Bruce Conforth | |
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Born | Bruce Michael Conforth September 3, 1950 Paterson, New Jersey, United States |
Occupation(s) | Academic, author, lecturer, musician |
Bruce Michael Conforth (born September 3, 1950) is an American academic, author, lecturer, and musician. He was the first curator of Cleveland's Rock and Roll Hall of Fame. [1]
Conforth was born in Paterson, New Jersey, and grew up in New Jersey and New York City. [2] He became an artist and musician at an early age. In 1966, he appeared on an album called It's Happening Here as the bass player for a band called The Nightwatch. [3] He was an athlete in high school, winning several letters and medals for his abilities as a long jumper, quarter-miler, and a member of the mile-relay team. [4]
Conforth joined the early 1960s folk scene in New York City's Greenwich Village. He said that he used to hang out at Izzy Young’s Folklore Center, where he met Bob Dylan, Dave Van Ronk, Harry Belafonte, and others. At the Gaslight Cafe, he saw and was influenced by such blues musicians as Son House, Skip James, and Mississippi John Hurt, and he also took guitar lessons from Rev. Gary Davis. [5] [6]
After graduating from high school, Conforth received a scholarship to art school, and in 1971, worked as an apprentice to the American abstract expressionist Willem de Kooning. In 1973, he was the editor of a college literary magazine, through which he made contact with poets Allen Ginsberg and Charles Bukowski, and with John Lennon and Yoko Ono. [5]
In 1977, he appeared as "Josh Hawkins" (part of the duet Bates and Hawkins) on an album called Ragtime, Blues and Jive, also featuring fiddler Kenny Kosek. [7]
In 1980, Conforth began attending graduate school at Indiana University Bloomington, where he majored in folklore, ethnomusicology, and American Studies. [8] He married the former Jeanne Harrah and they combined their last names; for the next decade, he was known as Bruce Harrah-Conforth. He continued to play music, appearing in a local band called The Extremes. While at Indiana University, he worked at the university's Archives of Traditional Music, contributing a number of articles to their newsletter "Resound". [9] Through his work at the Archives, he became involved with the still relatively unknown collection of African-American folk recordings of Lawrence Gellert. He produced two albums of songs from this collection. The first, in 1982, was on Rounder Records,"Cap'n You're So mean" (RR#4013 [10] ) was recognized by the Library of Congress as one of that year's most outstanding folk recordings. [11] The second, "Nobody Knows My Name" was issued by the English company Heritage Records (HT304 [10] ) in 1984. Conforth wrote his 1984 Master's thesis on the collection: "Laughing Just to Keep from Crying: Afro-American Folksong and the Field Recordings of Lawrence Gellert".
In 1985, Conforth completed his PhD, which was titled "The Rise and Fall of a Modern Folk Community: Haight-Ashbury 1965-1967." It contains many interviews with the founding musicians of the "San Francisco Sound." [12]
During the 1980s, Harrah-Conforth became involved in researching the use of light and sound stimulation in inducing altered states of consciousness in humans. He produced a work titled "Accessing Alternity" that described the history of man's quest into this area. [13] In "A History of Light and Sound", Michael Hutchison wrote:
The report by Harrah-Conforth suggests that sound and light devices may cause simultaneous ergotropic arousal, or arousal of the sympathetic nervous system and the cerebral cortex, associated with 'creative' and 'ecstatic experiences,' and trophotropic arousal, or the arousal of the parasympathetic system, associated with deep relaxation and 'the timeless, "oceanic" mode of the mystic experience.' In humans, Dr. Harrah-Conforth concludes, 'these two states may be interpreted as hyper- and hypo- arousal, or ecstasy and samadhi.
In May 1991, he was named the founding curator of the Rock and Roll Hall of Fame and Museum in Cleveland. [2] His initial duties were to create the collections for the Museum. Among the artists he worked with were The Allman Brothers, The Grateful Dead, Yoko Ono, Ringo Starr, U2, Eric Clapton, Ray Charles, B. B. King, The Everly Brothers, The Kinks, Jeff Beck, Tom Petty, The Yardbirds, Big Brother and the Holding Company, Eric Burdon, Dire Straits, Neil Young, Aretha Franklin, Johnny Cash, The Beach Boys, The Doors, James Brown, Carl Perkins, and The Eagles, some of whom he had known during his own days as a performer.[ not specific enough to verify ] The early years of the Rock Hall saw some tensions develop friction between the two boards of directors: one in Cleveland made of local businessmen, and one in New York City (the location of the Rock and Roll Hall of Fame Foundation) populated by industry executives such as Ahmet Ertegun of Atlantic Records and Jann Wenner of Rolling Stone Magazine. With the construction of the building almost complete, Conforth left the job. He was alleged to have written a tell-all book called "Don't Rock the Hall" but the work has never been published. [14]
After leaving the Museum, Conforth was appointed one of six "founding faculty" designated to create the programs for a "New College of Global Studies" being created by Radford University in Radford, Virginia. [15] While there, he worked with noted neuro-psychologist Dr. Karl Pribram at his Center for Brain Research.
In 1995, Conforth took his first trip to Nepal and immediately developed a deep interest in the region and in the religion of Tibetan Buddhism. For the following five years, he worked as a trekking guide in that area. The New College eventually closed when Virginia Governor George Allen stripped its budget.
In 2000, Conforth was appointed Director of the Jewel Heart Center for Tibetan Buddhism and Culture in Ann Arbor, Michigan, founded by the Buddhist teacher, Gelek Rinpoche. [16] He also began teaching part-time at the University of Michigan. He left Jewel Heart in 2004 and became a full-time member of the university's Program in American Culture.
As part of the American Culture Department, Conforth developed and taught courses on American popular music, including blues and folk music, and folklore.[ citation needed ] On March 14, 2012, Conforth received the University of Michigan's Golden Apple Award for outstanding teaching. [17]
In May 2013, Conforth's book African American Folksong and American Cultural Politics: The Lawrence Gellert Story, was published by Scarecrow Press, an imprint of Rowman and Littlefield publishers. [18] Conforth taught folklore, blues music, popular culture, and the history of social movements at the University of Michigan, Ann Arbor until 2017. [19]
His current work includes researching the life of bluesman Robert Johnson; a 2008 publication concerned Isaiah "Ike" Zimmerman, Johnson's main guitar mentor. [20] In 2013, he published the article "The Death of Robert Johnson's Wife" discussing Johnson's wife Virginia Travis and her untimely death during childbirth. [21] He once again published an article on Robert Johnson titled "The Business of Robert Johnson Fakery". [22] The article discussed the identity theft and unscrupulous business of falsely authenticating material (photos, guitars, etc.) supposedly associated with Johnson.
In June 2019, Conforth co-authored, with blues scholar and author Gayle Dean Wardlow, a biography of Johnson, Up Jumped the Devil: The Real Life of Robert Johnson, published by Chicago Review Press. [23] The book won the 2020 Penderyn Prize for being the best music book of any type for 2019, [24] and also won both of the 27th Annual Living Blues book awards: the Critics Poll Award as the Best Blues Book of the Year and the Reader's Choice Poll as the Best Blues Book of 2019. [25]
In April 2021, Conforth was accused of sexually assaulting, harassing, and stalking several students during his tenure at the University of Michigan. This followed Conforth's recommended retirement in 2016, after over 10 years of such reports. [26]
Robert Leroy Johnson was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Although his recording career spanned only seven months, he is recognized as a master of the blues, particularly the Delta blues style, and as one of the most influential musicians of the 20th century. The Rock and Roll Hall of Fame describes him as perhaps "the first ever rock star".
William James Dixon was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues.
Alan Lomax was an American ethnomusicologist, best known for his numerous field recordings of folk music of the 20th century. He was a musician, folklorist, archivist, writer, scholar, political activist, oral historian, and film-maker. Lomax produced recordings, concerts, and radio shows in the US and in England, which played an important role in preserving folk music traditions in both countries, and helped start both the American and British folk revivals of the 1940s, 1950s, and early 1960s. He collected material first with his father, folklorist and collector John Lomax, and later alone and with others, Lomax recorded thousands of songs and interviews for the Archive of American Folk Song, of which he was the director, at the Library of Congress on aluminum and acetate discs.
Robert Lockwood Jr. was an American Delta blues guitarist, who recorded for Chess Records and other Chicago labels in the 1950s and 1960s. He was the only guitarist to have learned to play directly from Robert Johnson. Robert Lockwood was one of the first professional black entertainers to appear on radio in the South, on the King Biscuit Time radio show. Lockwood is known for his longtime collaboration with Sonny Boy Williamson II and for his work in the mid-1950s with Little Walter.
John Avery Lomax was an American teacher, a pioneering musicologist, and a folklorist who did much for the preservation of American folk music. He was the father of Alan Lomax, John Lomax Jr. and Bess Lomax Hawes, also distinguished collectors of folk music.
"Maybellene" is a rock and roll song by American artist Chuck Berry, adapted in part from the western swing fiddle tune "Ida Red". Released in 1955, Berry’s song tells the story of a hot rod race and a broken romance, the lyrics describing a man driving a V8 Ford and chasing his unfaithful girlfriend in her Cadillac Coupe DeVille. It was released in July 1955 as a single by Chess Records, of Chicago, Illinois. Berry's first hit, "Maybellene" is considered a pioneering rock and roll song. Rolling Stone magazine wrote of it, "Rock & roll guitar starts here." The record was an early instance of the complete rock and roll package: youthful subject matter; a small, guitar-driven combo; clear diction; and an atmosphere of unrelenting excitement.
Elizabeth "Libba" Cotten was an influential American folk and blues musician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down. This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking". NPR stated "her influence has reverberated through the generations, permeating every genre of music."
"Cross Road Blues" is a song written by the American blues artist Robert Johnson. He performed it solo with his vocal and acoustic slide guitar in the Delta blues style. The song has become part of the Robert Johnson mythology as referring to the place where he sold his soul to the Devil in exchange for musical genius. This is based largely on folklore of the American South that identifies a crossroads as the site where Faustian bargains can be made, as the lyrics do not contain any references to Satan.
Dr. Harry Oster was an American folklorist and musicologist.
Lawrence Gellert (1898-1979?), was a music collector, who in the 1920s and 1930s amassed a significant collection of field-recorded African-American blues and spirituals and also claimed to have documented black protest traditions in the South of the United States.
Bruce Iglauer is an American businessman and record producer who founded Alligator Records as an independent record label featuring blues music.
"Rollin' and Tumblin'" is a blues standard first recorded by American singer-guitarist Hambone Willie Newbern in 1929. Called a "great Delta blues classic", it has been interpreted by hundreds of Delta and Chicago blues artists, including well-known recordings by Muddy Waters. Rock musicians usually follow Waters' versions, with the 1960s group Cream's rendition being perhaps the best known.
"Dust My Broom" is a blues song originally recorded as "I Believe I'll Dust My Broom" by American blues artist Robert Johnson in 1936. It is a solo performance in the Delta blues-style with Johnson's vocal accompanied by his acoustic guitar. As with many of his songs, it is based on earlier blues songs, the earliest of which has been identified as "I Believe I'll Make a Change", recorded by the Sparks brothers as "Pinetop and Lindberg" in 1932. Johnson's guitar work features an early use of a boogie rhythm pattern, which is seen as a major innovation, as well as a repeating triplets figure.
Gayle Dean Wardlow is an American historian of the blues. He is particularly associated with research into the lives of the musicians Charlie Patton and Robert Johnson and the historical development of the Delta blues, on which he is a leading authority.
Upon his return to New York in 1959 after a nearly a decade spent based in London, UK, Alan Lomax produced a concert, Folksong '59, in New York City's Carnegie Hall, featuring Arkansas singer Jimmy Driftwood; the Selah Jubilee Singers and Drexel Singers ; Muddy Waters and Memphis Slim (blues); Earl Taylor and the Stoney Mountain Boys (bluegrass); Pete Seeger, Mike Seeger ; and The Cadillacs.
Mississippi Delta bluesman Robert Leroy Johnson has been called the "King of the Delta Blues Singers", the "Grandfather of Rock and Roll" and "the most important blues singer that ever lived". The guitars he played, recorded and was photographed with have always been of interest to blues researchers and musicologists, and this interest eventually led to the production of guitars dedicated to his memory.
Kenneth S. Goldstein was an American folklorist, educator and record producer and a "prime mover" in the American Folk Music Revival.
Ruby Pickens Tartt was an American folklorist, writer, and painter who is known for her work helping to preserve Southern black culture by collecting the life histories, stories, lore, and songs of former slaves for the Works Progress Administration and the Library of Congress. In 1980 she was inducted into the Alabama Women's Hall of Fame.
American blues musician Robert Johnson (1911–1938) recorded 29 songs during his brief career. A total of 59 performances, including alternate takes, were recorded over a period of five days at two makeshift recording studios in Texas. Producers selected 25, which Vocalion Records issued on 12 two-sided 78 rpm record singles between 1937 and 1939. These went out-of-print, but were the only source of Johnson's work until his recordings were eventually issued on albums beginning in 1959. In addition to those on the original singles, another 17 recordings have been released.