Public art matters. Confederate monuments were installed to change the narrative about slavery and the Civil War, and to romanticize insurrectionist leaders of the “Lost Cause.”
In cities across the country, citizens have organized to take down symbols of white supremacy.
In some places an empty pedestal is all that remains.
Color of Change has launched The Pedestal Project, an Augmented Reality experience that replaces symbols of hate with symbols of equality:
Contentious statues have been torn down all across America, leaving behind empty pedestals in their wake. It’s time to place new symbols in their stead. The Pedestal Project is born of the vision to repurpose these ill-conceived pedestals by using technology to help people choose the statues that should go up on them. Statues of people who have dedicated their lives to fighting for justice and equality. So that beacons of hope and progress can stand where symbols of hate, oppression and inequality once stood. And that people everywhere can have an active voice in the movement for racial justice.
In 1970, a band of musicians sounded a call to arms over the exclusion of black jazz musicians in the mass media, specifically commercial television. Broadcast TV was the dominant medium of the era. Multi-instrumentalist Rahsaan Roland Kirk spearheaded the Jazz and People’s Movement. Kirk circulated a petition in New York City jazz clubs which was signed by, among others, Lee Morgan, Charles Mingus, Andy Cyrrile, Freddie Hubbard, Cecil Taylor, Elvin Jones, Pharoah Sanders, Archie Shepp and Roy Haynes.
The petition read, in part:
Many approaches have been used through the ages in the attempted subjugation of masses of people. One of the very essential facets of the attempted subjugation of the black man in America has been an effort to stifle, obstruct and ultimately destroy black creative genius; and thus, rob the black man of a vital source of pride and liberating strength. In the musical world, for many years a pattern of suppression has been thoroughly inculcated into most Americans. Today many are seemingly unaware that their actions serve in this suppression – others are of course more intentionally guilty. In any event, most Americans for generations have had their eyes, ears and minds closed to what the black artist has to say.
Obviously only utilization of the mass media has enabled white society to establish the present state of bigotry and whitewash. The media have been so thoroughly effective in obstructing the exposure of true black genius that many black people are not even remotely familiar with or interested in the creative giants within black society.
Such injustice has reaped immense ramifications for white society. By suppressing black creativity the white man has managed to avoid competitive confrontation – thus insuring his own position and security, both emotionally and monetarily. Concomitantly, he has partially succeeded once more in emasculating a facet of black culture and the black quest for freedom. However, in one respect the pattern of suppression has clearly failed, for though there has been success in blocking the exposure of black artists, and in whitewashing the minds of most Americans, attempts to destroy the sources of creation have not succeeded.
Action to end this injustice should have begun long ago. For years only imitators and those would sell their souls have been able to attain and sustain prominence on the mass media. Partially through the utilization of an outlandish myth, that in artistic and entertainment fields bigotry largely no longer exists, and by showrooming those few blacks who have sold out, the media have so far escaped the types of response that such suppression and injustice should and now will evoke.
The Jazz and People’s Movement took action. Demonstrators disrupted tapings of The Tonight Show with Johnny Carson, The Dick Cavett Show and The Merv Griffin Show. They played instruments and blew whistles that they had smuggled into the studios where the shows were taped.
Also in the ‘70s, trumpeter, arranger and all-around musical genius Quincy Jones was on the board of the Institute of Black American Music whose mission was similar to Jazz and People’s Movement.
Fast forward to today, the multi-Grammy winning Jones is taking a journey into jazz and beyond with Qwest TV, the world’s first subscription video-on-demand platform dedicated to jazz from bebop to hip-hop.
In a statement, Jones said:
The dream of Qwest TV is to let jazz and music lovers everywhere experience these incredibly rich and diverse musical traditions in a whole new way.
At my core, I am a bebopper, and over the course of my seventy-year career in music I have witnessed firsthand the power of jazz – and all of its off-spring from the blues and R&B to pop, rock and hip-hop, to tear down walls and bring the world together. I believe that a hundred years from now, when people look back at the 20th century, they will view Bird, Miles and Dizzy, as our Mozart, Bach, Chopin and Tchaikovsky, and it is my hope that Qwest TV will serve to carry forth and build on the great legacy that is jazz for many generations to come.
Qwest TV co-founder Reza Ackbaraly added:
By bringing Qwest TV to the general public and to universities everywhere, we seek to promote the values inherent to jazz: hard work, diversity, openness towards others, mutual respect and consideration, cooperation, and improvisation. Jazz touches people across all national, social and cultural boundaries. Qwest TV is of course about extending that reach, but it is also about bringing exciting music from around the world back to jazz and music lovers who have yet to discover it. Quincy and I plan to build a community where the love goes both ways.
The streaming service will launch in fall 2017. For more info, visit Qwest TV.
Over the weekend, I attended a symposium that featured panel after panel of dynamic black women.
All of the speakers were inspiring and motivating. Stephanie Dinkins shared her conversation with a “black woman” who wasn’t in the room, Bina48.
This was my first introduction to Bina48, a social robot modeled in the image of the creator’s wife.
I celebrate fierce black women, but I thought Bina48 was a bit creepy. But after I got home, I remembered my own experience with laser scanning.
Hmmm. When time permits, I might create a mindfile account, where “death is optional.” Who knows? Perhaps the second time around will be better than the first time.
Anne Ewers, President & CEO of the Kimmel Center for the Performing Art, said in a statement:
Philadelphia is a revered jazz city and this presentation gives us a one-of-a-kind opportunity to celebrate the music of four jazz icons in their centennial year. Touting artists from around the world, Jazz 100 will showcase the unifying fibers of this genre.
Over the course of their careers, the jazz legends performed in clubs and venues in Philadelphia.
Dizzy’s Philly roots are deep. Born in South Carolina, his family was part of the Great Migration. For a time, he lived at 637 Pine Street. He was a member of the house band at the Earle Theater. After a tiff with management, Dizzy became a regular at the Downbeat Club, which was located within shouting distance of the Earle Theater.
An iconic television commercial is one of my earliest memories of “The First Lady of Song.”
One of my most memorable experiences was attending Thelonious Monk’s funeral in 1982 at Saint Peter’s Church in New York City. Musicians paid loving tribute to Monk with version-after-version of “Round Midnight.”
Jazz 100 brings together an all-star ensemble of musicians, including Lizz Wright (vocals), Avishai Cohen (trumpet), Wycliffe Gordon (trombone, vocals) and Chris Potter (saxophone, woodwinds). The tribute concert “showcases the individual artistry of each icon and the powerful unifying threads between them.”
Tickets can be purchased at the Kimmel Center Box Office or online at kimmelcenter.org (save over $45 with promo code “Dizzy”).
It’s back to school. It’s also back to the charter school debate.
In an AlterNet piece, Steven Rosenfeld outlined “10 Reasons Why the NAACP Is Absolutely Right About a National Moratorium on Charter Schools.” I had planned to write a point-by-point rebuttal, but Rosenfeld’s diatribe is more opinion than fact. I remembered the late Daniel Patrick Moynihan often said, “Everyone is entitled to his own opinion, but not to his own facts.”
Rosenfeld is entitled to his opinion so I’ll share a few facts. In Philadelphia, nearly one-third of students attend charter schools. There are 83 charter schools, two of which -- MaST Community Charter School and String Theory Charter School -- have a combined waiting list of more than 10,000 students.
WHEN SCHOOLS get it right, whether they’re traditional public schools or public charter schools, let’s figure out what’s working and share it with schools across America.” Hillary Clinton was booed at the National Education Association’s summer convention for that self-evidently sensible proposition. The reaction speaks volumes about labor’s uniformed and self-interested opposition to charter schools and contempt for what’s best for children. Now the union has been joined by a couple of organizations that purport to be champions of opportunity.
In separate conventions over recent weeks, the NAACP, the nation’s oldest black civil rights organization, and the Movement for Black Lives, a network of Black Lives Matter organizers, passed resolutions criticizing charter schools and calling for a moratorium on their growth. Charters were faulted by the groups for supposedly draining money from traditional public schools and allegedly fueling segregation. The NAACP measure, which still must be ratified by the board before becoming official, went so far as to liken the expansion of charters to “predatory lending practices” that put low-income communities at risk.
No doubt that will come as a surprise to the millions of parents who have seen their children well-served by charters and to the additional million more who are on charter school waiting lists for their sons and daughters. “You’ve got thousands and thousands of poor black parents whose children are so much better off because these schools exist,” Howard Fuller of the Black Alliance for Educational Options told the New York Times.
This information likely comes as a surprise to opponents of charter schools. But their minds are made up; don’t confuse them with the facts. Indeed, Rosenfeld dismissed the WaPo editorial saying “it is deeply wrong to belittle the issues that affected communities raise—which is the basis for the NAACP’s draft resolution.”
The basis for African American parents’ support of charter schools is the fierce urgency of now. As income has become a proxy for race, they reject the notion that their zip code is destiny. Black parents don’t want their children trapped in failing traditional public schools because they live in the “affected communities.”
Access to charter schools empowers low-income and working-class parents to exercise their right to choose the best educational environment for their children. Fact is, black students make up 27 percent of charter school enrollment nationwide.
The bottom line for Rosenfeld is, well, the bottom line. In his worldview, charter schools “divert” money from traditional public schools. By contrast, supporters believe the money should follow the student. For them the bottom line is: Are students learning the three Rs – reading, writing and arithmetic?
Unfortunately for Rosenfeld and the NAACP, facts are stubborn things.
This month marks the 60th anniversary of the death of legendary saxophonist Charlie “Yardbird” Parker who died on March 12, 1955. Bird lives on in the musicians he influenced from bebop to hip-hop.
As luck would have it, the first performance will be on June 5th. On June 5, 1945, the Dizzy Gillespie Quartet, featuring Charlie Parker, played the Academy of Music. Seated in the next-to-last row was John Coltrane who was seeing Bird for the first time. Coltrane later said:
The first time I heard Bird play, it hit me right between the eyes.
These are the kinds of stories we will share at All That Philly Jazz, which will be launched on Friday at the March convening of Open Access Philly. The event is free and open to the public. To register, go here.
