Bruce Conforth

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. 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. On March 14, 2012, Conforth received the University of Michigan's Golden Apple Award for outstanding teaching.[17]