Scope and arrangement
The Michael Holman collection dates from 1961 to 2015 (bulk 1979-2015) and documents Holman’s career as a filmmaker, musician, artist, writer, and hip-hop impresario. The collection holds a substantial amount of electronic records, consisting of digital audiovisual works, photographs, scripts, and other writings. Particularly well-represented aspects of Holman’s career are his work as a filmmaker and writer, and as a musician in the band Gray. Holman frequently repurposed his films, adding animation and sound, and creating different combinations of video clips for live performances. Interviews with Holman, Confessions of a Subculturalist, and A Story About No One (also referred to as A Film About No One and A Book About No One) are autobiographical. Materials that document Holman’s involvement in hip-hop include the photographs, fliers, programs, Graffiti Rock files, posters, articles, appointment books, contracts, letters, and audio and moving images. Filmmaking files document the writing and filming of his short films; and the writing files contain video and film treatments, commercial scripts, a few notebooks, and other writings by Holman. Researchers interested in his scripts and screenplays should consult both the filmmaking and the writing files. Among the writings held on electronic media are “Third World,” “I Get Minez,” “Solid Ground” (Larry Carlton, MCA Records), “Forbidden Love,” and “N.E. Heartbreak.” Commercial scripts are for the promotion of Club Salem, AIDS awareness, and Adidas. Hard copy scripts include those for Brothers, Dream Boy, and Love for a Brutal God. Also present in the writing files is a copy of Holman’s Breaking and the New York City Breakers and storyboards for his short film Do the Right Thing. Filmmaking files contain scripts, research notes, sound reports, and dailies for Money Dog; and scripts and other materials for Old Tin and The Suicide Machine. Video clips, stills, music and other electronic records documenting Money Dog, Pesceador, and Old Tin are currently unavailable. Holman’s research notes for the film Basquiat are among the paper records, and include notes from interviews he conducted for the film with Esther Balint, Kelly Inman, Suzanne Mallouk, Nick Taylor, Michael Chow, and John Lurie. Scripts, shot lists, content descriptions, photographs, and production schedules make up other materials in the filmmaking files. Materials pertaining to Gray consist of lyrics, notes, flyers, programs, and a screenplay for a musical. Electronic records comprise press releases, song lists, audio tracks, and video of Holman and Taylor at the New Museum in 2011. “Moments of Gray” is video footage of Holman and Taylor discussing the band in a casual setting. Correspondence, letters, and proposals are somewhat limited in quantity, but provide a comprehensive overview of Holman’s wide-ranging endeavors. Several incoming letters reflect the success of performances by the New York City Breakers, including a letter from Ronald Reagan. Many of the outgoing letters concern television and film projects and royalties for the Run DMC “Christmas in Hollis” music video (directed by Holman) and Graffiti Rock. Of interest are a small number of postcards and writings by Vince Gallo; and a letter from David Byrne requesting the use of Graffiti Rock footage. The majority of the correspondence dates from the 1980s to the early 1990s. Letters from the 1960s and 1970s are generally personal in nature. Agreements, project descriptions, press releases, and articles comprise the paper portion of the Graffiti Rock files. Also included are interviews (currently unavailable) conducted by Holman in 2014 with individuals affiliated with or influenced by first generation hip-hop culture. The interviews chronicle the lives and careers of several hip-hop pioneers, artists, and writers, and document their opinions on the the sources, evolution, and culture of hip-hop. Among the individuals interviewed are DJ Spinna and MC Kriminul (Jigmastas); Junko (a Japanese b-girl); LA Sunshine; Lisa C.; Sha Rock; Kool Mo Dee; Lee Quiñones; Mr. Wave; Mr. Freeze; Powerful Plex; Bill Adler; Martha Cooper; Lyor Cohen; Raquel Cepeda; and Touré.
Appointment books date from 1979 to 2014 and contain detailed entries of Holman’s plans and appointments. Holman has inserted notes in the appointment books with additional information about what he was working on at the time.
Photographs consist of prints and negatives of the New York City Breakers, breakdancing battles, and press photographs for Gray. Posters document events such as an exhibit of Andy Warhol and Jean-Michel Basquiat paintings, and Doug E. Fresh’s "All the Way to Heaven.” Original posters for Downtown 81 and Graffiti Rock are also present. Audio and moving image recordings, though currently unavailable, traverse nearly all of Holman's interests and endeavors. The film and video recordings include footage captured by Holman of various events at clubs in New York City from 1979 through the 1980s including Club 57, Max’s Kansas City, Negril, and Danceteria. Film titles include Dream Crush, Catch a Beat, Money Dog, Just Say No, Vincent Gallo as Flying Christ, and Stilwend. Other films consist of various b-roll clips and shots of the downtown hip-hop and art scenes, including footage of Jean-Michel Basquiat. There are several videos of the New York City Breakers including compilations, the 1985 presidential inaugural gala performance, and televised segments. Audio recordings consist of interviews, music recordings, and lectures, including recordings of “Creating Children’s TV,” taught by Holman at the International Film and Television Workshops in Rockport, Maine. Interviews that Holman conducted for the film Basquiat include those with Kenny Scharf, Dan Asher, Diego Cortez, Steven Torton, Annina Nosei, Julian Schnabel, and Suzanne Mallouk. Several recordings of Holman speaking about his life and experiences comprise the “Confessions of a Subculturalist” recordings.
Arrangement
The collection is arranged alphabetically by subject or format.