Denise Sullivan

Author, Journalist, Culture Worker

RIP: Leonard Cohen, 1934-2016

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As if Tuesday’s election result wasn’t enough to knock out poets, artists, activists, and other sentient beings, Thursday’s announcement that singer-songwriter and poet Leonard Cohen, 82, had died earlier in the week was simply too much bad news in an already unprecedented year of loss. Not only will Cohen obviously be missed by fans and fellow artists who relied on his wisdom, but women have rarely known an artist of Cohen’s generation who loved, admired, honored, respected, and employed them in the studio and on the road as consistently as he did.

The women in Cohen’s life were not simply ornaments, adjuncts, or names in song titles: Marianne, and Suzanne were famously real people as was Joan of Arc. But Cohen who notoriously loved the company of women, was also an advocate for working women artists and paid them (we hope equally as their male counterparts) to write with him, produce and engineer his records, and sing on the road. Even in the so-called liberal, open-minded and progressive music business, there are relatively few working female producers and engineers and too few top name recording artists who employ them. But Cohen consistently placed female collaborators in the highest levels of operation. That he should be such a hit with us is no surprise. Elevating women in song and verse is one thing but having the knowledge and humility to take our value into the workplace added a layer and depth to his own art. His actions are pretty much unprecedented in the male-dominated music business, unless I’m missing something: Jennifer Warnes, Sharon Robinson, Leanne Ungar, Perla Battala, Anjani Thomas, Julie Christensen and Rebecca De Mornay were among his most frequent collaborators; I’ve missed some, but you get the idea. Cohen’s biographer was Sylvie Simmons and Lian Lunson directed the 2005 concert film, I’m Your Man.

Read entire article at Down With Tyranny!

Filed under: Arts and Culture, new article, , ,

Artists Endorse Aaron Peskin to Lead Fight For Affordable San Francisco

Cafe Zoetrope in North Beach was overflowing on Monday evening with politically engaged artists, Artists for Aaron (center). Photo by Stewart Bloomwriters, and neighbors gathered to support Aaron Peskin, candidate for Supervisor. A longtime affordable housing advocate and former chair of the SFDCCC, Peskin termed out of his Supervisor’s seat in 2008, but a return to the Board representing District Three could mean a restoration to sanity in the City’s legislative chamber if he succeeds in ousting the Ed Lee appointee, Julie Christensen.
READ THE ENTIRE ARTICLE at:

Filed under: Arts and Culture, San Francisco News, ,

For National Poetry and Jazz Appreciation Month: Langston Hughes

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.

Filed under: Arts and Culture, Freedom Now, Gil Scott-Heron, Greenwich Village, Harlem, Jazz, Poetry, Richie Havens, video, , , , ,

For National Poetry and Jazz Appreciation Month: Gil Scott-Heron

April marks National Poetry Month and Jazz Appreciation Month. This month’s posts will attempt to shine a light on great moments and people in jazz and poetry history, specifically where the two forms meet and get real. Gil Scott-Heron is a timeless poet and performer who published poems and prose, in addition to performing songs on piano–often classified as jazz–but with an emphasis on words. Truth was, there were echoes of blues and gospel, rock’n’soul in his grooves, though if ever you go and seek his work in the record bins, cross-check the jazz or “miscellaneous” sections and you’re likely to find discs there. Come April 19, Record Store Day, there will actually be a new slab of wax in the stacks by Scott-Heron: Nothing New is a collection of stripped down tracks, recorded in 2005.  This sample cut, “Alien (Hold On To Your Dreams),” was originally released on the 1980 Gil Scott-Heron and Brian Jackson album, 1980. Amazing how timely the song and its sentiments remain, though that is of course the nature of visionary poetry–and jazz. 

In 1970, Gil Scott-Heron was barely 21 when his first novel, The Vulture, was published and his startling, spoken-word record, Small Talk at 125th and Lenox, caught his incisive cool on tape. “I consider myself neither poet, composer, or musician. These are merely tools used by sensitive men to carve out a piece of beauty or truth that they hope may lead to peace and salvation,” he wrote in the album’s liner notes. Accompanied only by conga drums and percussion, Small Talk at 125th and Lenox featured a reading of “The Revolution Will Not Be Televised”, Scott-Heron’s most enduring work and an early masterpiece, its flow combining elements of both poetry and jazz.

“The revolution will not be brought to you by Xerox

In four parts without commercial interruptions.”

Excoriating the media and marketing, the song’s structure burrowed its way into the collective consciousness of musicians—both mainstream and underground—and listeners alike; it is referenced throughout music, and rather un-ironically the title phrase has been repurposed to advertise consumer goods, from sneakers to television itself. The piece is also, of course, foundational to hip-hop, its words potent and direct, even if some of the allusions and references may be lost on those uneducated in ‘60s or ‘70s culture. It also sounds great, which explains why it’s a standard-bearer for all music, whether it be politicized rock’n’soul, funk or jazz. Pulsing throughout the piece is Scott-Heron’s projection, a foreshadowing of the realities of global connectivity and the pacifying effect on the brain produced by viewing from a small screen. Heron’s vision was a word to the wise:

“The revolution will not give your mouth sex appeal…
The revolution will not make you look five pounds
thinner, because the revolution will not be televised.”

Positing a necessary parsing of media-generated “reality” from truth and setting his poem to music on his 1971 album, Pieces of a Man, Scott-Heron was caught in the chasm between jazz and soul, poetry and rock, and few knew just what to do with the new poet and big bass voice on the scene, though time would reveal his impact: As the years rolled by, this poet of vision would weigh in on matters environmental and racial, as well as political and social. Though Scott-Heron’s voice was too often a cry in wilderness, it served as a clarion for future generations of conscious writers and thinkers.

Born in Chicago April 1, 1949, Scott-Heron was raised in Tennessee by his grandmother until he and his single mother, a librarian, eventually moved north to New York City. As a teenager, he excelled at writing and earned enrollment at Fieldston, a progressive Ivy League preparatory school. Upon graduation, he chose to attend Lincoln University in Philadelphia, quite simply because it was the alma mater of poet Langston Hughes. As a musician, Scott-Heron’s style was conjoined with the word styles of Hughes, as well as those of talkers like Malcolm X and Huey Newton. But it was “musicians more than writers” who inspired him, and he used the rhythms of folk, blues, soul, and jazz to fulfill the intensity of his emotion. “Richie Havens—what he does with the images and themes, Coltrane—the time defiant nature and thrust of his work. Otis Redding—the way he sings lyrics so that they come through as sounds. You can really appreciate how close a saxophone is to the human voice when you hear Otis singing. I sometimes write poetry, in a way, like Otis sings. The sounds form shapes. Like clouds banging into each other. That’s how I get loud sounds in my poetry,” said Scott-Heron to Jazz and Pop‘s Nat Hentoff.

Read: More on Gil Scott-Heron in Keep on Pushing.

Filed under: Arts and Culture, cross cultural musical experimentation, Earth Day Music, Environmental Justice, Gil Scott-Heron, Immigration Reform, Poetry, Protest Songs, vinyl, , , , , , ,

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