Structural Unity
in the Music of John Coltrane 1965-67,"May 2008
Masters Thesis Advisor:
Kristin Turner. "Guy and Candy Carawan: Mediating the Music of the Civil Rights
Movement,"May 2011
Laurie McManus. " `The Kangaroo and the Didjeridu': Duke Ellington's Encounters
with World Music in The Afro-Eurasian Eclipse," May 2006
Douglas Shadle. "Music as Local Praxis: Liturgical Music at Holy Cross Catholic
Church,"May 2006
Undergraduate Honors Thesis Advisor:
Emily Joy Rothchild. "Unified Voices: Lutheran and Muslim Women's Negotiation
of Faith and Society through Musical Choice in Dresden,"December 2008.
Awarded Highest Honors
Aya Esther Hayashi. "Hearing a New Heart Beat: Taiko, Gender, and Ethnic
Identity,"May 2008
Garcia, David F.
11
Christina. Smith. "Enchufla con Coca Cola!Gender and Identity in Rueda Dancing in
the Triangle,"May 2008
Sara Snyder. "Artistry in Latin: Stan Kenton's Contribution to Jazz,"May 2005
Professional Service
Department of Music, University of North Carolina at Chapel Hill
Ad hoc Committee on the Undergraduate Curriculum, Spring 2013
Chair, Search Committee, Music Since 1900, 2012-2013
Graduate Admissions Committee, 2009-2010, 2010-2011,2012-2015
Director of Graduate Studies, 2012-2015
Faculty-Graduate Student Committee, 2004-2008, 2012-2015
Search Committee, Opportunity Hire,Percussion, 2011-2012
Director of Graduate Admissions, 2011-2012
Target of Opportunity Hire Committee, 2011-2012
Graduate Program Review Committee, 2011-2012
Advisory Committee, 2010-2011
Festival on the Hill 2008: Transcending Borders: Latin American and Latina/o
Music; in North Carolina and the United States, 2006-2008
Organized a four-day festival with a budget of$32,300 raised from the following sponsors:
North Carolina Humanities Council,College of Arts and Science,Office of Economic
Development,Carolina Performing Arts,Institute for the Arts and Humanities,Center for the
Study of the American South,Center for Global Initiatives,Latina/o Studies Program,Office
of Diversity and Multicultural Affairs,and Institute for the Study of the Americas
Undergraduate Music Forum, 2007-2008
Performance and Projects Committee, 2007-2008
Ph.D. Qualifying Examination Committee, 2005-2006, 2010-2011
Search Committee, Gender, Identity and Music, 2006-2007
Search Committee, Ethnomusicology, 2005-2006
Carolina Symposium in Music and Culture Committee, Chair, 2005-2007
Garcia,David F.
12
University of North Carolina at Chapel Hill
Member, Graduate Student Professional Development Advisory Council,
Graduate School, 2013-2014
Faculty Advisor, "UNC-CH Sangeet," supported by a Kenan-Biddle Partnership,
seed grant for 2012;renewed for 2013
Selection Review Committee, Carolina Postdoctoral Program for Faculty
Diversity, 2012
The Faculty Salary Equity Taskforce, 2010-2012
Board of Governors' Award for Excellence in Teaching, 2010, 2011
Institute for the Study of the Am6ricas, Advisory Board Member, 2010-2012
Selection Committee, Mellon Summer Research Grants for Doctoral Students,
Institute of Latin American Studies, April 2007
Interdisciplinary Task Force, College of the Arts and Sciences, 2006-2007
North Carolina Curriculum, Music, and Community Summer Institute, July 1I-
14, 2004
Latina/o Studies Minor Program, Advisory Board Member, 2005-present
Discipline at Large
Doctoral Dissertation Defense Committee, Department of Music, University of
Oslo, Oslo,Norway, October 2013
International Association for the Study of Popular Music—U.S. Branch, Local
Arrangements Committee, 2013-2014
Editorial Board.American Music(journal), 2010-2012
Open Seat. International Association for the Study of Popular Music, U.S.
Branch, April 2010-2012
Proposal review committee member. Southeast and Caribbean Chapter of the
Society of Ethnomusicology, 2006-2007
Advisory board.Latin Jazz:La Combination Perfecta, Smithsonian Exhibition at
Exploris (Raleigh), 2004-2005
Garcia, David F.
13
Professional Associations
International Association for the Study of Popular Music—U.S. Branch, 2010-present
Society for American Music, 2009-present
Latin American Studies Association, 2007-present
Southeast and Caribbean Chapter of the Society of Ethnomusicology, 2006-present
Society for Ethnomusicology, 1997-present
The College Music Society, 2001-2006
Interviews
Interviewed by Frank Stasio, The State of Things, WUNC Chapel Hill,North Carolina,
July 20, 2012. Interview topic: Viva Cackalacky!Latin Music in the New South(CD)
Interviewed by Frank Stasio, The State of Things, WUNC Chapel Hill,North Carolina,
March 28, 2008. Interview topic: Transcending Borders:Festival on the Hill 2008
Interviewed by Emiliano Echeverria, KPFA Berkeley, California, December 29, 2007.
Interview topic:Arsenio Rodriguez and the Transnational Flows of Latin Popular Music
Interviewed by Guido Herrera, WKXLU Los Angeles, California,November 12, 2006.
Interview topic:Arsenio Rodriguez and the Transnational Flows of Latin Popular Music
Interviewed by Sylvia Pfeiffenberger, WXDU Durham,North Carolina, September 20,
2006. Interview topic:Arsenio Rodriguez and the Transnational Flows of Latin Popular
Music
Interviewed by Eduardo Perez, WNCU Durham, North Carolina,November 13, 2005.
Interview topic: Charanga Carolina
Languages
Spanish, advanced proficiency. Portuguese and French, basic reading
MAXWELL GEORGE
Assistant Editor of the OxfordAmerican
mgeorge@oxfordamerican.org
501-450-5820
EDUCATION
Guilford College,Greensboro,NC graduated May 2010
B.A.Religious Studies(Comparative Religion),English(Writing)Minor GPA 3.45
Graduated with Institutional Honors and Departmental Honors
Myers Park High School,Charlotte,NC graduated June 2006
International Baccalaureate Concentration GPA 4.26
National Honor Society Inductee
EXPERIENCE
OxfordAmerican magazine 2012 -present
201 Donaghey Ave.Conway,AR 72035/www.oxfordamerican.org
Assistant Editor(former Editorial Intern)
Interactive Knowledge,Online Development Partner 2010 -2012
"We Build Extraordinary Websites for Visionary Non-Profits"
801-B Central Ave.Charlotte,NC 28204/www.interactiveknowledge.com
Writer,Researcher,Copy Editor
Southwest China SummerAbroad,Guilford College Summer 2010
Yunnan&.Sichuan Provinces,PR China
Teaching Assistant
"7he Case of Two(or more)Things:,Jonathan Z.Smith and the evolution 2009 -2010
and evaluation of the role of comparison in the study of religions"
Undergraduate Senior'Ihesis in Religious Studies,Guilford College
The Guilfordian,Student-Run Newspaper of Guilford College 2007 -2010
208 Founders Hall,5800 W.Friendly Ave.Greensboro,NC 27410//www.guilfordian.com
Art Director,Layout Editor,Columnist
MARK KATZ, PH.D.
mkatz@unc.edu
Department of Music, CB 3320 215 Stable Rd.
University of North Carolina at Chapel Hill Carrboro,NC 27510
Chapel Hill,NC 27599-3320 (919) 929-1380
(919) 843-5335
Employment
University of North Carolina at Chapel Hill,
Chair of the Department of Music,July 2012—
Professor of Music,July 2012—
Adjunct Professor of Communication Studies,July 2012—
Associate Professor of Music,July 2008 June 2012
Assistant Professor of Music,July 2006 June 2008
Johns Hopkins University,School of Arts and Sciences,Humanities Center,Adjunct Associate Professor,
2003-2006
Johns Hopkins University,Peabody Conservatory,Department of Musicology, 1999-2006
Chair,2003-2005
Education
Ph.D.,Musicology (Ethnomusicology minor),1999,University of Michigan
Dissertation: "The Phonograph Effect:The Influence of Recording on Listener,Performer,Composer, 1900-
1940."
Dissertation chair:Richard Crawford
M.A.,Musicology,1995,University of Michigan
Thesis:"Schubert's Dactyl."
B.A.,Philosophy,1992,College of William and Mary
Phi Beta Kappa,Inducted as Honorary Alumni Member,2011
Thesis:"The Interaction of Violin Playing,Recording Technology and the Recording Industry, 1890-1940."
(Awarded Highest Honors)
Teaching
University of North Carolina at Chapel Hill
Courses:
• The Art and Culture of the DJ (first-year undergraduate seminar;elective for music majors)
• Arts Entrepreneurship (undergraduate Economics course,co-taught with Ken Weiss)
• Beat Making Lab (undergraduate course,co-taught with Stephen Levitin,a.k.a.Apple Juice Kid)
• Capturing Sound: How Technology has Changed Music (undergraduate elective)
• Introduction to Rock(undergraduate survey for non-music majors)
• Making and Marketing Music in the Digital Age (first-year undergraduate seminar)
• Music in London (undergraduate study abroad survey)
• Music Since 1850 (undergraduate music history survey)
• Proseminar in Ethnomusicology:Music,Technology and Culture (graduate seminar)
2
■ Resources and Methods in Musicology(graduate seminar)
■ Under the Covers (graduate seminar,co-taught with Jocelyn Neal)
■ Virtuosity (elective for music majors)
■ World Music in Theory and Practice(undergraduate theory course for music majors)
Independent studies: on Bob Dylan (graduate);ethnography and hip-hop (graduate);John Adams's Doctor
Atomic(graduate),music appreciation in the U.S. (graduate);musical modernism in U.S., 1920s-30s
(graduate);musical competitions (graduate);the recording industry(undergraduate);the music of
Radiohead (undergraduate);violin pedagogy(undergraduate)
Dissertation advisor:Joshua Busman(evangelical pop),Ryan Ebright(American minimalist opera),Brian
Jones (alternative rock aesthetics),Timothy Miller(musical instruments as technology);Will Robin
(downtown NYC avant garde);David VanderHamm (guitar virtuosity)
Dissertation committee member:Molly Barnes,Christa Bentley,Will Boone,Molly Breckling,Justin
Burton(Rutgers),Stephen Collins (Macquarie;as examiner);Kimberly Francis,Daniel Guberman,
Alex Kotch (Duke),Erin Maher,Marc Medwin,Joshua Neumann (Florida),Allison Portnow,
Christopher Reah,Douglas Shadle,Karen Shadle,Travis Stimeling,Jeremy Smith (Duke),Kristen
Turner,Christopher Wells,Jeffrey Wright
Honors thesis advisor:Paula Peroutka(cello transcriptions of pop music);Emily Riehl(Nueva canci6n in
Argentina and Chile);Stephen Rouse(the music of the Avett Brothers);Joseph Terrell(development
of bluegrass guitar playing)
SURF (Summer Undergraduate Research Fellowship) advisor:Joseph Chapman (dubstep documentary)
Master's thesis advisor:Will Boone (classical music on the Internet),Daniel Guberman(post-fidelity),
Erin Maher(Drum Corps International),Christopher Wells (National Negro Opera Company)
Johns Hopkins University:Peabody Conservatory and School of Arts and Sciences
Peabody,undergraduate: surveys and seminars on American music,music and technology,popular
music,twentieth-century music;supervised independent studies
Peabody,graduate: seminars on American music,the discipline of musicology,music and technology,
popular music; supervised 10 D.M.A. theses and lecture recitals,and 2 Master's theses
School of Arts and Sciences:undergraduate surveys and seminars on music and technology and popular
music;supervised independent studies
Publications
Books
Music and Technology:A Very Short Introduction.New York: Oxford University Press. Under contract and in
preparation.
Groove Music:The Art and Culture of the Hip Hop DJ.New York: Oxford University Press,2012.
American Musicological Society Publication Subvention,2012
Music,Sound, and Technology in America:A Documentary History of Early Phonograph, Cinema, and Radio.Co-edited
with Timothy Taylor and Tony Grajeda.Durham:Duke University Press,2012.
Capturing Sound:Horn"Technology has Changed Music.Rev.ed. Berkeley and Los Angeles:University of California
Press,2010.First ed.pub.in 2004.Korean translation published by Mati Publishing,2007.Excerpts
published in The New Media and Technocultures Reader,ed.Martin Lister and Seth Giddings,2011;Chronicle
of Higher Education 51 (7 January 2005):B4;in German trans.in Lettre International 79 (Winter 2007): 103-
10;and in Croatian trans.in Quorum 23 (2007):319-44.
Sally Hacker Award,Society for the Society for the History of Technology,2007
Choice,Outstanding Academic Title,2006
Certificate of Merit,Association for Recorded Sound Collections,2006
3
American Musicological Society Publication Subvention,2004
The Violin:A Research and Information Guide.New York and London: Routledge,2006.
Articles,Essays,and Book Chapters
Peer Reviewed:
"Music Technology." (Co-authored with Brian Jones.) In Oxford Bibliographies In Music. Ed.Bruce Gustafson.
New York:Oxford University Press,2013. Online at http://www.oxfordbibhographics.com.
"Songwriting as Musicological Inquiry:Examples from the Popular Music Classroom." (Co-authored with
Travis Stimeling.)Journal of Music History Pedagogy 2 (March 2012): 133-52. Online at www.ams-
net.org/ojs/in,dex.php/jmhp/article/view/52
"Men,Women,and Turntables:Gender and the DJ Battle."MusicalQuarterly 89 (Summer 2006): 580-99.
[Published April 2008.]
"Portamento and the Phonograph Effect."Journal of Musicological Research 25 (2006): 211-32.
Reprinted in Classical and Romantic Music,ed.David Milsom,2011.
"Beethoven in the Age of Mechanical Reproduction:The Violin Concerto on Record."Beethoven Forum 10
(Spring 2003): 38-55.
"Hindemith,Toch„and Grammophonmusik."Journal of Musicological Research 20 (2001): 161-80.
"Making America More Musical Through the Phonograph, 1900-1930."American Music 16 (Winter 1998):
448-75.
Invited:
"Music and Technology." (Co-authored with Tim Miller.) In The Oxford Handbook of the History of Technology,ed.
W.Bernard Carlson. New York:Oxford University Press. Forthcoming in 2013.
"Rock Music and Technology."In John Covach and Andrew Flory, What's that Sound?:An Introduction to Rock
and its History, rd ed., 550-51.New York:W.W.Norton,2012.
"Amateurism in the Age of Mechanical Music."In The Oxford Handbook of Sound Studies,ed.Trevor Pinch and
Karin Bijsterveld.New York: Oxford University Press,2011.
"Sampling Before Sampling:The Link Between DJ and Producer."Samples 9 (2010): 1-11. http://aspm.ni.lo-
net2.de/sampli°s/Samples9/katz.pdf.
"Beware of Gramomania:The Pleasures and Pathologies of Record Collecting."In The Record,ed.Trevor
Schoonmaker.Durham:Duke University Press,2010.
"Aesthetics out of Exigency:Violin Vibrato and the Phonograph."In I Sing the Body Electric Music and Technology
in the Twentieth Century,ed.Hans Joachim Braun, 186-97.Hofheim:Wolke,2000.Also published as Music
and 1 ethnology in the Twentieth Century.Baltimore and London:Johns Hopkins University Press,2002.
Reviews,Dictionary and Encyclopedia Entries,Blog Posts,and Other Publications
Review of Creative License:The Law and Culture of Digital Sampling,by Kembrew McLeod and Peter DiCola.
ARSC Journal43 (Fall 2012):279-80.
4
"So You Want to be a Rock'n'Roll Professor?"ReverbNation Blog. 10 December 2012.
http://blog.reverbnation.com/2012/12/10/so-you-want-to-be-a-rock-n-roll-professor.
"Twelve Crucial Moments in Hip-Hop DJ History." OUP Blog. 15 May 2012,
http://blog.oup.com/2012/05/twelve-crucial-moments-in-hip-hop-dj-history.
"Insight:A First-person View of the IAH Innovation Fund."Institute for the Arts and Humanities Newsletter,May
2012,http://iah.unc.edu/news/newsarchive/2012/markkatzinsight.
"GrandWizzard Theodore."African American National Biography. Ed. Henry Louis Gates,Jr. and Evelyn Brooks
Higginbotham.New York:Oxford University Press,2008.
"Vinyl Recordings."International Encyclopedia of the Social Sciences,2nd ed.Ed.William A.Darity,Jr.,vol. 8,621-
22.New York:Macmillan Reference,2007.
Review of Echo&Reverb:Fabricating.Space in Popular Music Recording,by Peter Doyle.ARSC Journal37 (Fall
2006):231-32.
Review of Making Beats:The Art of Sample-Based Hip-Hop,by Joseph Schloss.Notes 61 Qune 2005): 1028-31.
Review of Conversation Pieces,by Paul Lansky.American Music 22 (Summer 2004): 327-29.
"Ivan Galamian";"Felix Galimir";"Jascha Heifetz";"Fritz Kreisler";"Jaime Laredo";"Nathan Milstein."In
Musik in Geschichte rrnd Gegenwart,2d ed.Ed.Ludwig Finscher.Kassel:Barenreiter,2002-2004.
"Compact Disc";"DJ';"Turntablism';"Recording" [revision]. In The Harvard Dictionary of Music,4th ed.Ed.
Don Michael Randel. Cambridge: Harvard University Press,2003.
Review of A Century of Recorded Music.-Listening to Musical History,by Timothy Day.Notes 58 (December 2001):
383-85.
Review of Recorded Music in American Life:The Phonograph and Popular Memory, 9890-1945,by William Howland
Kenney.American Music 18 (Winter 1999):469-71.
"Gary Powell Nash."In International Dictionary of Black Composers,II: 874-78. Chicago and London: Fitzroy
Dearborn, 1999.
"Sound Recording";"Violin."In Reader's Guide to Music History. Chicago and London:Fitzroy Dearborn, 1999.
"The Jascha Heifetz Collection."Washington,DC:Library of Congress, 1998. Finding aid,available in the LC
Music Division and online at hdl.loc.gov/loc.music/cadmus.mu003008.3
Program notes,Schubert bicentennial concert series,University Musical Society,Ann Arbor, 1997.
Public Presentations
(*designates invited lecture;**designates keynote lecture)
"The Persistence of Analog"
*Cini Foundation (Venice),"Musical Listening in the Age of Technological Reproducibility,"March 2013
"Authorship in the Age of Configurable Music"
*Stanford University,December 2012
*Millikin University,October 2012
*University of North Carolina at Chapel Hill,Hettleman Lecture,February 2012
5 -
*University of Cambridge,Faculty of Music Colloquia,June 2011
*Sacher Stiftung(Basel),"Wessen Klange?Interpretation and Autorschaft in neuer Musik" (Whose
Sounds?Interpretation and Authorship in New Music),April 2011
"Analog vs.Digital vs.Digital:Technocultural Choice and the Hip-Hop DJ"
*University of California,Davis,November 2012
*Northwestern.University,October 2012
*North Carolina State University,Scholars Forum,September 2012
**University of Guelph,Creative Music Festival and Symposium,March 2012
**Harvard University,Graduate Music Forum,Keynote Lecture,February 2012
"Technology and the Hip-Hop DJ"
*NC Science Festival,Chapel Hill,April 2012
"Analog and Digital:A Love Story"
Experience Music Project Conference,New York City,March 2012
"Who Invented the Transformer Scratch?:Innovation Narratives in a Community of Musicians"
Society for American Music Conference,Charlotte,March 2012
"Amateurism in the Age of Mechanical Music"
*University of Oxford,Research Seminars Series,May 2011
*University of Minnesota,Music and Sound Studies Colloquium,March 2011
*School of the Art Institute of Chicago,March 2010
**University at Buffalo,MuGSA Symposium,February 2010
*Sound Studies Conference,University of Maastricht,November 2009
"The DJ Academy:Selling Out or Getting Paid?" [AKA,"Academies of Scratch"]
*University of:North Carolina at Chapel Hill,Communications Studies Department Colloquium,March
2011
Experience Music Project Conference,Los Angeles,February 2011
American Musicological Society Conference,Nashville,November 2008
*University of North Carolina at Greensboro,Composition,History,and Theory Lecture Series,
Greensboro,NC,March 2008
*Musicology and Recordings Qoint meeting of the Royal Musical Association and the Centre for the
Historical Analysis of Recorded Music),Egham,September 2007
"Mix and Scratch:The Turntable Becomes a Musical Instrument"
*McGill University,The Ghost in the Machine conference,February 2011
*University of British Columbia,Green College,Sonic Impressions series,September 2010
*University of Illinois,Urbana-Champaign,Center for Advanced Study,March 2010
*Peabody Conservatory,Musicology Colloquium,October 2009
*University of,Maryland,School of Music,October 2009
"How the Computer Changed My World:Music"
*Duke University,Osher Lifelong Learning Institute,October 2010
"`Astonished and Somewhat Terrified':Learning to Live with Recordings"
*Brigham Young University,School of Music,September 2009
*Indiana University,School of Music,March 2009
*London Metropolitan University,Seminars in Music and Technology,January 2007
*British Library,Saul Seminars,January 2006
"The Breaks and the Bronx:The Origins of the Hip-Hop DJ"
*Indiana University,Musicology Colloquium,March 2009
6
*Sound Effects Conference,Center for Guttural Analysis,Rutgers University,October 2008
"Sampling Before Sampling:The Link Between DJ and Producer"
*Sampling in Hip-Hop International Conference,University of Wuppertal,Germany,March 2009
"Born in the Bronx:The Origins of the Hip-Hop DJ"
*Centre for the Historical Analysis of Recorded Music,Symposium 5: Cultures of Recording,Egham,
England,April 2008
"A Brief History of Turntablism"
American Musical Instrument Society Conference,New Haven,July 2007
"The Second Digital Revolution in Music" (a.k.a."The Emerging Field of Music and Technology Studies")
*East Carolina University,Joyner Library Summer Series,June 2007
**University of California Santa Barbara,"On the Record" symposium,April 2007
*Music Library Association Conference,Pittsburgh,March 2007
*College of William and Mary,March 2007
*King's College,London,Colloquia in Music,January 2007
*University of Surrey,Popular Culture Forum,January 2007
*Cornell University,Music Colloquia,September 2006
*Syracuse University,Department of Fine Arts,September 2006
"'Astonished and Somewhat Terrified':Learning to Live with Recordings"
*London Metropolitan University,Seminars in Music and Technology,January 2007
*British Library,Saul Seminars,January 2006
"The Gramophone in the English Home"
*Victoria and Albert Museum,London,"The Music Room:Workshops on Music and the Domestic
Interior,"January 2007
"Why Women Don't Scratch"
Society for Ethnomusicology Conference,Honolulu,November 2006
*Music,Race,and Identity Study Day,University of North Carolina at Chapel Hill,October 2006
"The Waltz"
*Pre-concert lecture,Andre Rieu and the Johann Strauss Orchestra,Baltimore,May 2006
"Technology and the Performer:Recording as Document,Catalyst,and Instrument"
*Rutgers University,DMA Forum,December 2005
"Capturing Sound: How Technology has Changed Music"
*Library of Congress,Kluge Center,November 2005 (Webcast available at
www.loc.gov/today/cyberlc/feature_wdesc.php?rec=3825)
*Brown University,Musicology Colloquium,March 2005
"File-Sharing as a Tool for Living"
Society for Ethnomusicology Conference,Atlanta,November 2005
Music Library Association,Mid-Atlantic Chapter Conference,Baltimore,October 2005
"Digital Music and Questions of Identity,Authenticity,and Community"
*University of Michigan,Music of the Americas Study Group residency,May 2005
"The Rondo of Despair and Other Delights of Academic Life"
*University of Michigan,Music of the Americas Study Group residency,May 2005
7
"Listening in Cyberspace:The Influence of File-Sharing"
American Musicological Society, Capital Chapter Conference,Baltimore,April 2005
Society for American Music Conference,Eugene,February 2005
"The Invisibility of Music in the Age of Recording"
Association for Recorded Sound Collections Conference,Austin,April 2005
American Musicological Society Conference,Seattle,November 2004
Society for the History of Technology Conference,Amsterdam,October 2004
"Composing in is and Os"
*University of Pennsylvania,Music Department Colloquium,February 2005
"Modern Views on Musical Beauty"
*Maryland Institute College of Art,"A World of Beauty" symposium,October 2004
"Composing in is and Os:From Paul Lansky to Public Enemy"
*Brooklyn College,Music in Polycultural America Lecture Series,March 2004
"The Educated Ear"
*Day-long seminar,Psychotherapy Networker Annual Symposium,Washington DC,March 2004
"Dis—courses and Disc--courses in the DJ Battle"
Society for Ethnomusicology Conference,Miami,October 2003
International Association for the Study of Popular Music Conference,U.S. Branch,Los Angeles,
September 2003.
"The Educated Ear:Listening to Music Critically"
*Six-part lecture series,Smithsonian Associates Program,Smithsonian Institution,Washington,DC,July—
August 2003
"Three Points about Sound Recording"
*Criss-Cross:Conversations about America's Music,Ann Arbor,April 2003
"From`Take Yo'Praise'to `Praise You':A Case Study in the Ethics and Aesthetics of Digital Sampling"
Society for American Music Conference,Tempe,February 2003
International Association for the Study of Popular Music,U.S.Branch Conference,Cleveland,October
2002
American Musicological Society,Capital Chapter Conference,Ashland,VA,October 2002
"Bach's Brandenburg Concertos"
*All-day seminar,Smithsonian Associates Program,Washington,DC,September 2002
"Grammophonmusik"
International Committee on the History of Technology Conference,Granada,Spain,June 2002
"`Like Preparing for Combat':Understanding the DJ Battle"
Pop Music Studies Conference,Experience Music Project,Seattle,April 2002
"Early Jazz and the Phonograph"
American Musicological Society,Capital Chapter Conference,Westminster,MD,October 2001
"Hip-Hop Turntablism"
Society for American Music Conference,Port-of-Spain,Trinidad,May 2001
"A Brief History of Turntablism"
8
American Musicological Society Conference,Toronto,November 2000
American Musicological Society,Capital Chapter Conference,Baltimore,April 2000
International Committee on the History of Technology Conference,Belfort,France,August 1999
"Women,Men,and Phonographs,1900-1930"
American Studies Association Conference,Detroit,October 2000
Sonneck Society for American Music Conference,Fort Worth,March 1999
Feminist Theory and Music Conference,Charlottesville,June 1997
"Violin Performance Practice in the Age of Recording"
*Peabody Conservatory,Musicology Colloquium,Baltimore,November 1999
"The Invisibility of Music in the Age of Recording"
International Association of Sound and Audiovisual Archives Conference,Vienna,September 1999
British Musicological Societies'Conference,Surrey,July 1999
"The Origin of the Violin Recital in Nineteenth-Century London"
Conference of Music in Nineteenth-Century Britain,Durham,July 1999
"The Phonograph Effect"
*University of Virginia,Musicology Colloquium,Charlottesville,April 1999
"The Phonograph,Bringing`Good Music'to the American Home, 1900-1930"
American Musicological Society,Capital Chapter Conference,Richmond,October 1998
"Aesthetics Out of Exigency:Violin Vibrato and the Phonograph"
Association for Recorded Sound Collections Conference,Syracuse,May 1998
American Musicological Society Conference,Phoenix,October 1997
American Musicological Society,Capital Chapter Conference,Williamsburg,October 1997
Recipient of the Louise Cuyler Award for best student paper,University of Michigan
"Making America More Musical Through the Phonograph,1900-1930"
Sonneck Society for American Music Conference,Seattle,February 1997
"Coming to Terms with Canned Music: Listening to the Phonograph, 1900-1930"
American Musicological Society,Midwest Chapter Conference,Chicago,October 1996
Recipient of the A-R Editions Award for best student paper,AMS Midwest Chapter
"Listening to Music in the Age of Mechanical Reproduction"
International Committee on the History of Technology Conference,Budapest,July 1996
*Guest classroom lecturer,City University of New York, College of William and Mary,Duke University,
Goucher College,Johns Hopkins University,Kings College London,Millikin University,New York
University,Stanford University,University of Guelph,University of Illinois,University of Maryland,
University of Michigan,University of North Carolina at Chapel Hill,University of Virginia, 1999—
As Moderator,Panelist,Respondent,Discussant
Keynote Respondent(to Stephen Davies),Royal Musical Association Music and Philosophy Study Group
conference,King's College London,July 2013
Session Respondent, "Industry and Platforms,"Music,Digitisation,Mediation conference,Oxford University,
July 2013
9
Panel participant,"Hip-Hop History Forum"
University of North Carolina at Chapel Hill,April 2013
Panel participant,"What Does it Mean to Study Popular Music?"
International Association for the Study of Popular Music,U.S.Branch Conference,Austin,March 2013
Session respondent,"Music and Video Games:History,Theory,Ethnography,"American Musicological
Society conference,New Orleans,November 2012
Moderator,"The Bad Plus in Conversation" [On their arrangement of The Rite of Spring],Duke Performances,
Durham,NC,March 2011
Panel participant,"'What Does Entrepreneurship Mean for Faculty Teaching?,"Innovation and the
Entrepreneurial University symposium,UNC-Chapel Hill,October 2010
Panel participant,"'Capturing Sound versus Capturing Performance,"CHAT:A Digital Arts and Humanities
Festival,UNC--Chapel Hill,February 2010
Panel participant, "What Does Music(ology)Mean?,"Kenan Music Building Opening Celebration,University
of North Carolina at Chapel Hill,April 2009
Panel participant,"Latinos and the Founding of Hip-Hop,"Hip-Hop Forum,University of North Carolina at
Chapel Hill,February 2009
Discussant,"Ethnography and Sound Recordings,"Ethnomusicology Working Group at Duke University,
Durham,NC,:February 2008
Session respondent,"Beyond Blackface:African Americans and American Mass Culture, 1900-1930," Chapel
Hill,October 2007
Panel Participant,"'Wanted: One Americanist,"Student Forum,Society for American Music,March 2007
Panel participant,"Performing Arts Symposium:The End of Cinematics,"University of North Carolina at
Chapel Hill,September 2006
Panel participant,"Performance Practice in the Twentieth Century:Measure for Measure or As You Like It?,"
Cornell University,September 2006
Panel participant,"The State of the Arts,"Johns Hopkins University Knowledge of the World Tour,New
York City,May 2006
Podcast available at www.johnshopkins.edu/podcasts/indexl.html
Selected Media Interviews
Thomas,Celia. "Are Smartphones Ruining Concerts?" Voice of America, 13 August 2013. Online at
http://Nvu,w.voanews.com/content/are-smartphones-ruining-concerts/1728663.htm1.
Burton,Justin. "IASPM-US Interview Series:Mark Katz, Groove Music."IASPM-US,30 April 2013. Online at
http://iaspm-u.s.net/iaspm-us-interview-series-mark-katz-groove-music/.
Menton,David. "U-M Alum is Teacher of Digital Beats."Michigan Alumnus Spring 2013.
Butler,Adam."Interview with Mark Katz,Author of Groove Music."Artistworks,25 March 2013. Online at
http://artistwc,rks.com/blog/interview-mark-katz-author-groove-music.
10
Jam,Billy."Author Mark Katz Discusses Groove Music:The Art and Culture of the Hip-Hop DJ. 8 August
2012.http://www.amoeba.com/blog/2012/08/j amoeblog/author-mark-katz-discusses-groove-music-the-
art-and-culture-o f-the-hip-hop-dj-.html
Dent,Grace. "Duration,Duration,Duration."BBC Radio 4,London, 1 October 2012. Online at
www.bbc.co.uk/programmes/bOlnOxpq.
McDonald,Glenn. "Professor's Book Explores the Art of DJ Culture."News&Observer 26 April 2012.
Online at www.newsobserver.com/2012/04/26/2024432/professors-book-explores-the-art.html
The Arts File,WQXR-FM,New York, 13 May 2011.
Soundcheck,WNYC-FM,New York,24 and 25 January 2011.
Interview(as interviewer)with NPR's Bob Boilen,WXYC-FM,Chapel Hill,NC,21 April 2010.
http://wxyc.org/mp3/WXYC%201nterview%20with%2OBob%2OBoilen.mp3
Talkademia,WXYC-FM,Chapel Hill,NC,21 March 2010.
Focus 880 with David In WILL-AM,Urbana,IL,9 March 2010. Online at
http://will.ilbnois.edu/focus580/intcrview/focus100309b/
McDonald,Glenn. "From Itzhak Perlman to GrandWizzard Theodore," Chapel Hill News 17 February 2010,p.
6. Online at www.chapelhillnews.com/news/story/55264.html
The Arts Spot,WCHL-AM,Chapel Hill,NC, 10 February 2010. Online at
www.1360wchl.com/mp3/artsspot.mp3.
Soundcheck,WNYC-FM,New York,21 August 2008.
Culture Shock,BBC World Service,21 January 2008.
WXYC-FM,Chapel Hill,NC, 15 July 2007.
In Business,BBC Radio 4,24 May 2007.
The Mystery Show,WXDU-FM,Durham,NC, 13 May 2007.
The State of Things,North Carolina Public Radio, 16 February 2007.
Smith,Jason."Phonograph Effects:How Technology has Turned Music on its Ear.Why is the National
Science Foundation Buying Mark Katz a Set of Turntables?"Endeavors 23 (Winter 2007): 10-13. Online at
http://research.unc.edu/endeavors/win2007/phonograph_effects.php
The Front Porch,New Hampshire Public Radio,4 January 2007. Online at www.nhpr.org/node/12046
Morning Edition,National Public Radio, 19 December 2006. Online at
www.npr.org/templates/story/story.php?storyld=6645723
"History through the Ears:The Act of Listening,"BBC Radio 3,24 September 2006.
The Signal,WYPR-FM,Baltimore,26 May 2006.
11 -
Voice of America Worldwide Television Service,Washington DC,broadcast in New Delhi,India,January
2006.
KSFR-FM,Santa Fe,New Mexico,5 October 2005.
The Signal,WYPR-FM,Baltimore,2 September 2005. (Rebroadcast 21 October 2005.)
World Cafe,WXPN-FM,Philadelphia, 1 August 2005.
"Capturing Sound:How Technology has Changed Music."Online chat, Wlashington Post,26 July 2005.Online
at www.washirigtonpost.com/wp-dyn/content/discussion/2005/07/21/D12005072101733.html.
Soundcbeck,WNYC-FM,New York,7 July 2005. Online at
www.wnyc.org-/shows/soundcheck/episodes/07072005.
WUOM-FM,Ann Arbor,Michigan, 1 February 2005.
Keiger,Dale."Phonograph Changes Our Tune."Johns Hopkins Magazine 55 (September 2003): 19. Online at
www.jhu.edu/--jhumag/0903web/wholly.html#phonograph.
Quoted in Baltimore Sun, Blue and While, Chicago Tribune, Christian Science Monitor, Daily Tar Heel,Fifteen 501,
London Telegraph,Net)York Times,News and Observer,Sacramento Bee, Toronto Globe and Mail, Wired com.
Selected Awards, Grants and Fellowships
Leavey Award for]Excellence in Private Enterprise Education($7,500)
Academic Leadership Program (UNC),2012-2013 ($5,000)
Institute for the Arts and Humanities Faculty Fellow(UNC),Spring 2012 (semester of leave)
American Musicological Society Publication Subvention,2004 ($3,000)
In support of Groove Music
Institute for the Arts and Humanities,Innovation Fund Grant(UNC),2011 ($50,000)
Ruth and Phillip Hettleman Prize for Artistic and Scholarly Achievement(UNC),2011 ($5,000)
Faculty Exchange Program,UNC and King's College London,2011 (£4,000)
University Research Council(UNC),2010 ($1500)
In support of Groove Music
National Science Foundation,2006-2008 ($153,936)
(Award SES-0526095,"A Comparative Investigation of Technological Transformation and Musical
Expression,"co-PI with Rayvon Fouche)
In support of Groove Music
University Research Council(UNC),2007 ($500)
In support of Groove Music
Sally Hacker Award,Society for the Society for the History of Technology,2007 ($3,000)
In support of Capturing Sound
12
Edison Fellowship,2005 (£5,000)
Research fellowship at the British Library Sound Archive,London.
American Musicological Society Publication Subvention,2004($1,325)
In support of Capturing Sound
Faculty Development Grants (Peabody Conservatory),2001-2004 ($800-1,000)
In support of research for Capturing Sound and The Violin
Technology Fellows Grant Qohns Hopkins University),2001 ($5,000)
For the development of a course website
Kenan Fund Grant Qohns Hopkins University),2001 ($3,000)
For the development of a new course,Popular Music and Society
Professional Service and Related Experience
University and Departmental
University of North Carolina at Chapel Hill
Departmental Service:Academic faculty recording secretary,2007,2009;Chair of the Department,2012-
2017;Carolina Lectures in Music and Culture Committee,2006-2007,chair 2008-2009;Departmental
Review Committee,2008-2010;Festival on the Hill (biennial festival),organizer,2010;Graduate
Admissions and Financial Aid Committee,2008-2009;Graduate Program Review Committee Chair,
2011;Pruett Fellowship Program coordinator,2008—;Qualifying Exam Committee,2008-2009;
Scholarship Committee,2006-2010;Targeted Search Committee Chair,2010-2012;Technology
Committee,2006-2008
University Service: Fine Arts representative,Summer School Administrative Board School,2012-2013;
Naming Committee,2013—;Provost's Task Force on the Carolina Computing Initiative,2012-2013;
Committee of Student Conduct 2011-2014;Entrepreneurship Workshop,2010;Process Series
Committee,2009-2012
Faculty Advisor/Representative: UNC Drum Circle,UNC Hip-hop Nation,Vinyl Records (UNC's
student-run record label),Women's Ultimate Frisbee Club,WXYC-FM,2007—
Other:McNair Scholars Mentor 2009-2010,UNC Air Guitar Competition judge,2009,2010,UNC-Duke
Battle of the Bands judge,2010
Peabody Conservatory and Johns Hopkins University
Chair:Department of Musicology,Musicology Search Committee;Coordinator:Musicology Colloquium;
Committees:Director Search,Faculty Development Grant,Faculty Issues,NASM Self-evaluation,
Provost's Undergraduate Research Award,Status of Women,Undergraduate Affairs;Other:Battle of the
Bands Faculty Judge,Freshman advisor,Leadership Development Program participant
Professional Organizations
American Musicological Society
Delegate to the National Recording Preservation Board,2010-2014
Council Nominating Committee,2008
Council,2005-2008
Local Arrangements Chair,Southeast Chapter,Fall Meeting 2007
Local Arrangements Committee,National Meeting 2005
Local Arrangements Chair,Capital Chapter,Spring Meeting 2005
Local Arrangements Co-Chair,Capital Chapter,Winter Meeting 2003
National Meeting Conference Mentor,2003—
Session Chair,National meetings,2003,2007,2011;Capital Chapter,2002-2005;Southeast Chapter,2007
13
Vice Chair,Capital Chapter,2002-2005
Lowens Award Committee, Capital Chapter,2001-2005;Chair 2002-2005
Centre for the Historical Analysis of Recorded Music (CHARM),Royal Holloway,University of London
International Advisory Panel,2004-2008
International Association for the Study of Popular Music
Conference Session Chair,U.S. Chapter meetings,2003,2004
Society for American Music
Journal of the Sonety ofAmerican Music,Editor,2012-2015
Journal of the Society ofAmerican Music,Editorial Board and Public Relations Committee,2007-2010
Honors and Awards Committee,2010-2012;Chair,2011-2012
Session Chair,National meetings,2006,2007,2009
Website Committee,2003-2008;Chair,2005-2008
Member,American Musicological Society,Association for Recorded Sound Collections,International
Association for the Study of Popular Music,Society for Ethnomusicology,Society for American Music,
Society for the History of Technology
Editorial
Editor,Journal of the Society forAmerican Music,2012-2015
Senior Editor,Oxford Handbooks Online,2012-2015
Editorial Board,Journal of Music, Technology&Education,2011-2014
Advisory Board, Tracking Pop,popular music series from the University of Michigan Press,2008—
Advisory Board, Grove Dictionary ofAmerican Music, second edition,2007-2009
Editorial Board,Journal of the Society forAmerican Music,2007-2010
Advisory Board,Journal of Musicology,2006-2011
Review Editor,Beethoven Forum,2005-2007
Manuscript Reviewer,Ashgate Publishing,Bloomsbury Publishing,Cambridge University Press,Continuum
Books,Criticism:A Quarterly for Literature and the Arts,Echo:A Music-Centered Journal,Ethnomusicology,
Ethnomusicology Forum,Journal of Musicolqgv,Journal of the American Musicological Society,Journal of the.Society for
American Music,Middlesex University Press,MIT Press,Mosaic:A Journal for the Interdiscplinary Study of
Literature,Musicae Sdentiae,Oxford University Press,Popular Music,SAMUS[South African Journal of
Musicology],Social Studies of Science,Southern Cultures,University of California Press,University of Chicago
Press,University of Michigan Press,Wesleyan University Press,W.W.Norton.
Other
Nominator and Recommender,MacArthur Fellows Program,2013,2008,2007
Disc Jockey,WXYC-FM, Chapel Hill,June 2007—
Application reviewer,National Science Foundation,2012;National Endowment for the Humanities,2006
2011;Jack Kent Cooke Foundation Graduate Scholarship Program,2004
14
Conference Organizer,"The Art and Culture of the DJ," festival and symposium featuring academic
presentations and the premiere of Circulo for Charanga and DJ,February 2010
Contributor and signer,amicus brief in MGM P. Grokster(2005 Supreme Court case on Internet file-sharing)
Brief online at www.eff.org/IP/P2P/MGM—v_Grokster/20050301—media—profs.pdf
Researcher,New Grove Dictionary of Music and Musicians, 1999
Served as Library of Congress contact,answered bibliographic queries.
Technician,Music Division,Library of Congress, 1992-1993
Organized,housed,and documented the Jascha Heifetz Collection,the Armed Forces Radio and
Television Service Collection,and the Vladimir Ussachevsky Collection.
Violinist, 1986—
Perform professionally and on a volunteer basis as soloist,in chamber groups,and in orchestras.Member
of El Mariachi Michicano, 1996-1997.
ALICE GERRARD—Resume
PO Box 52353 / 1812 House Ave.
Durham NC 27717
Education•
Attended Antioch College, Yellow Springs, OH - 2 years
• Oakland Technical High School, Oakland, CA- graduated 1952
• Centerville High School, Centerville, CA
• One year at elementary school, Guadalajara, Mexico
Employments I have always been self-employed except for a brief stint as a
clerk-typist in 1957. The following resume listings have been (are) also my main
sources of income.
Performer of old-time and country music; singer and songwriter; plays banjo,
fiddle, and guitar.
Performances•
Folk Festivals, colleges, and community events and venues in the U.S., Ireland,
Japan, Great Britain, Europe, Australia, and New Zealand. Radio and TV.
Discography:
• Who's That Knocking (Folkways FTS 31055, 1965; with Hazel Dickens)
• Won't You Come & Sing For Me (Folkways FTS 31034, 1967; with Hazel
Dickens)
Note: Who's That Knocking and Won't You Come and Sing For Me
are now combined on 1 CD: Pioneering Women of Bluegrass, Smithsonian
Folkways 40065.
• Mountain Ramblings: Bill Clifton (London Deca, 1967 - 1 cut)
• Folk Festival of the Smokies (Traditional Records, 1969 - 1 cut)
•Alice & Mike Seeger in Japan (King SKK 662, 1971; with Mike Seeger)
• 2nd Annual Farewell Reunion: Mike Seeger (Mercury, 1973 - 1 cut)
• Hazel & Alice (Rounder 0027, 1973; with Hazel Dickens. Reissued on CD,
1997)
• Hazel Dickens and Alice Gerrard (Rounder 0054, 1975; with Hazel Dickens.
Reissued on CD, 1997)
• Strange Creek Singers (Arhoolie 4004, 1975; with Mike Seeger, Hazel
Dickens, Lamar Grier, Tracy Schwarz. Reissued on CD, 1998)
• Peter Rowan (Flying Fish 071, 1978; with Peter Rowan- 1 cut)
• Mike Seeger & Alice Gerrard (Greenhays GR 704, 1980; with Mike Seeger)
• Wheatland Festival (Wheatland Records, 1978; with Mike Seeger-2 cuts)
• Of Graves& Epitaphs: Dick Staber(Reba Records, 1979-1 cut)
• Harmony Pie (Flying Fish 248, 1980; with Jeanie McLerie & Irene Herrmann
• Second Helping (Flying Fish 283, 1982; with Jeanie McLerie & Irene
Herrmann
Note: Harmony Pie and Second Helping are reissued on 1 CD, The
Harmony Sisters—The Early Years)
• Women of Old-Time Music (Heritage XXXVI, 1981; with Lily May Ledford-
1 cut)
• Young Fogies (Heritage 056, 1986; with Andy Cahan-1 cut)
• Rainbow Sign (County 791; with Tommy Jarrell)
• Tribute to Tommy Jarrell (Heritage 63, 1986; with Andy Cahan-1 cut)
• Otis Burris & Fortune (Heritage 073, 1989; with James Lindsey, Otis Burris,
Wendell Cockerham, Hilary Dirlam, and Eldridge Montgomery)
• Enoch Rutherford & The Gold Hill Band: Old Cap'n Rabbit (Heritage
080, 1989; with Enoch Rutherford, Dale Morris, Carol Holcomb)
• Saro: Matokie Slaughter & the Back Creek Buddies (Marimac 9028,
1990; with Matokie Slaughter and Virgie Richardson)
• The Herald Angels (HA 101, 1994; with Sharon Sandomirsky and Gail
Gillespie)
• Pieces of My Heart (Copper Creek CCCD 0134, 1995)
• Been There Still: Tom, Brad & Alice (Copper Creek CCD 0164, 1998; with
Tom Sauber& Brad Leftwich)
• Holly Ding: Tom, Brad & Alice (Copper Creek CCD 0179, 2000; with Tom
Sauber & Brad Leftwich)
• We'll Die in the Pig Pen Fighting (Copper Creek CCD 0196, 2001; with Tom
Sauber& Brad Leftwich)
• Travelin' Shoes: Gail Gillespie & Friends (Buck 568, 2001-2 cuts)
• Calling Me Home: Songs of Love and Loss (Copper Creek CCD 0225,
2004)
• Carve That Possum (Copper Creek CCCD 0228, 2005; with Tom Sauber&
Brad Leftwich)
• Foolish Lover's Waltz: Weems Gerrard Band (Teardrop Recordings 001,
2005; with Mark Weems)
• Banjo Gathering - ( 2007-2 cuts)
• The Road to Agate Hill (5-String Productions 5SP-CD06003, 2008; with Gail
Gillespie and Sharon Sandomirsky)
• Bowling Green: Alice Gerrard & Mike Seeger (5-String Productions 5SP
08003; 2008; with Mike Seeger. A reissue of the Greenhays GR 704 LP and
several cuts from the King SKK 662, plus several home recordings)
• Bittersweet: (Spruce and Maple SMM 1008). The latest recording of Alice's
original songs.
• Saro: Matokie Slaughter & the Back Creek Buddies (with Matokie
Slaughter and Virgie Richardson) CD reissue of the 1990 cassette tape.
NOTE: Most of the above albums include some songs that I
wrote.
Recording Productions:
• Twisted Laurel (The Red Clay Ramblers, Flying Fish Records, 1967)
• Taped interviews with Tommy Jarrell for a Univeristy of North Carolina radio
series (1976); with Dr. Cecelia Conway. Tapes donated to the UNC and Library
of Congress Archives.
• Old-Time Fiddler of Chicoutimi, Quebec; Louis Boudreault (Voyager
Records 199, 1979)
• The Old-Time Way; a recording-booklet project documenting the music and
times of three traditional Galax, VA musicians (Heritage 070, 1986). Partially
funded by the Virginia Arts Commission.
• Enoch Rutherford & The Gold Hill Band; Old Cap'n Rabbit (Heritage 080,
1989).
• Otis Burris & Fortune (Heritage 073, 1989)
• Saro: Matokie Slaughter & The Back Creek Buddies (Marimac 9028,
1990)
• Last Time Together: Stuart & Kelly Lundy (Heritage 086, 1991)
Published Articles & Interviewsa
• "A Trip—DJ Convention 1968": Bluegrass Unlimited, vol. 3 no. 5, Nov. 1968
• "Kenny Baker": Bluegrass Unlimited, vol. 3 no. 6, Dec. 1968
• "My Life in Bluegrass: Bill Monroe": Newport Folk Festival Program Book, 1969
• "The Southern Folk Festial": Bluegrass Unlimited, vol. 3 no. 10, Apr. 1969
• "Festival of American Folklife": Bluegrass Unlimited, vol. 3 no. 12, June 1969
• "Growing Up in Rosine, Kentucky—An Interview with Bill Monroe": Sing Out!
vol. 19 no. 2, JUly/Aug. 1969
• "Merle Haggard": Sing Out! vol. 26 no. 2, 1969
• "Hazel Dickens: As Country As I Could Sing": Sing Out! vol. 21 no. 1, 1971
• "Wilma Lee Cooper": Sing Out! vol. 26 no. 2, 1977
• "Libba Cotten": Frets vol. 2 no. 1, Jan. 1980
• "Luther Davis—A Living Legend": The Galax Gazette Aug. 1983
• "Bruce Greene": The Old-Time Herald fall, 1988
• "An Affair of the Heart—Dan Gellert": The Old-Time Herald fall, 1 988
• "Elizabeth Cotten 1895-1978": The Old-Time Herald winter 1987-1988
• "Otis Burris—Galax Breakdown Fiddler": The Old-Time Herald spring 1989
• "Shared Passions—An Interview with Art Rosenbaum": The Old-Time Herald
vol. 5 no. 2, 1995/6
• "We're Going for the Joy—An Interiew with Jody Stecher& Kate Brislin": The
Old-Time Herald vol. 5 no. 3, 1996
• "The New Deal String Band": Bluegrass Unlimited Sept. 1997
• "20 Years of the Old-Time Herald at MerleFest": Old-Time Herald vol. 12 no.
8 Dec. 2010-Jan. 2011
Founder•
• The Old-Time Herald, 1987
• The Old-Time Music Group, 1987
• The Harmony Sisters
• Blue Ridge Music Assoc. Newsletter, 1985
Founding Member:
• Bluegrass Unlimited Magazine
• The Strange Creek Singers
• Blue Ridge Music Assoc., Galax, VA
• Tom, Brad & Alice
• Herald Angels
Editor:
• Blue Ridge Music Assoc. Newsletter (1985-1989)
• The Old-Time Herald (1987-2003)
Teaching and Workshop
• Fiddle Tunes, Port Townsend, WA
• Voice Works, Port Townsend, WA
• Augusta Heritage Workshops, Elkins, WV
• Blue Ridge Old-Time Music Week, Mars Hill, NC
• Pinewoods Folk Music Camp, Northampton, MA
• Swannanoa Old-Time Week, Swannanoa, NC
• Puget Sound Guitar Workshop, nr. Seattle, WA
• California Coast Music Camp, Mendocino, CA
• String Thaw, Penland, NC
• California Bluegrass Music Assoc. Music Camp, Grass Valley, CA
• Ozark Folk Center, Mountain View, AR
• Ashokan Fiddle & Dance Camp, Olivebridge, NY
• Sore Fingers Summer Schools, Frome, Somerset, England
• Banjo Camp North, Waltham, MA
• Old-Time Music Camp North, Waltham, MA
• Montana Fiddle Camp, Roundup, MT
• Bluff Country Gathering, Lanesboro, MN
• Summer Acoustic Music Week, nr. Center Harbor, NH
• Lehman Brady Visiting Joint Chair Professor in Documentary Studies and
American Studies at Duke University and the University of North Carolina at
Chapel Hill. Spring 2009
• Sorrento (Canada) Bluegrass & Old-time Music Camp and Festival.
Board of Directors:
• Newport Folk Festival, Newport, RI (1970)
• Southern Folk Cultural Revival Project, Inc., Nashville, TN (1975-1986)
• Vice-President, Blue Ridge Music Assoc., Galax, VA (1983-1989)
• Executive Dir., Old-Time Music Group, Inc. (1987-2003)
• Institute for Southern Studies, Durham NC (1990-1992)
Film:
• Subject (with Mike Seeger) of Homemade American Music by Yasha
Aginsky (also with Tommy Jarrell, Lily May Ledford, Elizabeth Cotten, and Dewey
Balfa)
• Sprout Wings and Fly (with Cece Conway and Les Blank), a 1/2-hour film on
Surry County, NC traditional musician, Tommy Jarrell.
Interviews with Alice Gerrard:
• "Alice Gerrard—Women's Voices": Sing Out! vol. 25 no. 2, 1976
• Bluegrass Songbook by Peter Wernick, Oak Publications, 1976
• "Talking with the Harmony Sisters" by Emily Friedman, Come for to Sing vol.
17 no. 1, 1981
• Bluegrass Unlimited, March 1992
• Finding Her Voice—The Saga of Women in Country Music (Mary
Bufwack and Robert Oermann, Crown Publishers, NY 1993)
Consultant:
• Smithsonian Institution Folklife Programs—on a documentary film of Bill Monroe
and Doc Watson's performance at the White House, Aug. 1980, at the invitation
of President Jimmy Carter.
• Southern Grassroots Music Project, Nashville, TN
• Southern Grassroots Music Tours, Nashville, TN
• Smithsonian Institution Division of Musical Instruments—presentation of Tommy
Jarrell's fiddle to the Smithsonian, June 1988
Photography:
• Cover and inside photos The Old-Time Way recording project: The Old-
Time Herald, Sing Out!, The Galax Gazette
Panellist//Par i i pants
• NC Arts Council Roundtable, Jan. 1989
• NC Artist in Residence presentations, March 1989
• Sounds of the South Archiving Conference, Chapel Hill, NC, Apr. 1989
Awards•
• 2 NEA Folk Arts Appreniceship Grants to studdy fiddle with Tommy Jarrell,
1978, 1980.
• Henry Whitter Memorial Award, "Best All-Around Performer," Fries, VA Fiddlers
Convention, 1983
• Virginia Arts Commission grant for the Galax Recording Project, 1984
• Tommy Jarrell Award, 1988. Given by the NC Folklore Society
• 1990 Indy Award given by The Independent, Durham, NC
• 2010 Brown Hudson Award by the North Carolina Folklore Society
JOCELYN R. NEAL
5013 Linden Oaks Avenue Department of Music
Durham, NC 27713 CB#3320 Hill Hall
919-475-1672 UNC Chapel Hill
Chapel Hill, NC 27599-3320
919-962-1039
jneal@email.unc.edu
EDUCATION
Ph.D. Music Theory, May 2002. Eastman School of Music, University of Rochester, Rochester, NY.
Dissertation: Song Structure Determinants:Poetic Narrative, Phrase Structure, and Hypermeter
in the Music of Jimmie Rodgers. (Advisor: Professor David Headlam).
Awarded the Alfred Mann Dissertation Prize.
M.A. Music Theory, May 1995. Eastman School of Music, Rochester, NY.
B.A. Music, cum laude, May 1993. Rice University, Houston, TX.
APPOINTMENTS
Director, Center for the Study of the American South, University of North Carolina at Chapel Hill,
2012-present.
Professor, Department of Music, University of North Carolina Chapel Hill, 2013-present.
Adjunct Professor, Department of American Studies, UNC, 2008-present.
Associate Professor, Department of Music, UNC, 2007-2013.
Adjunct Associate Professor, Department of American Studies, UNC, 2008-present.
Assistant Professor, Department of Music, UNC, 2002-2007.
Instructor, Department of Music, UNC, 1999-2002.
Instructor, Department of Music, University of Rochester, 1998-1999.
SELECTED PUBLICATIONS
EDITOR
2009- Co-Editor, with Harry Watson. Southern Cultures, academic journal published by the Center
for the Study of the American South, The University of North Carolina at Chapel Hill. Volume
16-present.
BOOKS
2013 Textbook: Country Music:A Cultural and Stylistic History. New York: Oxford Univ Press.
2010 Co-authored Monograph,with Bill C. Malone: Country Music U.S.A. Third revised edition.
Austin: Univ of Texas Press.
2009 Monograph: The Songs of Jimmie Rodgers:A Legacy in Country Music. Bloomington:
Indiana University Press. Winner.'ASCAP Deems Taylor Award and ARSC Certificate of
Merit.
SELECTED RECENT BOOK CHAPTERS
2013 "'Nothing but a Little Old Pop Song': Patsy Cline's Music Style and the Evolution of Genre in
the 1950s," Sweet Dreams: The World of Patsy Cline, ed. Warren Hofstra. Urbana:
University of Illinois Press, pp. 128-153.
2009: "The Reincarnation of Jimmie Rodgers's Songs," Waiting for a Train:Jimmie Rodgers'
America, ed. Mary E. Davis and Warren Zanes. Cambridge: Rounder Books, pp. 209-234.
2008: Popular Music Chapters [on Scott Joplin, Robert Johnson, Duke Ellington, Hank Williams,
Chuck Berry, Mahalia Jackson, Charlie Parker, The Beach Boys, The Marvelettes, The Sex
Pistols, Public Enemy, and contemporary pop music], Listen to This!a new music
appreciation text by Mark Evan Bonds. Upper Saddle River, NJ: Prentice Hall.
Neal page 2
2008: "Country-Pop Formulae and Craft: Shania Twain's Crossover Appeal," Expression in Pop-
Rock Music, 2nd ed., ed.Walter Everett. New York: Routledge, pp. 285-311.
SELECTED RECENT ARTICLES
2011: "The Online Challenge: Why Not Teach Music History Unconventionally?" Journal of Music
History Pedagogy vol. 2 no. 1 (Fall): 81-98.
2008: "When Recollection Is All We've Got: Analytical Exploration of'Catchy' Songs." Special Issue:
Analysis and Performance Across the Canon. College Music Symposium vol. 47 (2007
[copyright 2008]): 12-22.
2008: "Dancing around the Subject: Race in Participatory Fan Culture." Special Issue: Music, Race
&Identity. Musical Quarterly vol. 89 no.4 (2006 [copyright 2008]): 555-579.
2007: "Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music." Music
Theory Spectrum vol. 29 no. 1: 41-72.
SELECTED RECENT PAPERS/COLLOQUIA
2013 "Ladies Love Country Boys: Gendered Narratives and the Meaning of Country Music,"
Inaugural lecture (invited)for the Institute for Popular Music, University of Rochester(January
23).
2013 "Hoedown on a Harpsichord: Making Sense of 1960s Pop Stars Gone Country." Society for
American Music National Conference, Little Rock,Arkansas(March 6-10). Also presented at
the 30th International Country Music Conference, Nashville,TN (May 23-25).
2012 Keynote: "Strappy Sandals and Dusty Boots: Footwear, Gender, Class, and Economics in
Today's Country Music." 29th Annual International Country Music Conference, Nashville,TN
(May 24-26).
2011 "Country Music U.S.A. 3rd Edition Revised:Working on a Legend," Invited Lecture, 28th
Annual International Country Music Conference, Nashville,TN (May 26-28).
2011 "Songwriting in Fashion: The Evolution of Musical Form and its Cultural Implications Over
Sixty Years of Country Music." Invited Lecture, University of Georgia Department of Music
Colloquium Series(April 15).
SELECTED RECENT FELLOWSHIPS, GRANTS,and AWARDS
2013 Academic Leadership Program Fellow, Institute for the Arts and Humanities, UNC.
2012 Center for Faculty Excellence 100+(large-enrollment course) Course Redesign Grants.
Awarded jointly with Tim Marr$6,000 to re-design the Introduction to Southern Studies.
SELECTED RECENT SERVICE
Professional
Program Chair, Southern Sounds/Out of Bounds: Music and the Global American South Conference
with the Center for Global Initiatives and the Center for the Study of the American South, UNC
Chapel Hill, February 2013.
Program Chair, Society for Music Theory National Conference Qoint with two other professional
societies:AMS and SEM), New Orleans, 2012.
Committee Member, Graduate Student Workshop Program, Society for Music Theory, 2012.
Program Committee Member, Society for Music Theory National Conference, Minneapolis, 2011.
Board Member, University of Michigan Press"Tracking Pop" series, 2009-present.
Editorial Board Member, Music Theory Spectrum,three-year appointment to the board for the Society
for Music Theory's flagship print-journal, 2006-2009.
Duncan Murrell
242 Hillsboro Street
P.O.Box 1381
Pittsboro,NC 27312
919-414-8695
duncan.murrel l(�duke,edu
EDUCATION
Cornell University
1990: A.B. in History,cum laude
Northwestern University,Medill School of Journalism
1995: M.S. Journalism, with honors
EXPERIENCE
2011-Present Writer in Residence,The Center for Documentary Studies,Duke
University. Director of the writing program.
2012-Present Contributing Editor, The Oxford American
2010-2011 Lecturer, Department of English,North Carolina State University
2009-Present Contributing Editor,Harper's Magazine.
2008-Present Consultant and Instructor, Center for Documentary Studies,Duke
University
2007-Present Contributing Editor, The Normal School
2004-2005 Consulting Editor,The University of Georgia Press
2002-Present Freelance Journalist
1997-2002 Editor, Algonquin Books of Chapel Hill
1996-1997 Reporter, The Herald-Sun(Durham,North Carolina)
1996 Reporter,LEGI-SLATE News Service
1995 Reporter, The Register(Mobile,Alabama)
1990-1994 Artillery Officer, United States Marine Corps
SELECTED PUBLICATIONS
2013 "Wayfaring Stranger," Harper's Magazine. A narrative of lives in the Latino community of
Chatham County,North Carolina. Contracted for publication in 2013.
2013 "Sky High,"Harpers Magazine. A narrative essay about competing in an international fireworks
competition in Canada.
2012 `Begin Again: The Anxiety of Authenticity," The Oxford American. An essay on the perils of
authenticity in Southern music and culture.
2012 "Dead Deer," The Oxford American. An essay on death,the innocence of children, and roadkill.
2011 "The Meat Horses of Serbia," The Normal School.An essay on war,refugees,mythology,and
infectious disease. Spring,2011.Named a notable essay in Best American Essays.
2010 "Our House," included in the book,Literary Trails of the North Carolina Piedmont.An essay
about my old house in Pittsboro,North Carolina.
2008 "Back When We Lived Here," The Normal School. An essay on journalism and the world of a
small bar in the Bywater,New Orleans.
2007 "In the Year of the Storm," Harper's Magazine.A story based on eight months of living in post-
flood New Orleans.Folio article and cover story.
2006 "The Duke," Southern Cultures.An essay on tobacco and identity.
2005 "The Swarm," Harper's Magazine. A profile of invading termites and the scientists who chase
them in old New Orleans.Folio article.
2003 "The Art of Politics, " The Oxford American. A long profile of Gen. Wesley Clark, published
just as he embarked on his presidential campaign.
AWARDS
2010 Yaddo Fellowship.Named a Yaddo Fellow for 2010, and will be in residency at the colony
during the month of August 2010.
2007 Legion of Vermin.Inducted as a past performer at Los Angeles's famous reading series,
Vermin on the Mount.
1997 Walter Spearman Award,Associated Press News Council.
Awarded to the best newspaper writer in North Carolina with
less than two years in journalism.
1997 North Carolina Press Association Awards,second place Duke
Award for Higher Education
Arthur C. Menius III
919-675-2787
art@artmenius.com http://artmenius.com
SUMMARY
The most successful marketing, public relations, and business development professional in acoustic music.Non-profit
leader with extensive experience planning,marketing and managing successful concerts, festivals and events to
support the arts. Adept at creating strong brands through traditional and emerging media. Ability to attract financial
support through governmental grants, corporate sponsors and private foundations.
KEY ACCOMPLISHMENTS
• Exceptional achievements in marketing, advertising, and branding using traditional and emerging media. Took
MerleFest from 5,000,000 media impressions annually up to 256,000,000
• Extensive business development and corporate relations experience, including more than$500,000 in
sponsorships for MerleFest 2007
• Vast event planning and marketing experience: festivals with as many as 25,000 people per single day,
conferences for up to 2200 delegates, and concerts in venues from 150 to 1150 seats
• Supervised as many as 28 employees and managed budgets as large as $2,100,000
• Worked in community economic and cultural tourism development efforts in North Carolina and Kentucky
• More than dozen years in senior non-profit arts administration&twenty-four years with non-profit organizations
in the creative field
• A track record of success in membership development, communications, and maintenance, annual campaigns,
and individual donor development
• Five years experience with state,federal, and private foundation grantseeking, and reporting
• Built both IBMA and Folk Alliance to 2000 members.
PROFESSIONAL EXPERIENCE:
The ArtsCenter,Inc 2012-
Executive Director
Common Ground on the Hill,Ltd. 2010-2011
Director of Development
Appalshop, Inc. 2007 -2010
Director
Wilkes Community College/John A. Walker Civic Center 2004—2007
Events Marketing and Sponsorship Specialist and Marketing Director for MerleFest
MerleFest 1997-2004
Associate Festival Coordinator/Sponsorship and National Marketing Coordinator
Arts Consultant,journalist, publicist, editor,emcee/stage manager 1993-present
North American Folk Music&Dance Alliance,the Folk Alliance 1991-1996
Manager
International Bluegrass Music Association (IBMA) 1985-1990
Executive Director
Please see reverse side
Arthur C. Menius III
EDUCATION
MA, History, University of North Carolina-Chapel Hill
BA, History,honors University of North Carolina-Chapel Hill
SHILLS
Microsoft Word,Microsoft Excel,Microsoft Access,Microsoft Powerpoint
Desktop publishing and design
Project Management
Personnel Management
Budget development and Management
Conflict resolution
Social media marketing
ACADEMIC PUBLICATIONS:
"James Bennitt,Portrait of an Antebellum Yeoman,"NC Historical Review(November 198 1)
Various articles in the Dictionary of North Carolina Biography,edited by William S.Powell(UNC Press)
Various articles in the Encyclopedia of North Carolina History, edited by William S.Powell (UNC Press)
[Editor] From This Valley: Wilkes Community College Remembered—The First Forty Years(WCC 2007)
Five articles in New Grove Dictionary ofAmerican Music(Oxford Univ. Press,2012)
HONORS:
National Endowment for the Arts Folk&Traditional panelist,2010
Kentucky Arts Council Panelist,2009 &2010
Distinguished Achievement Award,international Bluegrass Music Association,2008
Blue Ridge Music Hall of Fame inductee, 2008
Print Media Personality of the Year, IBMA, 1990
Phi Beta Kappa,North Carolina chapter, 1976
COMMUNITY&FIELD SERVICE:
President,Whitesburg(KY)Rotary Club,2009-2010
Volunteer programmer,WMMT-FM 2007—present
Board of Directors,the Folk Alliance International, 1989-1990, 2007—present
Board of Directors,Americana Music Association,2006—2008
Board of Directors,IBMA, 1998-2004; Secretary 1985,2002
President,The Folk Alliance, 1990
Board of Directors,The Old-Time Music Group, 1990-1999,President, 1991-1997
NATHAN SALSBURG
254 Pope St.
Louisville, KY 40206
hirsches @gmail.com
(347) 623-1367
EXPERIENCE:
Association for Cultural Equity/Alan Lomax Archive. October 2000-
present.
ACE and the ALA are the New York-based foundation and repository/publishing
house, respectively, founded by folklorist, musicologist, writer, and producer Alan
Lomax, who spent his life capturing in sound, photographs, video and research
the world's intangible cultural heritage.
Curator, 2007—present.
Compiling, annotating, and producing a variety of releases (CD,
LP, and digital download, listed below) of Lomax's field recordings.
Working with national and regional archives, institutions, TV and film
producers, and media outlets to make our collections available and
relevant to a diversity of audiences, fans, scholars, and students. Giving
lectures and presentations at a variety of events and institutions, among
them UNC-Chapel Hill's Southern Folklife Center; the Library of Congress'
American Folklife Collection; the Brooklyn Folk Festival; and the annual
conferences of the American Folklore Society (Nashville; Bloomington;
Louisville), the International Association of Sound and AN Archivists
(Athens, Greece), and the Foundation for Independent Radio
Broadcasting in Russia (Moscow).
Photo and Video Archivist. 2002-present.
Cataloging, organizing, and maintaining Lomax's roughly 5,000
prints and negatives for preservation, dissemination to regional archives,
and the Archive's online research catalogs.
Editing, cataloging, and annotating over 1200 video clips from 400
hours of video footage shot by Lomax and crew of American folk traditions
(1978-1985) for his American Patchwork PBS series. For use in Archive's
online research catalogs, for dissemination to regional archives, and its
popular YouTube channel.
Twos & Fews recording imprint. July 2008—present.
Curator of vernacular music imprint of Chicago's Drag City record
company. See album productions below.
"Root Hog Or Die"radio show. March 2006—present.
Producing and hosting weekly (from March 2006 to January 2012) internet
radio show of traditional and folk music from around America and the world,
largely for NYC's East Village Radio. Compiling often-thematic programs
focusing on regional genres, performers, ethnicities, and frequently devising
"soundtracks" to current political events or dates of historical significance,
informed by the belief that music—especially folk music— is far from a purely
aesthetic phenomenon. No longer a weekly program for EVR, it's now compiled
occasionally for online streaming through my blog, roothogordie.wordpress.com.
"Goodbye Dear Old Stepstone"radio show, WPS1.org, New York, NY. May
2005-2006.
Producing and hosting weekly half-hour thematically organized webcasts
of traditional, vernacular, folk, site-specific music from around America and the
world for the internet radio station of MoMA and the PS1 Contemporary Art
Center.
State Department Cultural Ambassador, February-March 2005.
Traveling throughout Sweden and Hungary as a U.S. Department of State
Cultural Ambassador, presenting programs on African-American folk music at
cultural centers, embassies, archives, and a night club, in honor of America's
Black History Month.
ALBUM PRODUCTIONS:
-March 2013. Various Artists: Singing At the Ship -Alan Lomax's 1953
Blaxhall Recordings. (Alan Lomax Archive's Global Jukebox)
Digital album of Lomax's 1953 recordings of ballads and step-dancing
tunes performed in an English country pub, The Ship Inn in Blaxhall, Sussex.
Producer and compiler.
-February 2013. Sid Hemphill: The Devil's Dream -Alan Lomax's 1942
Library of Congress Recordings. (Alan Lomax Archive's Global Jukebox /
Mississippi Records)
An LP/download of Alan Lomax's 1942 recordings of the Mississippi Hill
Country's musical patriarch, Sid Hemphill, with his band. This session constituted
the first recordings ever made of the black fife-and-drum bands of North
Mississippi. Producer, compiler, and annotator.
-February 2013. United Sacred Harp Convention: The Alan Lomax
Recordings, 1959. (Alan Lomax Archive's Global Jukebox / Mississippi Records)
An LP/download of a selection of Lomax's 1959 recordings of the United
Sacred Harp Musical Association's annual singing "conference" in Fyffe,
Alabama. These were the first stereo recordings ever made of"fasola" singing.
Producer, compiler, and annotator.
-November 2012. Work Hard, Play Hard, Pray Hard: Hard Time, Good Time,
and End-Time Music, 1923-1936. (Tompkins Square)
Three LP/three CD set thematically arranged by songs of work and
occupation; dance and novelty tunes; and sacred material, drawn from 78-rpm
records of early country music that were salvaged from a Louisville dumpster.
Reviewed favorably in the New York Times, Boston Globe, Washington Post,
Pitchfork, and on NPR's Fresh Air, among other outlets. Producer, compiler, and
annotator.
-February 2012'. Georgia Sea Island Singers:Join the Band(Alan Lomax
Archive's Global Jukebox/ Mississippi Records.)
An LP/download of Alan Lomax's stereo recordings of Bessie Jones and
the Georgia Sea Island Singers of St. Simons Island, Georgia. Producer,
compiler, and co-annotator (with Anna Lomax Wood).
-November 2011. Various Artists: Where the Pig Gaed On the Spree. (Twos &
Fews/Alan Lornax Archive's Global Jukebox/ Drag City)
An LP/download surveying Alan Lomax's 1950s recordings in Scotland.
Producer and co-compiler/annotator (with Scottish singer-songwriter Alasdair
Roberts).
-March 2011. Fred McDowell: The Alan Lomax Recordings. (Alan Lomax
Archive's Global Jukebox/ Mississippi Records)
An LP/download devoted to the first-ever recordings made of the
legendary Mississippi Hill Country bluesman, "Mississippi" Fred McDowell, by
Alan Lomax in '1959. Producer, compiler, and co-annotator (with Arhoolie
Records' Adam Machado).
-November 2010. Wave the Ocean, Wave the Sea/Worried Now, Won't Be
Worried Long/I'll Meet You On that Other Shore/I'll Be So Glad When / Get
Home/I'm Gonna Live Anyhow Until I Die
(Alan Lomax Archive's Global Jukebox/ Mississippi Records)
A five-LP series commemorating the fiftieth anniversary of Alan
Lomax's "Southern Journey" field recording trip, 1959-1960, the first-ever stereo
recordings made of America's traditional music. Producer, compiler, and
annotator.
-June 2010. The Old-Fashioned Way. Hamper McBee of Monteagle,
Tennessee. (Twos & Fews / Drag City Records)
A CD/LP of the songs and stories of moonshiner, carnival barker, singer
and raconteur Hamper McBee, late of Monteagle, Tennessee. Recorded in 1977-
1978 by Charles K. Wolfe and Sol Korine. Compiler and co-producer, with
filmmaker Harmony Korine.
-December 2009. Face A Frowning World.An E.C. Ball Memorial Album.
(Tompkins Square Records)
Contemporary artists' tribute to country gospel and folk music performers
E.C. and Orna Ball, and a thirty-year memorial to E.C., who died in July of 1978.
Featuring Jon Langford, Michael Hurley, Bonnie "Prince" Billy," Jolie Holland,
and Catherine Irwin, among many others. Producer, annotator, and arranger.
-October 2009. Ou/ed Bambara: Portraits of Gnawa
(Twos & Fews / Drag City Records)
A CD/DVD set profiling six Gnawa musicians of Marrakech, Morocco.
Producer.
-November 2008. 1 Want To Go Where Things Are Beautiful.
(Twos & Fews / Drag City Records)
A CD/LP/download of the ballads, hymns, and songs of coal miner, union
activist, and singer Nimrod Workman. Recorded by Mike Seeger in 1982.
Producer, compiler, and annotator.
PRODUCTIONS AS PERFORMER:
-September 2013 (forthcoming). Nathan Salsburg: Hard for to Win and Can't
Be Won (No Quarter). Guitarist, singer, arranger/composer.
-October 2012. Rayna Gellert: Old Light(StorySound). Co-producer, arranger,
and guitarist. An album of traditional songs recalled from the childhood of
renowned old-time fiddler and singer Gellert.
-November 2011. Nathan Salsburg: Affirmed(No Quarter). Guitarist, singer,
arranger/composer. Appeared on NPR's Tiny Desk concert series in support of
album.
October 2011. James Elkington & Nathan Salsburg: Avos (Tompkins Square).
Guitarist and co-composer.
-December 2009. Face A Frowning World:An E.C. Ball Memorial Album.
(See above.) Guitarist, arranger, and singer.
-December 2008. "Bold Ruler's Joys," included in Imaginational Anthem 3.
Volume 3 in the Tompkins Square label's series of solo guitar compositions.
-Fall 2002. Halifax Pier: Put Your Gloves On and Wave (Temporary Residence
Ltd.). Guitarist, singer, and composer.
-Summer 2000. Halifax Pier: self-titled (Temporary Residence Ltd.) Guitarist,
singer, and composer.
PUBLISHED WRITINGS (independent of album notes, above):
-June 2013 (forthcoming). "It's Only Perfect Because He's Authentic." Oxford
American.
Commissioned online consideration of the notions of"authenticity" and
"pure culture" with regard to American folk music.
-March 2013. "A Folk Revival Playlist." Oxford American.
Online compilation of wonderful and seminal performances from the
period known as the American "Folk Revival," roughly late `40s to early '60s. Co-
compiler with Amanda Petrusich.
-June 2011—May 2012. "Root Hog Or Die." Louisville Eccentric Observer.
Monthly music column. Topics included cell-phone music of the Western
Sahel, Victor Records' 1931 recording session in Louisville, the discovery of blue
guitarist Blind Blake's death certifcate, and appreciations of klezmer comedian
Mickey Katz and the amateur soprano Florence Foster Jenkins (with whom I
share a hometown and a birthday).
-December 2009. "Sharing Resources, Sharing Responsibility: Archives
in the Digital Age." Journal of the International Association of Sound and
Audiovisual Archives (1A SA).
A paper on the Alan Lomax Archive's transition from a physical to a digital
archive, originally presented at the 2009 IASA conference in Athens, Greece.
-April 2009. "Labor of Love," Louisville Eccentric Observer.
An appreciation of activist, folklorist, and progenitor of"laborlore," Archie
Green, on the occasion of his passing.
-August 2008. Art of Field Recording, Volume Two. (Dust-to-Digital label,
Atlanta)
Introduction to CD box-set of the folk-music recordings of collector and
scholar Art Rosenbaum. (The first volume won a 2008 Grammy Award for Best
Historical Reissue.)
-October 2007. "The `Authentic' Buell Kazee," Louisville Eccentric Observer.
Regarding the late Kentucky banjo player and preacher Kazee and the
various notions of folkloric "authenticity."
-August 2007. Spencer Moore CD (Tompkins Square Records, New York City).
Liner notes for an album of new recordings by 87-year-old country guitarist
and singer from Southwestern Virginia.
-Winter 2006-2007. "Captain, Captain, Don't You Know My Name," American
Short Fiction.
Curation of and introduction to a collection of photos and lyrics culled from
Alan Lomax's 1959 Parchman Farm (Mississippi State Penitentiary) fieldwork.
-November 2006. "What Ladysmith Wrought." New York Sun.
A consideration of the Zuiu vocal group Ladysmith Black Mambazo and
the cultural and commercial concept of"world music."
-May 2006. "Alan Lomax and Cultural Equity," program notes for"FOLK"
exhibition at Brooklyn Fireproof gallery, New York City.
An exhibition of photos, films, audio recordings, and artifacts from the
Alan Lomax Archive, with an emphasis on the concept of"cultural equity" in
media and artistic expression. (See below.)
OTHER PRODUCTIONS:
-Summer 2006. Curator, "FOLK" exhibition, Brooklyn Fire Proof gallery,
Brooklyn, New York.
Curating "FOLK," an exhibition of photos, films, audio recordings, and
artifacts from the Alan Lomax Archive at the Brooklyn Fire Proof gallery (May-
August 2006), with an emphasis on the concept of"cultural equity" in media and
artistic expression. Also booking accompanying performance series at gallery
and at Manhattan's Joe's Pub (of the Public Theater). Exhibition and series
reviewed favorably in The New York Times, Time Out New York, and The New
Yorker, among other outlets.
CURRICULUM VITAE
NAME: William R.Ferris
BIRTHDATE: February 5,1942
HOME ADDRESS: 1 Mint Springs Lane
Chapel Hill,NC 27514
WORK ADDRESS: Center for the Study of the American South
The University of North Carolina at Chapel Hill
CB#9127,410 East Franklin Street
Chapel Hill,NC 27599-9127
TITLE: Senior Associate Director,Center for the Study of
the American South
Joel R.Williamson Eminent Professor of History
Adjunct Professor in American Studies
Adjunct Professor in the Curriculum in Folklore
Adjunct Professor in the School of Information and Library Sciences
TELEPHONE: (919)962-0519(Office)
AIL: wferris @unc.edu
ACADEMIC TRAINING:
Summer Program Union Theological Seminary 1963
(New York)
BA(English Literature) Davidson College 1964
MA(English Literature) Northwestern University 1965
One-Year Student Trinity College 1965-66
(Dublin,Ireland)
MA(Folklore) University of Pennsylvania 1967
PhD(Folklore) University of Pennsylvania 1969
Dissertation:'Black Folklore
From the Mississippi Delta"
TEACHING EXPERIENCE:
Assistant Professor Jackson State University 1970-72
Department of English :lackson,Mississippi
Associate ProfessorYale University 1972-79
Afro-American and New Haven,Connecticut
American Studies
Programs
Director,Center forUniversity of Mississippi 1979-97
Study of Southern Oxford,Mississippi
Culture and Professor of
Anthropology
Visiting Fellow,Stanford Humanities Center 1989-90
Stanford University
Palo Alto,California
2
Ferris Vitae
Chairman,National Washington,DC 1997-2001
Endowment for the Humanities
Public Policy Fellow Washington,DC 2002
Woodrow Wilson International
Center For Scholars
Faculty Fellow University of North Carolina Fall,2007
Institute for the Arts and Humanities
Guggenheim Fellowship 2007-2008
Joel R.Williamson Eminent Professor of History 2002-present
Adjunct Professor in the Curriculum in Folklore
Adjunct Professor in American Studies
Senior Associate Director,Center for the Study of the American South
University of North Carolina at Chapel Hill
BOOKS:
Blues From the Delta, Studio Vista(London, 1970); revised edition,Foreword by Billy Taylor, Doubleday (New York, 1978);
DaCapo(New York, 1988).II Blues Del Delta,Postmedia Books(Fiesole,Italy,2011).
Mississippi Black Folklore:A Research Bibliography and Discography,University Press of Mississippi(Jackson,1971).
Black Prose Narrative From the Mississippi Delta, published by Jazz Forschung/Jazz Research, Jahrbuch 6/7 (Graz, Austria,
1974-75).
Afro-American Folk Arts and Crafts, special edition of Southern Folklore Quarterly vol. 42, nos. 2 and 3 (1978); revised
edition,G.K.Hall&Co.(Boston,1983);University Press of Mississippi (Jackson,1986).
American Folklore Films and Videotapes: An Index, Co-Editor with Judy Peiser and Carolyn Lipson, Center for Southern
Folklore (Memphis, 1976).
Local Color,Foreword by Robert Penn Warren,McGraw-Hill(New York,1982);Anchor Books/Doubleday(New York, 1992).
Folk Music and Modem Sound,Co-Editor with Sue Hart,University Press of Mississippi(Jackson, 1982).
Images of the South•Visits With Eudora Welty and Walker Evans,Center for Southern Folklore(Memphis, 1978).
Encyclopedia of Southern Culture,Foreword by Alex Haley,Co-Editor with Charles Wilson,University of North Carolina Press
(Chapel Hill, 1989);four-volume paperback(Anchor/Doubleday, 1991).
"You Live and Learn. Then You Die and Forget It All." Ray Lum's Tales of Horses. Mules and Men, Foreword by Eudora
Welty, Anchor Books/Doubleday(New York, 1992);reissued as Ray Lum:Mule Trader,University Press of
Mississippi(Jackson. 1998).
Give My Poor Heart Ease:Voices of the Mississippi Blues,University of North Carolina Press(Chapel Hill, 2009).
The New Encyclopedia of Southern Culture Volume 147 Folklife,Co-Editor with Glenn Hinson,Charles Wilson,General Editor,
University ofNorth Carolina Press(Chapel Hill,2010).
The Storied South:Voices of Writers and Artists,University of North Carolina Press(Chapel Hill,2013).
DOCUMENTARY FILMS:
1969---Mississippi Delta Blues.
Black Delta Religion.
1970---Delta Blues Singer:James"Sonny Ford"Thomas.
1972---Gravel Springs Fife and Drum.
1973---Green Valley Grandparents.
1974---Ray Lum:Mule Trader.
Fanny Bell Chapman:Gospel Singer.
1975---Give My Poor Heart Ease.
Two Black Churches.
I Ain't Lvin'.
Made In Mississippi.
1977---Four Women Artists.
3
Ferris Vitae
1978---Hush Hoegies Hush.
1980---Bottle U1and Go
1983---Paintine In the South
Mississippi Blues (Associate Producer; Directed by Bertrand Tavernier and Robert Parrish and
featured at Cannes Film Festival)
3
Ferris Vitae
MALINDA MAYNOR LOWERY
3010 Hope Valley Rd• Durham, NC 27707 Department of History
Ph: 919-599-3969 UNC-Chapel Hill
P.O. Box 1499 • Pembroke, NC 28372 Hamilton Hall, CB #3195
Ph: 910-521-9513 Chapel Hill, NC 27599
Member, Lumbee Tribe of North Carolina mmaynor @email.unc.edu
(Enrollment#129265)
Employment:
Assistant Professor, Department of History, University of North Carolina-Chapel Hill,
July, 2009-present.
Assistant Professor, Department of History, Harvard University. July, 2005-June, 2009.
Adjunct Faculty, Department of History, North Carolina State University. January-May
2005.
Adjunct Faculty, Center for Documentary Studies, Duke University. January-May
2002.
Graduate Teaching Assistant, Department of History, University of North Carolina.
August 2001-May 2003.
Lecturer, Department of American Indian Studies, San Francisco State University.
January 1997-December 1998.
Education:
Ph.D., History, May, 2005. The University of North Carolina, Chapel Hill.
Dissertation: "Native American Identity in the Segregated South: The Indians of
Robeson County, North Carolina, 1872-1956." 302 pp.
M.A., History, May 2002. The University of North Carolina, Chapel Hill.
M.A., Documentary Film and Video Production, 1997. Stanford University.
A.B., History and Literature, cum laude, 1995. Harvard University.
Book-length Works:
Lumbee Indians in the Jim Crow South: Race, Identity, and the Making of a Nation.
Chapel Hill: University of North Carolina Press, 2010. 350 pp.
Peer-Reviewed Articles:
"People and Place: Croatan Indians in Jim Crow Georgia, 1890-1920." American
Indian Culture and Research Journal, 21 (Spring 2005): 37-64.
"Making Christianity Sing: The Origins and Experience of Lumbee Indian and
African-American Church Music." Confounding the Color Line: Indian-Black
Relations in a Multidisciplinary Perspective. Edited by James Brooks. Lincoln:
University of Nebraska Press, 2002. 321-45.
Book Chapters and Refereed Publications:
"Telling Our Own Stories: Writing Lumbee History In the Shadow of the BAR,"
American Indian Quarterly 33 (Fall 2009): 499-522.
Malinda Maynor Lowery-2
"Indians, Southerners, and Americans: Race, Tribe, and Nation During Jim Crow,"
James A. Hutchins Lecture at UNC-Chapel Hill, 26 February 2009, Native South
2 (2009): '1-22.
"Practicing Sovereignty: Lumbee Identity, Tribal Factionalism, and Federal
Recognition, 1932-1934." Foundations of First Peoples' Sovereignty: History,
Culture and Education. Edited by Ulrike Wiethaus. New York: Peter Lang, 2008.
57-95.
"Finding Wisdom in Places: Lumbee Family History." Indigenous Diasporas:
Unsettling Western Fixations. Edited by Graham Harvey and Charles D.
Thompson. Burlington, VT: Ashgate Press, 2005. 153-68.
"What Is Progress? Desegregating an Indian School in Robeson County, North
Carolina." By James Arthur Jones, as told to Malinda Maynor. Southern Cultures
10 (Summer 2004): 87-93.
"Indians Got Rhythm, Too: Lumbee Indian and African-American Church Music."
North Dakota Quarterly 67 (Summer/Fall 2000): 72-91.
"The Cowboys Always Win: The Indian Reorganization Act of 1934." History in
Dispute, Vol. Ill: American Social and Political Movements, 1900-1945: Pursuit of
Progress. Edited by Robert J. Allison. Detroit: St. James Press, 2000. 142-6.
Book Reviews:
Yaqui Homeland and Homeplace: The Everyday Production of Ethnic Identity. Kirstin
C. Erickson, American Indian Culture and Research journal [forthcoming].
Explorers in Eden: Pueblo Indians and the Promised Land. Jerold S. Auerbach, journal
of Interdisciplinary History 38 (Spring 2008): 629-31.
Waccamaw Legacy: Contemporary Indians Fight For Survival. Patricia Barker Lerch.
Ethnohistory 52 (Spring 2007): 358-60.
Keeping the Circle: American Indian Identity in Eastern North Carolina. Christopher
Arris Oakley. American Indian Culture and Research Journal 30 (Summer 2006):
154-6.
The Legal Ideology of Removal: The Southern Judiciary and the Sovereignty of Native
American Nations, Tim Alan Garrison. North Carolina Historical Review 79
(January 2003): 96-97.
Enclyclopedia Entries:
"Town Creek Indian Mound," in Frances H. Kennedy, ed., American Indian Places: A
Historical Guidebook. New York: Houghton Mifflin, 2008. 102.
Popular Works and Fiction:
"Sacred Places in the Heart: Lumbee Family and Faith." NC CROSSROADS 7
(September 2003). 8 pp.
"A True Story." River Spirits: A Collection of Lumbee Writings. Edited by Stanley
Knick. Native American Resource Center Publications, University of North
Carolina at Pembroke, 2003. 132-8.
Malinda Maynor Lowery-3
Filmography:
Co-Producer, In the Light of Reverence -Video, 73 minutes (2001)
National Broadcast: P.O.V., Public Broadcasting Service, August 14, 2001
Selected Awards: Henry Hampton Award for Social Change Documentary;
Best Documentary Feature, American Indian Film Festival; Eagle Award, Taos
Talking Picture Film Festival; CINE Golden Eagle; Jury Award, MountainFilm
Selected Screenings: World Parks Congress (Durban, South Africa); United
States Department of the Interior; The United States Senate (organized by
Senator John McCain); National Trust for Historic Preservation (Denver, CO);
Grand Opening, National Museum of the American Indian; Kennedy Center
for the Performing Arts; United States Environmental Protection Agency
Producer/Director/Editor, Sounds of Faith - Video, 14 minutes (1997)
Selected Screenings: Sundance Film Festival, Smithsonian Institution, New
York Native American Film Festival, American Indian Film Festival
Producer/Director/Editor, Real Indian - 16mm, 7 minutes (1996)
Awards: Best Short Documentary, South by Southwest Film Festival; Best Indian-
Produced Short Documentary, Red Earth Film Festival
Selected Screenings: Sundance Film Festival, Women in the Director's Chair Film
Festival, American Indian Film Festival
Works in Progress:
"Arlinda Locklear: An Oral History," book chapter for Champions of Sovereignty: The
Lawyers and Litigants Who Revitalized Tribal Autonomy, ed. Tim Alan Garrison
[under contract at Carolina Academic Press]
"'You Seem Like a Pied Man:' Racial Ambiguity and Murder in Montgomery County,
Georgia, 1893," Article.
Enterprising Indians: Capitalism in the Coal Fields of Indian Territory, book-length
work.
Curriculum Development:
Developer, Lumbee History Digital Research Collaboration (recipient of Center for
Faculty Excellence/Lenovo Instructional Innovation Grant, UNC-Chapel Hill)
Faculty Director, Study Abroad in the Cherokee Nation, May-June 2010 (Burch Field
Research Honors Seminar, UNC-Chapel Hill)
Co-Organizer, "The Place of Native Americans in U.S. History," Radcliffe Institute for
Advanced Study Exploratory Seminar, February 1-3, 2007.
Co-Developer, "3-D Primary Source Packet" for Native American Studies Curriculum,
Harvard University, Spring 2006-Spring 2007.
Courses Taught:
"Native American Tribal Studies: Lumbee History" (Seminar, UNC-Chapel Hill,
HIST/ANTH/AMST 234)
"Colloquium in U.S. History Since 1865" (Graduate Seminar, UNC-Chapel Hill, HIST
716)
Malinda Maynor Lowery-4
"Race and Ethnicity in the 20`h-Century United States" (Research Seminar, UNC-
Chapel Hill, HIST 395.13)
"Native America: The East" (Lecture, Harvard University, History 1657 and UNC-
Chapel Hill, HIST/AMST 231).
"Native America: The West" (Lecture, Harvard University, History 1658).
"Native American Identities" (Seminar, Harvard University, History 1655).
"Sacred Places and American Law" (Seminar, Harvard University, Freshman Seminar
41 x).
"Major Themes in American Historical Writing" (Seminar, Harvard University, History
90e, co-taught).
"Special Topics—Native American History" (Lecture, North Carolina State University,
History 498).
"Native American Places" (Seminar, Duke University, Religion 1965/Cultural
Anthropology 180S, co-taught).
"Images of Indians in the Mass Media" (Lecture, San Francisco State University, AIS
235)
Other Professional Activities:
Research Assistant, Southern Oral History Program, University of North Carolina.
August, 2003-May, 2004.
Coordinator, Lumbee River Fund for the Preservation of Lumbee History and Culture,
University of North Carolina, Pembroke. August, 2000-August, 2005.
Selected Invited Lectures
"Kinship and Capitalism in the Gilded Age: Coal Mining in the Choctaw Nation."
Harvard University, April 2010.
"Indian, Southern, and American: Lumbee Indians in the Jim Crow South." Indiana
University,. April 2010.
"Redefining Race: Lumbee Indians at the Crossroads of Southern History." Keynote
Address, Historical Society of North Carolina Semi-Annual Meeting, Elon
University, April 2010.
"Working From Home: Research and Native American Identity." Keynote Address,
University of New Mexico Critical Knowledge Symposium, April 2010.
"Indians, Southerners, and Americans: Race, Tribe, and Nation During Jim Crow."
University of Georgia, April 2009.
"Indians, Southerners, and Americans: Race, Tribe, and Nation During Jim Crow."
James A. Hutchins Lecture, Center for the Study of the American South, UNC-
Chapel Hill, February, 2009.
"Working From Home: Documenting Lumbee History." Center for Documentary
Studies at Duke University, April, 2008.
"Redefining Race: Native American Identity in the Southeastern United States."
University of Massachusetts-Boston, April, 2007.
"Native American Identity in the Segregated South." Brandeis University Department
of History, October, 2006.
Malinda Maynor Lowery-5
"Paper Genocide: Eliminating American Indians in the 20`h-Century U.S. South."
Japan Society for the Promotion of Science symposium, "Genocide and the World
Today," University of Tokyo, Japan, March 2006.
"Native American Sacred Places." Paper and film screening at the Environmental
Protection Agency, Research Triangle Park, NC, November 2005.
"'I Will Sing With the Understanding Also:' Lumbee Indian and African American
Gospel Music." Auburn Avenue Research Library on African American Culture
and History, Atlanta, GA, June 1999.
Selected Conference Papers and Roundtables
"Remembering Blackness, Forgetting Indianness: The Story of Charley Patton, King of
the Delta Blues." Native American and Indigenous Studies Association, May
2010.
"Kinship and Capitalism in the Gilded Age: The Choctaw and Chickasaw Nations."
American Society for Ethnohistory, October, 2009. Panel Organizer.
"Indians or Citizens? Recognizing the Lumbee in the Jim Crow South." American
Historical Association, New York, NY, January, 2009.
"The New Politics and Problems with US Federal Recognition." Roundtable, Native
American and Indigenous Studies Association, April, 2008.
"Segregation and Indian Policy in the Twentieth-Century South." Southern Historical
Association, November, 2007.
"The Half-Truths of History: Writing About Lumbees In the Shadow of BAR." Western
History Association, October, 2007.
"Molly, or Chickaw: African-American Slave or Cherokee Nation Citizen?"
Organization of American Historians, April 2006.
"Indian Identity in the Twentieth Century: The Lumbee Case." Society for
Ethnohistory, November 2005.
"Harmonizing Diversity: Interpreting Lumbee Identity During the Segregation Era."
Southeastern Indian Studies Conference, UNC-Pembroke, April 2005.
"Developing Racial Segregation: Industrialization, Identity, and Racial Violence in
Montgomery County, Georgia, 1893." American Studies Association, November
2004. Panel Organizer.
"People and Place: Croatan Indian Migration to Bulloch County, Georgia, 1890-
1920." Southern Historical Association, November, 2002. Panel Organizer.
"The Indian Wars of Robeson County, North Carolina, 1864-1872." "Lynching and
Racial Violence in America: Histories and Legacies," Emory University, October,
2002.
"People and Place: Croatan Indian Migration to Bulloch County, Georgia, 1890-
1920." Symposium of the Consortium on Georgia History, Georgia College and
State University, February 2002.
"Native American and African-American Racial Stereotyping." "'Eating Out of the
Same Pot:' Relating Black and Indian (Hi)stories," Dartmouth College, April 2000.
Awards and Honors:
Malinda Maynor Lowery-6
Office of Undergraduate Research, UNC-Chapel Hill. $750 for a Graduate Research
Consultant for HIST 234, Spring 2010.
Lenovo Instructional Innovation Grant, Center for Faculty Excellence, UNC-Chapel
Hill. $5,0118.00 for a Graduate Course Assistant, Digitization of Southern
Historical Association Documents, Fall 2009.
Office of Undergraduate Research, UNC-Chapel Hill. $750 for a Graduate Research
Consultant for HIST 395, Fall 2009.
Post-Doctoral Fellowship, Center for the Study of the American South, UNC-Chapel
Hill, 2008-2009. $40,000.
Role Model of the Year, Native Americans at Harvard College, April, 2007.
Stanford University Multicultural Alumni Hall of Fame Inductee, 2006.
Clark Fund Research Award, Harvard University Faculty of Arts and Sciences, 2006.
$3,361.
Ford Foundation, Dissertation Fellowship, 2004-2005. $20,000.
Archie K. Davis Fellowship, Southern Oral History Program, University of North
Carolina, January-May, 2004. $3,500.
Johnson Center for Undergraduate Excellence Intellectual Life Grant, UNC-Chapel Hill,
2002. $1,200.
William C. Friday Fellowship for Human Relations, Wildacres Leadership Initiative,
2003. Declined.
Southern Research Circle Summer Stipend, Center for the Study of the American South,
University of North Carolina, May 2001. $1,607.
Rockefeller Foundation, FilmNideo/Multimedia Fellowship, 2001-2002. $35,000.
Royster Society Fellowship, The Graduate School, University of North Carolina, 2000-
2005. $75,000.
Multicultural Producer Scholarship, Corporation for Public Broadcasting, 1998-1999.
$1,800.
Native Initiative Fellowship, Sundance Institute, 1998.
Folklife Documentary Grant, North Carolina Arts Council, 1997. $1,200.
Younger Scholar Summer Research Award, National Endowment for the Humanities,
1994. $2,000.
Research Fellowship, National Museum of American History, Smithsonian Institution,
1993. $3,000.
Department Service:
Faculty Ad-Hoc Committee on the Instructional Budget, Fall 2009.
Committee on Teaching, University of North Carolina-Chapel Hill, 2009-2010.
Curriculum Committee, Harvard University, 2006-2007.
Honors Thesis Advisor, Harvard University (Elizabeth McEvoy, 2008; Gabriella Gage,
2007).
General Examination Field in Native American History, Harvard University.
Selected University Service:
Faculty Director, Study Abroad in the Cherokee Nation, UNC-Chapel Hill, May-June
2010.
Malinda Maynor Lowery-7
Selection Committee, Graduate Education Advancement Board Impact Awards, UNC-
Chapel Hill, October, 2009.
Committee on Degrees in History and Literature, Harvard University, 2008-2009.
Committee on Higher Degrees in the History of American Civilization, Harvard
University, 2006-2008.
Administrative Committee, Charles Warren Center for the Study of American History,
2005-2008.
Standing Committee on Ethnic Studies, 2005-2008.
Faculty Advisory Board, Harvard University Native American Program, 2005-2008.
Faculty Advisor, Native Americans at Harvard College, September 2005-2008.
Service to the Profession:
Program Committee: Southern Historical Association Annual Meeting, 2011 .
Manuscript Reader: American Historical Review; American Indian Quarterly; Southern
Cultures; Native South; Journal of the Gilded Age and Progressive Era.
Post-Tenure Evaluations: Portland State University; Appalachian State University.
Panel Discussant or Chair: Native American and Indigenous Studies Association;
American Society for Ethnohistory.
Teacher Education Workshops: Primary Source (Watertown, MA); Suffolk University
(Boston, MA); North Carolina Humanities Council (Pembroke, NC); University of
North Carolina-Pembroke
Selected Community Service:
Advisory Board, "Commemorative Landscapes of North Carolina," 2010.
Selection Committee, N.C. Arts Council Film Fellowships and Folklife Grants, 2006.
President, Board of Directors, Carolina Arts Network, Pembroke, N.C., 2004-present.
Member, Advisory Board, Southern Documentary Fund, Durham, N.C., 2003-present.
Peer Review Panelist for Documentary Film Grants, Native American Public
Telecommunications, 2002.
Board Member, Working Films, Wilmington, N.C., 2001-2005.
Steering Committee, Indian Leadership Initiative, University of North Carolina, 2000-
2001.
Recognition and Reviews:
"An Interview with Malinda Maynor Lowery." North Carolina People with William
Friday, North Carolina Public Television, Broadcast 24 June 2005 and 26 June
2005.
Neil Genzlinger, "TELEVISION REVIEW: If Land Is Called Sacred, Bitter Disputes
Can Erupt." Review of In the Light of Reverence. New York Times, 14 August
2001.
Professional Affiliations:
American Historical Association
Organization of American Historians
American Society for Ethnohistory
Malinda Maynor Lowery-8
Southern Historical Association
American Studies Association
Native American and Indigenous Studies Association
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by in a full lion costume. community around the school.The plan is
u 3'I A>1�LD[ s They've gathered for the promotional based on a blueprint from when Bill Ferris,
video shoot for ConvergeNC,a new one-day the associate director of the Center for the
Southern music fest scheduled for this very Study of the American South,tried to start a
field on Saturday,April 6.Organizers Gabe much larger festival.
Chess and Libby Rodenbough stand at the "It was going to be more blues,I think,
top of the unlikely venue,wedged between based on his interest,"says Chess.It never
the football stadium and the futuristic happened,as it was too big for the college
Genome Science Building.With excited to take on.They used that model as a
sweeps of the hand,they indicate where the springboard,even if their chosen musicians
L stage,band tent and food trucks will sit.They are easier to tie together geographically than
are pleased with their classmates'energy. traditionally or historically.
"We're going to present to you one possible "I don't think we want to come to
answer to the question,`What is Southern our audience here—our UNC and
music?"'says Rodenbough.While headlining Triangle audience—as an authority,"says
string band Mipso,a band of Tar Heel
` f students in which she plays fiddle,may be a
. , ...
stylistic shoe-in,the lineup comes populated Libby Rodenbough and Gabe Chess explore definitions of Southern music
with curveballs.From Some Army's with a new festival at UNC.
inward psychedelic rock and the hip-hop of
PHOTO COURTESY OF CONVERGENC
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Rodenbough."We don't want to w, ° Guitars Guru impose a vision of Southern music
on anybody." .` Home' Tone:
She,Chess and the other t �
members of their purposefully
small planning committee r
grew up in the modem South,ad
place where academic culture
and regional tradition aren't -
necessarily linked.Chess,fort 3104 M11 b
instance,was raised in Asheville Raleigh, SC WN
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by Northern transplant parents, Guitar Repair HandmadeGuitars
while Greensboro native
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Rodenbough has played classical Amps
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until a recent summer she spent band programs for teens and (919)833-6607 GuruGuitarShop.com
in a Chicago conservatory that she
shifted her focus to fiddling.
"Everybody was treating me
SIXTEENTH BIANNUAL
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like I was this precious resource
because I was a Southerner,and
everybody there was trying to learn F—
fiddle. antednetoteach ' REC � SH
fiddle.They wanted me to teach
them,and I didn't know anything," /n�..-JY� .. �n���
she confesses."All I knew was Mipso,featuring Libby Rodenbough, JGlC�CC[G• 'r"" * /Vbolt- V�1./�2.
classical music." headline ConvergeNC. Carrboro Century Center.Century Hall(2nd floor)
LANGE PHOTO BY JEREMY M.
ConvergeNC committee member Clay FILE 100 North Greensboro St.
Sutton may have the most direct claim to :- (intersection of Greensboro Street with Main&weaver Streets.)
these types of Southern traditions;his father Taylor's personal journey through 40 tables of new&used CDs,vinyl records and music memorabilia!!!
is a clogger and square-dance caller from Southern music has received significant FREE ADMISSION
Marshall,N.C.The clean-cut and cheerful accolades—one recent Hiss Golden Fqr'IIlf.O:'919.260.0667 or nfusleal roo"#bellso I h.net
freshman says he grew up with traditional Messenger laurel comes from fan David "
music,though it hasn't Bowie.Ferris,who is only
consistently appealed to peripherally involved with
him. ConvergeNC Music Festival ConvergeNC,has yet
"I'm one of those of Saturday,April 6,3:3,0 P.m. to listen to Hiss Golden
people who gravitated Bell Tower Amphitheater, Messenger or the other q DO You Have
away from it growing UNC-Chapel Hill bands on the lineup. �
�'` You
up,"he says, `because it Mipso,Virgins Family Band,Hiss Golden "Because the students
was different from what Messenger,Kaze,Some Army,TURCHI, are developing this,the
Celiac
my friends were doin g Music Maker Blues Revue P erformers are going to
in school and I was into facebook.com/convergencfest be artists that they feel Disease?
sports."His excitement will draw their fellow �w
in joining ConvergeNC students,and it's not
seems to stem less necessarily the kind of Wale e
from obeisance to tradition and more from artists that I would have in my class.They - � 9 m
following in his dad's footsteps—the elder will be more contemporary and probably Wake Rey
utes
Sutton,Clay says,is always joining festival less traditional,"Ferris deduces."But once conduott
committees. the festival is in place,I think it will grow and -"
an letgtl-mYe� i�li � Rd.#€304
For Michael Taylor,whose Hiss Golden evolve in good ways and be more inclusive." j y
Messenger will perform at ConvergeNC, Rodenbough and Chess would rather patients"-", �ktvlAh,NC 2761;2
definitions of the South and its tradition are continue the dialogue they aim to start 81,2514
dodgy at best. Saturday.And they want the festival to If yotl
"I don't know if there is a way to put your become larger and to effectively draw both ' �R4Search com
arms around Southern music,but it certainly UNC students and local residents.Pointing Celiac ch � y
has something to do with living here and at the nearby Kenan Stadium,Rodenbough gluten,freted 1 1 V J
understanding the good and important things reckons that,ifthese groups are equally
for this study `
that a place like North Carolina has to offer," drawn to on-campus sports,why can't they +�
he says.His new LP,Haw,represents a search be drawn to on-campus music? �
for those things,whether they be familial, "'Ne were trying to book people we
like with the Suttons,or more detached thought would apply to both demographics,"
and philosophical,as with UNC's Southern she says."It's really important to us...not Eligible ltnte 1G£1iF no cost:
Folklife Collection."I moved here because to have anyone feel like they're out of place 'Study-related vaccine
the things that I love come from the South. there."A •Study-related medical exams
I knew that if I had any hope of starting to •Compensation,up to$800 for time and travel
understand the things that I love,I need to Corbie Hill lives in Pittsboro,where he works
live near where they came from." as a tutor,raises his family and plays rock n'roll.
43
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Activities Board c UNC�Music Department
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