November 17, 2016 • 7:56 am 0
Jazz-blues singer-songwriter and pianist Mose Allison is yet another extraordinary example of the ways in which the best (and by that I mean, the only good) American popular music made by white people borrows, steals, and is inspired by music that is tied to a root of African or African-American origin. American music is, as the narrative goes, where “the races meet;” the space where we walk right in, set right down and let it all hang out. While that is often the case, Black, Latino, other non-white, female, LGBTQ, and disabled musicians will tell you a different story; the contradictions are a part of the story too and must be aired out consistently to get the full picture. This is perhaps related or not to how Allison, a Mississippi-born white man came to sing cotton-picking songs on the piano and inspired a generation of rock musicians to look back and discover Bukka White, Sonny Boy Williamson and Willie Dixon. When Allison opened his mouth to accompany his piano songs in 1963, he reached The Who, Van Morrison, Elvis Costello, the Clash and the Pixies… and that’s only a fraction of the artists he touched.
Read the entire article at Down With Tyranny!
April 29, 2016 • 8:54 am 0
I regret to inform, you missed it: The final day of celebration for the St. John Coltrane African Orthodox Church on Fillmore Street was Sunday. Aside from its usual meditation on “A Love Supreme” and a service to deliver the wisdom in its creator’s words, there was even a bit of time that day reserved to remember Prince, a kindred spirit and sound messenger of love who transitioned last Thursday. But really, there is no need to cry for the Coltrane Church: Going strong for nearly 50 years, it will continue to thrive in one incarnation or another, in accordance to its creed proclaiming life everlasting. Armed with a faith that knows no bounds, no building is going to hold down Archbishop Franzo King and his congregation. He and his musically gifted family of ordained ministers will remain in the light of Coltrane consciousness and on the move for truth and justice. However, if you’d still like to grieve our losses, please consider the sorry state of San Francisco, and our complicity in the soul murder of the city the Church calls home.
April 18, 2016 • 6:34 pm 0
It’s been 30 years since Beat poet Bob Kaufman passed on, a few months shy of his 61st birthday. The often underlooked surrealist was a contemporary of Allen Ginsberg and William Burroughs; he lived in the North Beach and the Mission Districts of San Francisco for much of his life. In the spirit of National Poetry Month and in commemoration of what would’ve been his 91st birthday today, his work was celebrated here last week, a demonstration that it is never too late or too early to appreciate a visionary artist.
Speaking to Kaufman’s influence on the wider world of poetry and his deep imprint on them, poets Anne Waldman and Will Alexander, though only briefly acquainted with him personally, read Kaufman’s work aloud, accompanied by saxophonist David Boyce and percussionist Kevin Carnes. Sponsored by the Before Columbus Foundation and the San Francisco Public Library, members of Kaufman’s family traveled from Mississippi and Louisiana to be present and to honor his memory.
Listening to Waldman and Alexander, you could hear why Kaufman’s poems are best experienced aloud and accompanied by the jazz he loved. Kaufman’s epic “The Ancient Rain,” written after his famous vow of silence (following the Kennedy assassination and until the end of the Vietnam war) was read by Waldman, as she sounded out the blows empire wages against humankind, and on bodies Black and Brown. Readings were also selected and extracted from “I, Too, Know What I Am Not,” “Rue Miro,” and “Afterwards, They Shall Dance,” among others (I did not hear my favorite, “Hollywood,” though that doesn’t mean it wasn’t read).
Kaufman gave up writing down his poetry in 1978, but his words survived thanks to friends, fellow poets and his wife Eileen who taped and cobbled together the pieces collected in the works published after his death. Though
Kaufman’s poems foretold the persistent dilemmas of our age—the surveillance state, police violence (he was arrested over 30 times), media irresponsibility, a collapsing democracy and unnecessary poverty in a nation of great wealth—with his vision came the cost of direct engagement with such disturbing truth.
In his introduction to the posthumous Kaufman collection, Cranial Guitar, writer David Henderson noted that Kaufman’s life was unusual for a man of letters in that he left very little in the way of written materials or correspondence; just three published volumes, the broadsides Abomunist Manifesto, Second April and Does The Secret Mind Whisper? and some songs. One of those songs, “Green Rocky Road” has enjoyed a long tenure as a folk music standard; most recently it was revived in the Coen Brothers film, Inside Lleweyn Davis. Co-written with Len Chandler, and popularized by Dave Van Ronk, the song bears the dreamlike, compelling qualities that are the hallmark of Kaufman’s poems; Chandler adapted the melody from a slave-era song quite possibly from the Georgia Sea Islands.
Kaufman’s most easily accessed works in libraries and bookstores are generally Solitudes Crowded with Loneliness, The Ancient Rain: Poems 1956–1978 and Cranial Guitar: Selected Poems by Bob Kaufman as well as Mel Clay’s Jazz Jail and God: Impressionistic Biography of Bob Kaufman. A new film, debuting at the San Francisco International Film Festival, And When I Die, I Won’t Stay Dead (Billy Woodberry, 2015), burrows into some of Kaufman’s secret history, from his beginnings as a union organizer, to the shock therapy at Bellevue that contributed to his silent years; there was substance and alcohol abuse and he was an absent father, though his magnitude as a poet is not open to debate. Artist and translator Mary Beach says, “I think he was one of the greatest of the 20th Century, frankly.”
I think of Kaufman’s poem, “Afterwards, They Shall Dance,” just about everyday. It begins like this:
In the City of St. Francis they have taken down the statue of
And the hummingbirds all fly forward to protest, humming
The following is a rare, brief clip of Kaufman at work (likely at San Francisco Art Institute).
April 8, 2016 • 9:07 pm 0
In some 80 years, the formula for a musical feature film has changed very little: From The Jazz Singer and The Jolson Story to The Glenn Miller Story and The Gene Krupa Story, ever since movies could talk, film goers have savored a good yarn concerning familial conflict within and without the complicated, misunderstood, and stone cold wrecked lives of musicians. Truth is always better than fiction but for strictly commercial considerations, screenplays generally raise the stakes on untreated addictions, felled planes, philandering, domestic abuse, and mental illness, as if that were at all necessary. It appears that approximating the lives of professional road musicians as people is less important than adhering to the odd Hollywood recipe that contains reportage, entertainment, moralization, and glamorization in one 90-minute package. As long as the tragedy (the triumph is usually incidental) is set to a toe-tapping beat and confirms what the general audience thinks it already knows about the hard-knock lives of working artists, there is potential for box office gold. The resulting tutorials on how to lead chaotic, short-lived, and tortured creative existences will always trump whatever a shelf full of well-researched biographies (i.e. books) have to say on the subject since, let’s face it, who reads those anymore? And so it is these depictions of fame, drugs, money, sex, guns, and all forms of excess cut to music that take the place in the public imagination where scenes at practice, contemplation, study, daydreaming, composing, performing, traveling, recording, reflection, playback, and in pursuit of other creative interests might’ve lived (with any likeness to any persons living or dead strictly coincidental).
Somewhere in this mix between sensational and substantive lives Don Cheadle’s directorial debut and star turn in Miles Ahead, and Ethan Hawke’s role as Chet Baker in Robert Budreau’s Born To Be Blue. The films concern trumpet players of considerable renown, one East Coast the other West, one black, the other white, both famous for charting their own paths of excellence while dogged by substance abuse and the insecurities that go with addiction. All similarities stop there.
Miles Davis as most listeners know was a creative genius who continually broke musical boundaries and innovated in jazz and beyond it. Miles Ahead is a completely, though not entirely, fictionalized version of a time when Davis dropped out of the public eye in the mid-’70s. In the film, a Rolling Stone reporter (Ewan McGregor) drops in on the recluse in an attempt to deliver him from the brink of obscurity and excess (a reporter seeking the “comeback” story is another well-worn device). Cheadle has gone on record aplenty addressing viewer and critical concerns over the film’s fabrications, as well as the matter of having to include a white buddy (as portrayed by McGregor) in the script. He nevertheless made the best film he could given the time, budgetary, and racist restraints of his business. But it his performance as Davis, portrayed alternately in his fit and fighting years and at the dawn of his more eccentric, latter days, that is pitch perfect (it’s likely Davis’s friends and contemporaries Herbie Hancock and Wayne Shorter would not have rubber-stamped the project had they thought any less).
The conceivable tension and the stress that Davis was under, living contemporary life as a legend, is transmitted with precision by Cheadle, an actor who needn’t prove his versatility: Over the course of a distinguished career that’s extended for more than 30 years, from an early role opposite Denzel in Carl Franklin’s Devil in a Blue Dress, to his current popularity in House of Lies, Cheadle is the epitome of excellence. In his new medium as a director he shines, delivering a film that strives for excitement in scope and dimension. He also demonstrates artistry in his choice of collaborators, from an impeccable cast (especially Emayatzy Corinealdi) to glorious set design, locations, and musical direction (Robert Glasper). The story itself however, co-written with Steven Baigelman, could’ve been less ham fisted and more finessed, though details like Davis’s training in composition, his taste for Chopin, Stravinsksy, and Ravel, and a life-changing police brutality incident based on fact all make it into the story, serving to portray Davis more as a multi-dimensional human and less of an icon.
In an early scene, McGregor’s character interviews Miles who notes he’s a Gemini, “I was born modal,” he says. “A little bit of this and that…” Reminded of Cheadle’s particularly entertaining and under-looked performance in Talk To Me, in which he played the real life DJ Petey Greene in amplified reality, I wondered if he was inspired to craft his own screenplay that was also not self-conscious in its departure from fact. Whatever the source of inspiration, from the high-pitched drama of Davis’s five years off-the-grid, to the more somber reckoning with getting back to work, Miles Ahead borrows from the Hollywood biopic playbook, yet forges its own path toward developing a new kind of cinema in the spirit of improvisation associated with jazz itself.
On the other end of the spectrum, there is but one note that runs throughout Born To Be Blue, loosely based on the sad life of Chet Baker. Starring Ethan Hawke and focusing mostly on the post-1966 period during which Baker was kicking heroin, Born To Be Blue is more like a throwback to earlier jazz films in which the lead’s life is lost to a dream of music but is left instead to hiding inside an addiction. Losing his ability to play horn following a post-gig street hassle that forced him to relearn his instrument was indeed a fact of Baker’s life, though the movie twists the people and places surrounding the events. Baker lived as a heroin addict until his death in 1988, reportedly from a fall, and the film makes note of that fact too in its final notes. In between there’s lots of bleeding, smoking, and cool California coastal scenery. Again, Hawke’s performance as the broken and addicted Baker is appropriately pathetic, though there are sparkles of redemption in his comeback, particularly in his choice to use his voice as an instrument. But whatever Born To Be Blue lacks in fact or focus, it delivers in the feel, the vibe and look of jazz; these are the black, white and blue tones, the sharp-dressed, cigarette dangling Cali and New York cool styles we’ve come to associate with the music’s ’50s and ’60s epoch.
Perhaps it’s set-dressing and soundtracks that the biopic is good for: Whether the scandal that rocked Jerry Lee Lewis’s world in Great Balls of Fire, or the plane crash that took out Ritchie Valens (La Bamba) and Buddy Holly (The Buddy Holly Story), sensational and sentimental do all right, but often its period detail that make or break the projects. Scenery chomping performances are even better: Ray and Ring of Fire were fairly straight ahead versions of the crooked roads walked by iconic musicians Ray Charles (Jamie Foxx) and Johnny Cash (Joaquin Phoenix), but both films would’ve amounted to little more than catalog song-shilling opportunities were it not for their Oscar-worthy performances. More recent efforts like the Todd Haynes Dylan tribute, I’m Not There, the loose interpretation of Jimi Hendrix’s life (Jimi: All Is By My Side, based on a discredited bio, adapted by John Ridley and starring André Benjamin) and Gus Van Zant’s Last Days, about Kurt Cobain, all took inside/out, post-modern, chuck-it-all-to the-wind, impressionistic approaches to storytelling (none were particularly satisfying). Straight Outta Compton took liberties by sanitizing the story of West Coast gangsta rappers NWA, while Love and Mercy mostly got it right, especially the scenes in which Paul Dano portrayed a troubled Brian Wilson, lost in the joy of composing. The forthcoming Nina, starring Zoe Saldana, would appear to be on the fast track to how not to handle the casting of a film about a beloved legend and her misdiagnosed mental illness. The critically acclaimed Coal Miner’s Daughter starring Sissy Spacek in an Oscar-winning performance as Loretta Lynn, may serve as the one exception to all the rules: A well-executed film about a woman in music who triumphs (though Patsy Cline’s plane crash figures in Lynn’s own story) is all too rare.
Both Miles Ahead and Born To Be Blue certainly fulfill the function of entertainment; the acting is sharp and the subject matter more interesting than the rest of what’s on offer at the multiplex; the depiction of the creative process and hands on music making that comprises much of a musician’s life is handled for the most part well. And yet, I found myself wanting something more, something that probably can’t be found in a simple music biopic. I went to both films looking to get lost, which is of course one reason we go to the movies in the first place. But more than that, I went in search of lost time—a time when movies had more weight, were handled with more care. Is this just me, hoping for a return to the forever of my own young life, when the biopic and music doc were still emergent? The movies that provided a portal to my own discovery, that excited and transported me with their well-told, visual stories were released in a period coincident with own my nascent enthusiasm for jazz. Lucky enough to indulge in Round Midnight (in which the real Dexter Gordon plays a fictionalized composite character), the documentaries Thelonius Monk: Straight No Chaser and Charles Mingus: Triumph of the Underdog, there was also Bruce Weber’s Let’s Get Lost, a stylized documentary on Baker…These films, plus my shelves lined with books of interviews with the musicians and the recordings themselves fed my understanding of a music I am still only in the infant stages of knowing. And yet, I understand enough to know that the ghost of Charlie Parker looms large over the new films about Baker and Davis. I thought persistently of Bird, the film Clint Eastwood made over 20 years ago on a budget of 9 million dollars for which Forest Whitaker should’ve earned an Oscar. If that makes me a product of my generation, then ah well, call me a traditionalist. And yet, the distinctly 21st Century biopics Miles Ahead and Born To Be Blue signal the future; they are the something new of biopics. Only a square would begrudge an artist for taking a step in a new direction.
July 29, 2015 • 1:36 am 0
Rare groove chasers know well the name Eugene McDaniels; his 1971 album for Atlantic, Headless Heroes of the Apocalypse is a standard-bearer for psychedelic soul/funk/jazz rhythms and is borrowed frequently for its samples (most famously by A Tribe Called Quest and the Beastie Boys). The album is a fierce statement of Black pride, anger, and frustration, equally powered by a super-soul fever, a yearning for world peace, and ultimately love. A showcase for McDaniels’s breadth as a composer, from folky singer-songwriter styles (“Susan Jane”) to proto-rap (“Supermarket Blues”), his strongest words are demonstrations of righteous indignation (“The Lord is Black, his mood is in the rain…he’s coming to make corrections”). His reward for creating such a unique piece of work was to have it recalled from the shelves and suppressed by Nixon’s White House; it remains a lost classic and is a story waiting to be told.
McDaniels is also the composer of “Compared to What,” the jazz-soul wartime protest made famous by Les McCann and Eddie Harris, a worldwide hit in 1969.
Born in Kansas City in 1935, McDaniels studied at the Omaha Conservatory of Music, and graduated from Omaha University. After forming a band in the 1950s, and singing with the McCann trio, he signed with Liberty Records and hit in 1961 with “A Hundred Pounds of Clay,” followed by five more Top 40 hits, including “Tower of Strength.” With six hit records to his credit, McDaniels turned his focus to writing (he worked closely with Roberta Flack and ultimately wrote her hit “Feel Like Making Love,” among others). Following the success of “Compared to What,” by the time he attempted to relaunch his solo career as a singing and songwriting artist with his 1970 album The Outlaw, McDaniels had developed an intensely personal and pointed new style and direction. Fearless with his melodies and in his verses, the instrumentation on his early ’70s companion albums was a wild combination of folk-funk: electric and acoustic bass brushed against guitar, drums, and piano. The arrangements combined with the lyrics to strike inner chords of deep recognition, touching places in the heart only music can reach. McDaniels injects each song with theatrical and emotional soul power, delivering the verses with a fascist-fighting folker’s impeccable style of oration. Incensed and confused by injustice, his notes echo and stretch, like the sound of someone losing his mind. His elegy for the genocide of America’s indigenous population, “The Parasite (For Buffy),” dedicated to Native American and folksinger Buffy Sainte-Marie, is a shining example of his dramaturgical song style that places his subjects in a social, political. and psychological context. But McDaniels’s revolution of the mind is a peaceful one; though he paints pictures of hell and all hell breaking loose, his narrator does not advocate use of violence as a solution. Rather, violence is portrayed as the problem.
In Keep on Pushing: Black Power Music From Blues to Hip Hop, I touched on McDaniels’s status as one of Nixon’s Enemies. It was in fact his story that in part inspired me to probe 50 years of freedom singing, and how resistance in song is received (or not) by a mass audience. I remain deeply curious on the subject, but when my faith in music and in people is lagging, I pull out Headless Heroes of the Apocalypse and find it restores and inspires me. Whatever darkness he’s describing, the McDaniels point of view remains poised and unique; his higher consciousness and keep-on-pushing spirit bleeds between the notes of each slyly rendered gospel-laced track. Years later, the Beastie Boys would turn to McDaniels, nicknamed the Left Rev McD, for a sample, as would the Afro-centric, conscious hip-hoppers, A Tribe Called Quest who used a piece of “Jagger The Dagger” throughout People’s Instinctive Travels and the Paths of Rhythm. John Legend and the Roots brought back a version of “Compared to What,” which was most recently updated by the trumpet player and bandleader Terence Blanchard (with E-Collective featuring PJ Morton).
Eugene McDaniels made it real—no comparison. Listen below to “Supermarket Blues,” his musical statement from 1971 on racial profiling, police violence, and white supremacy: It sounds as fresh as the day it was recorded.
August 27, 2014 • 10:27 am 0
I have an image of him in the late ’50s: Still underage, he sneaks through the curtains at the front door of the hungry i, the Keystone Korner, or the Purple Onion, slinks into one of the seats in back, and gets lost in music.
He must’ve told me of the nights as a teenager, he went to hear Dave Brubeck, Gil Evans, Gerry Mulligan, and the Mastersounds, with Wes Montgomery. But it wasn’t until he died that I understood what it meant to be there in North Beach, San Francisco, Saturday night, 1958 or ’59: The Beats had arrived, and Jack Kerouac and Allen Ginsberg passed through, but my dad was from across town—the Sunset, Ocean Beach, a Catholic boy—and the cleanest cut kid in the joint. Lenny Bruce worked in the area and would’ve called him “Jim,” the comedian’s nickname for a stiff-necked straight, but my father was no square: I like to imagine the neighborhood regulars welcoming him, an innocent among hipsters for the night.
As a child, I didn’t grasp that my dad was a jazz fan, though his stack of interesting looking records were his only possessions I ever admired. I realize now that his was a modest-sized collection, though it was very tidy, very specific and very, very cool. It was Cool Jazz, also known as West Coast, that he favored and he had every recording by the Modern Jazz Quartet featuring Milt Jackson. I guess he liked Jackson’s vibraphone because Cal Tjader’s records were also well represented, along with MJQ sound-a-likes the Mastersounds with Buddy Montgomery on vibes, and his brother Monk on bass, and sometimes Wes on guitar. Piano jazz also rated on his scale–Brubeck was a hero, as was iconoclast Ahmad Jamal. And there were even stranger sounding names to this kid–Joao Gilberto, Antonio Carlos Jobim and Laurindo Almeida–with their pronunciations that confounded me, and their breezy bossa nova guitars that captured the scene at Ipanema Beach. And then there were the Stans: Getz and Kenton, alongside tenor sax man, Rahsaan Roland Kirk (who was still just Roland back then). Flipping through the stacks, I felt like I knew these jazzmen, in a way others tell me they’ve known Frank Sinatra, James Brown, Bob Dylan and Jerry Garcia; they were like fathers, a part of the family.
It was the colorful, modern art-inspired album covers on the Verve, Prestige, Argo, and Fantasy labels that first drew me in, long before I knew anything about musical shapes, colors or subtleties, and all the shades they could throw. I think of putting one of those records on the turntable now, pouring over the liner notes and getting lost myself, while holding an actual Blue Note or Impulse! sleeve, instead of a reissued imitation. Sure, I could pick up a copy of one or two at a vintage vinyl store but it’s my dad’s records I really want, caked with his energy, accompanied by the stories of their purchase, and a recounting of the historic gigs where the songs came alive for him. I also want his approval and enthusiasm for my taste in the avant-garde and for own small, tidy, and very cool stack of Alice Coltrane, Ornette Coleman and Sun Ra. But even if he were here to sit with me, I don’t know that he’d be all that interested in talking jazz. Somewhere along the way, he left behind his passion for it.
By the mid ‘60s, more and more fans of Cool Jazz had turned to hard bop and rock’n’roll. Times changed, and the City, as we call it, had been psychedelicized. My dad was a young suburban family man, a periodic drinker who put down the bottle long enough to regain his vision and become a health food nut, a jogger and a tennis bum, long before those things helped define leisure styles in the laidback ‘70s. “Over-committed,” is how he referred to the house, the yard, the two kids and three cars— and his life between jobs just outside San Francisco. Music didn’t figure into that picture. There was no nightlife to pursue there and no trips to town to hear the jams; most all the old clubs had gone dark though North Beach was becoming home to the next generation of outsiders, the art students and punk rockers of my generation. Not yet 40 years old, a suspended driver’s license kept my dad unemployable and housebound, his wife at work on the swing shift. By day, he slept in the hammock or sat at the kitchen table, pouring filtered coffee through a cone. He stayed occupied, typing mysterious reports and letters on the Royal and watering the lawn, but he never reached for the stack of vinyl or the phonograph, adjacent to the patio, just on the other side of the sliding glass door, in the family room of our California ranch-style home. It was as if getting up, the simple act of putting a needle to a record, was just too much for him: He had entered the no-jazz zone.
Though occasionally he’d ignite the old flame: He took me to see Cal Tjader locally, though teenage me couldn’t understand why a so-called legend should be playing at St. Francis High School. I heard he rousted my brother and took him to see Milt Jackson at the grand opening of the Mayfield Mall. Other times, if ever he dug the music in the air, he’d partake of that jazzer’s strange custom, finger-clicking (shoulders hunched). And sometimes while driving, he’d tune into the jazz spot and bop to the radio, occasionally gesturing with an air-cymbal crash. These efforts were simultaneously embarrassing and ethereal for me: Jazz made life bearable, if only for a moment, as we floated off to another land, returning refreshed, for a couple of bars or beats.
When my dad moved out of the house at the end of the ’70s, my mom gave his records to a young jazz enthusiast, a boy she thought would appreciate them. I moved back to San Francisco, and I’d heard so did my dad, after he’d done some rambling. Eventually we got together for lunch, often at St. Francis Creamery in the Mission, and other times at Mama’s or Vanessi’s in North Beach; on those days he was feeling more flush and would spread the wealth. We never spoke of the past—it wasn’t in our repertoire—but the memory of his LPs, their covers, their vibraphone, horn and piano sounds, and their spiraling liner notes occupied a large space in my heart, lighting a space in the darkness of the holy here and now. I wonder, had he lived, if we’d ever get back to jazz, if he would’ve rediscovered his passion for it, or if he would share mine for Mingus and Monk. If only it had occurred to me to have played some Louis Armstrong at his funeral. What if he’d lived to see his 50s? Would he have succumbed to the Quiet Storm or held strong? For sure we’d agree Duke is king, and we most certainly would’ve gone to see Ahmad Jamal at his most recent appearance in town. But would he still put on that ridiculous posture as he be-bopped down the hall, and would I still reflexively roll my eyes at him? I will never know, though whatever his style and taste in his 70s and whether we agreed wouldn’t matter, if only he was here, right now. Because what I really need to ask him, what I really want to know, is if he can remember the moment he stopped listening.
August 4, 2014 • 9:19 am 2
Since the May eviction of Marcus Books in San Francisco, the speculators who purchased the property have waged a hateful campaign against the historic, landmarked Jimbo’s Bop City building that housed the oldest black bookstore in the US and the Richardson-Johnson family, its longtime proprietors. Theft of valuable store inventory and business tools, destruction of irreplaceable cultural artifacts, displacement of four generations, and most recently a slander campaign against the family who ran the store for 50 years are the contributions made by new owners, the Sweises, to 1712-1716 Fillmore Street. That the City of San Francisco has done little to prevent the attacks, aside from rubber-stamping the building and business as a community and cultural resource with a landmark designation earlier this year, isn’t that surprising: Since the 2009 Mayor’s Task Force Report on African American Out-Migration, few of the recommendations for education, economic development, and cultural and social life have been implemented. But the City’s negligence and complicity in this recent act of cultural genocide in the black community was so shocking, it must not be allowed to stand unchecked.
The continual and unrestrained despoiling of predominately black and brown neighborhood resources is not a newsflash: There has been a concerted effort toward black neighborhood “redevelopment” since at least the early ’60s. Certainly evictions overall have been unprecedented on Mayor Ed Lee’s watch, but the way in which the dismantling of the Marcus Bookstore was carried out was particularly aggressive. Small business owners, especially those of color, know well the lack of protections for their tenant and human rights, but the Marcus Books story was under-reported by local media and the details remained largely a mystery to those outside the community until this response by the Johnsons was published on Friday.
Following the store’s eviction, the new owners broke several moving dates, then took hostage the store’s books, art work and equipment. Said to be put in storage, to date the materials have not been returned. Community members suspect most all of what was contained in the bookstore—including 50 years of history and ephemera documenting black San Francisco—was either stolen or destroyed, hauled away in a landscaping truck by day workers. That the historic Marcus Bookstore should be physically dismantled in broad daylight as District Supervisors, various commissioners, Mayor’s Office and the NAACP leadership who supported the motion to preserve the property stood by and did nothing to prevent it is the question that remains shamefully unanswered. That passerby were allowed to rifle through the dump truck and take what they liked is simply further evidence of the uncivil and unjust treatment of a community’s history, co-signed by the City.
As a native San Franciscan, an author, and community advocate for the preservation of our most valuable cultural assets—in this case books and literacy—I support the campaign to return the Marcus Bookstore to its Fillmore location. As witness to the community meetings, in store events, Board of Supervisors and Historic Preservation Commission proceedings, and desecration of the property, I have observed and documented with astonishment the trail of broken promises and lies told by District supervisors, Mayor’s Office appointees, and the African American community’s own faith leaders about the bookstore and its proprietors. These erroneous claims–that a bookstore is an unsustainable model for 21st Century business–entirely misses the point. The campaign to support Marcus Books goes beyond keeping open the doors of a mom and pop bookshop: It is an attempt to shine a light on and preserve African American culture, community and literacy, particularly for readers of the future. The removal of Marcus Books on the block could once and for all to erase the rich cultural heritage African Americans created in San Francisco—through art, music, literature, civic engagement and action and replace it with a whitewashed version of history that does not include black contributions. Further, it negates the interests of the wider community of black and other interested folks who relied on the Marcus Bookstore’s products, services, warmth, and humanity.
I am curious how the City officials and employees who reportedly bought their first books at the store, who sat at the owners feet as teenagers and said they were in support of the store can now step back and refuse to take notice or phone calls and deny their previous public statements of support. But I’m not surprised that the landmarking of Marcus Books was insincere and just another photo op: The City’s allegiance to money and power is well known: Given an opportunity, I can imagine Mayor Lee selling his own ancestors down the river. Expecting him and his regime to understand the struggle waged by Marcus Books as a cultural one was a non-starter from the gate. But there is no doubt Lee and Co. failed to “Provide full support of the Fillmore Jazz Heritage District and to make sure that African American culture is fully respected and highlighted in the effort” according to Out-migration Report recommendations.
Despite the setbacks, the original owners of 1712 Fillmore and its family of supporters continue to fight injustice in their community and reclaim justice for all. We have not heard the last from the Marcus Bookstore.
If you are interested in expressing support and solidarity with the owners of Marcus Books San Francisco, please contact the Support Marcus Books site directly. If you are a bookseller, author, or publishing professional interested in joining a new alliance of Bay Area independent bookstores, please contact email@example.com and you will be added to an email list.
April 8, 2014 • 10:02 am 0
Chronicling the New Negro Movement of the 1920s and 1930s, Langston Hughes was a leading figure in the Harlem Renaissance. Writing about life in a familiar and authentic vernacular, he incorporated the sound of music into his prose and poems: “Take Harlem’s heartbeat, Make it a drumbeat, Put it on a record, Let it whirl.” Originally a midwesterner with a family history that included mixed-race people and abolitionists, Hughes’ ability to distill truth and outrage while maintaining an uncommon faith in humankind made a deep impression on the voices of the Freedom Movement in the ’60s. His style was a breakthrough in modern literature and its lyricism translated into the development of blacker voices in music, too. Nina Simone, Len Chandler, Richie Havens and Gil Scott-Heron are among the musical artists who say they were profoundly influenced by Hughes’ jazz-inspired work. As decades wore on, his imprint resounded in the work of poets Amiri Baraka, Al Young, Jayne Cortez, Sonia Sanchez, Nikki Giovanni and many more. Decades later, Hughes remains a continuous source of inspiration and influence, his words impacting the work of artists and scholars diverse as Cambio and Dr. Cornel West.
February 21, 2014 • 5:55 am 4
On this day in 1965, Malcolm X was assassinated, shot mulitiple times at the podium of the Audubon Ballroom where he was about to address the Organization of Afro-American Unity. Thousands flocked to Harlem over a three-day period to view his body before the burial.
Malcolm Little was born in Omaha, Nebraska in 1925 into a Baptist family; his father was a follower of Marcus Garvey and educated his son on all matters of black pride. While serving a prison sentence in the 1950s, he learned about the Nation of Islam and began a correspondence with Elijah Muhammed; by the time of his release he’d joined the organization and changed his name to Malcolm X. An immediately charismatic leader at Temples one, 10, 12, and seven, his musician following included Etta James, Johnny Otis and saxophonist Archie Shepp. In 1964, he left the NOI and made his way to Mecca. As a Sunni Muslim, El-Hajj Malik El-Shabazz came to believe that Islam was the way toward racial harmony.
Twenty years after his death, the legacy of Malcolm X had largely not been passed down to the next generation; certainly, his contribution to the black liberation cause had not been fully incorporated into history texts despite the perennial popularity of the considered classic, The Autobiography of Malcolm X, a collaboration with Alex Hayley. But leave it to music—in particular Public Enemy—to recognize and close the gap. The New York hip hop collective began to use Malcolm X’s teachings and speeches in concert with their videos and recordings (Boogie Down Productions and KRS-One and Spike Lee’s film, Malcolm X, also played a major role in the comeback; the efforts were not without controversy at the time).
Chuck D has said Public Enemy was partly founded on the idea of “connecting the dots” for those unfamiliar with the depth of black history; hard information is tightly packed into their raps that raise a fist in the name of consciousness. Of course this all happened back in the highwater era of Reagan and Bush, or what you might call the beginning of the middle of the end: As the nation enjoyed its boom-time and Michael Jackson paid a visit to the White House, the holiday for Dr. King was still left unrecognized by all 50 states, and the disconnect had only just begun. This year, smack dab in the middle of black history month, Nikki Minaj misappropriated the famous image of Malcolm X holding a gun, in defense of his family; Black media voiced its concern, the Shabazz family threatened legal action and Minaj rethought her plan. Hip hop is generally removed from its mission to educate and there is still no holiday in the name of Malcolm X. Instead, his civil and human rights works are officially recognized by films, speeches, books and songs. In addition to the Hayley book, Malcolm X: A Life of Reinvention by Manning Marable is the considered definitive biography. James Cone’s Martin & Malcolm & America: A Dream or A Nightmare is a comparison study of the pair’s liberation strategies. This musical tribute from musician, poet and educator, Archie Shepp, taken from his 1965 album, Fire Music, was recorded as an elegy soon after the assassination. A reading from Keep on Pushing follows.