Black Nativity daisyjames SPECIAL EDITION
D U K E E L L I N G TO N S C H O O L O F T H E A R T S P R E S E N T S M I K E M A L O N E ’ S
Behind The Scenes with Malia Williams-Haynes Black Nativity Profiled -- Hear the stories of four major Black Nativity participants Kanye West is he the 21st Century Black Christ or is he just blasphemous and arrogant?
In Memory of Mike Malone
CONTENTS 2 Tribute to Mike Malone: In memory of the late Mike Malone, choreographer, dancer, and co-founder of the Duke Ellington School of the Arts. 4 Transgression, Faith, and the Birth of Art: LMC Chair Mark Williams dissects the many facets this season has highlighted about teaching, including where faith lands in the separation of church and state 6 The Maybe: An excerpt from a short story written by Quadaja Herriott
7 Where’s your room? Nia Boulware wonders about how one comes to understand and participate in religion
8 Black Nativity Production Mode Revisited: Mona Sharaf details the making of Black Nativity from the perspectives of the directors
11 Behind the Scenes From Ellington’s theatre to the Howard theatre, Malia Williams-Haynes follows the happenings of Black Nativity Rehearsals
14 Were The Songs Enough? Nia Boulware relays her thoughts and findings on what may have been Langston Hughes’ reasoning for writing ‘Black Nativity’
16 Twenty-First Century Black Christ: Kanye West is calling himself Yeezus. Tréseat Lawrence discusses blasphemy and plain annoyance on why this should not be
18 Black Broadway. Bohemian Caverns, Jungle Inn: Asia Alston puts the life of the “good old days” of U St. into a poem
Transgression, Faith, and the ! Birth of Art Mark A. Williams examines education, faith, art, and teaching. Audra Dobson, in her
Not precious. But sacred. Implicit in what I
article, “The Impact of
posit to my students is that if in fact the work of artists
Separation of Church
resides in a language that we subscribe to religion, to
and State on Education”
church, in the ways that artists produce sacred texts,
w r o t e , “ Th e U n i t e d
then the work of artists resides in God. I learn about the
States of America was
beauty, the power, the destruction, the transcendence
founded on the basis of
of love listening to John Coltrane’s, ‘A Love Supreme,’
religious freedom. Its
reading Nicole Krauss’s, ‘A History of Love,’ looking at
school systems were
Frida Kahlo’s self portraits, hearing Nina Simone sing
centered on religious education. Theology was weaved
‘Four Women,’ watching Mary Alice playing Rose in
into every song, every thought, and every act of
August Wilson’s ‘Fences,’ or seeing Mike Malone’s
Americans. The idea and belief of God was everywhere.
‘Black Nativity.’ Each of these pieces of art is its own
When the Separation of Church and State was put into
religion, a place to go and stand in, sit in, kneel in, the
place as a result of the First Amendment of the
piece of art, the prayer, the artist, the text. The sacred
Constitution in 1791, the correlation between God and
text. The same way Jesus Christ, St. Augustine,
the good of humanity was suddenly obliterated.” I am
Mohammed, Joan of Arc, Harriet Tubman, Mahatma
struck by Dobson’s layered use of the “good of
Ghandi, Rosa Parks, and Malcolm X (to name a few)
humanity,” meaning how human beings are implicitly
were sacred texts, the same way Nelson Mandela, and
good, but moreover, what is necessary for the whole of
Aung San Suu Kyi (to name two) are sacred texts.
humanity, its good, its function, its survival, and how prior to 1791 that correlated with God.
But perhaps even before art, is transgression. And alongside this word, others, like heresy, words that
I posit to the students that I teach at the Duke
abound in another sacred text. The Bible. James Baldwin
Ellington School of the Arts that if they don’t have an
writes, “We are told that the way of the transgressor is
artist or set of artists that they revere, that they deem
hard, not that the way of the transgressor is wrong, nor
sacred, then they are suspect, they are posing as artists,
are we told what a transgression is.” In the Judeo-
that they should consider a career in banking. Or
Christian doctrine transgression translates to sin. For
politics. Furthermore, the reason that they must, and I
me, as an educator, and more importantly someone
mean must have an artist or set of artists that they revere
involved in the work of training writers, transgression is
is so they understand that they live, and move, and
a question, and artists are transgressors, people who ask
work in a trajectory, a context of people that render
questions, questions of and with consequence. Like
narratives of the human condition which illuminate how
John Coltrane, Frida Kahlo, and August Wilson. And
we are not merely human, rather, how we are more
Langston Hughes. And Mike Malone. Artists who all
than human. And those illuminations are sacred.
asked one bold, audacious question, “Why?”
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The question, a transgression, and within an
premised on giving students, primarily African
act of sedition, Simone asking “Why can’t I be
American, the opportunity to go far from their native
beautiful?”, Corey Maxson in Wilson’s ‘Fences’
lands and give them an opportunity that they might
asking, ‘Why can’t I play football?’ in both cases,
never have, to birth Art. Transgression. Faith. And
because they are black. Or Hughes asking “Why do
then. Art.
Joseph, and Mary, and Jesus have to be white?”, and
The question for me is not one of religion as I
Malone asking, “Why can’t I make Joseph, and Mary,
am an educator in a Public Education system that
and Joseph black in Congo Square?”, the heresy in
separated Church and State. My work is not to
these cases, because the Nativity story is about a
impart my political or religious beliefs to my
white Jesus. Before
art,
transgression, two men, two black men, committing an act
“Each piece of art is its own religion, a place to go and stand in, sit in, kneel in”
of heresy, Hughes in the
students, to structure my syllabi around what I like and like alone, rather, it is to participate in something that is as sacred as the limitless
writing, Mike Malone, in the rendering. Both men,
possibility of young people, irrespective of
also, committing an act of faith, that the question
demographic. And sacred must be met with sacred.
they posed, a bold, audacious question, would land
Transgression. Faith. And then. Art.
in a piece of art, would be read, would be seen. In
Baldwin writes, “In my experience, the
spite of its perceived transgression. Almost fifty years
minister and his flock mirror each other. It demands
after it debuted on Broadway in 1961, ‘Black
a very rare, intrepid, and genuinely free and loving
Nativity’ written by Hughes, and almost thirty years
shepherd to challenge the habits and fears and
after Malone, co-founder of the Duke Ellington
assumptions of his flock and help them enter into the
School of the Arts rendered it, ‘Black Nativity’ lands
freedom that enables us to move to higher ground.” Irreverent words
again at the Duke Ellington School of the Arts. The question again,
“ w h y ? ”
Transgression.
Like
the story of the
“My work as an educator is to participate in something that is as sacred as the limitless possibility of young people, irrespective of demographic.”
again, in terms of the Separation of Church and State, “minister,” “flock,” “shepherd,” and even more so, “ f r e e d o m ,” a n d
Nativity itself, the notion that a King was being born in a manger whilst
“higher ground.” Towards the “good of humanity.”
a King, Herod, already sat on a throne. And that
We are teachers at the Duke Ellington School of the
three wise men would leave their native lands to go
Arts, not ministers, and yet is it not incumbent on us
to a distant land, led by a star, to be birthed again.
that we minister to how our students understand
Faith. And three years prior to the Voting Rights Act
transgression, understand questions, towards their
being passed in the United States a black man, not
freedom, and the freedom of others, and house that
yet a full citizen, would claim this story and make it
freedom, provide its context by putting forth the
his own by making the Nativity story a black one.
broad, expansive map of transgressors, of artists that
And then another man would make the story and the
came before them? That they will become
school he founded legendary, a school that was
themselves. And that is sacred.
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The Maybe By Quadaja Herriott “I’m going to die, and I’m not going to live again,” She walked backwards, swaying her hips with the purpose of seducing death, though the woman knew nothing of its necessity. Although she continued; she closed her eyes and pulled her breath. Her body fell clumsily over the bridge and yet her soul flew gracefully. There were no witnesses and like many things logic couldn't do, it couldn't explain exactly where the body was. Strangely, no one asked questions. They called the woman Jade and she was beautiful. She escaped humanity. When the woman died, she left some people behind and those people, relatives, are blindly looking for the body. They thought nothing of the challenge in finding the woman; they thought nothing of the fact that the only sensible explanation would be that the corpse disappeared, which, in itself seemed to defy the very sense of reality that they held dear. They persisted in trying to find a body that wasn’t there. Had she remained in purgatory no one would have cared, but finding peace is a business that unsettles others. The sky was cerulean that morning and as welcoming as it had always been; because of this her soul did not linger and she went with her fate. For a while, she was no longer miserable. Those loved ones looked to interrupt that peace; it wasn’t purposeful, just human nature.
Photo: jamesmaherphotography.com
Words: Nia Boulware
Where’s Your Room After staring up at the ceiling for answers that resulted in more questions, it's amazing what you can discover about yourself. Especially when followed by many midnight conversations between you and your bedroom walls. I've learned that I might own a touch of crazy, and a lot more confusion. In ninth grade, a considerably good friend of mine in my World History class (of all places) confessed to her refusal to catch a cab with a Muslim driver. She feared that the Allah-fearing men would "bomb her.” She instantly became the poster child in my mind of religious ignorance at its finest. Although, she isn't to blame as much as society’s deaf ear to the similarities and humanity in every religion. It's no surprise that sanity solely relies on the idea of a higher power. Whether it be a God, the Universe or karma, we need the security blanket. Religions are the rooms in the house of belief where you find yours. Or maybe it’s become more and more like today’s online dating. There’s men but not love. Religion but no Spirit. However, when we focus on the stories and morals, the comparisons aren’t hard to fathom. In truth, a large portion of religion are stories passed down to the next generation. In the wake of Duke Ellington's' Black Nativity, there would've been no better way to substantiate my point than the story of the birth of Jesus. In the Mithraic religion, a few hundreds of years before Jesus Christ, three wise men traveled to visit baby Mithra, savior-god. The wise men brought myrrh, gold and frankincense (sound familiar?).
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Thirty two percent of the world is Christian. America was founded on the idea of a European-Christian country. This idea is still hidden in the cracks of every city and minds of politicians, publishers, and regular people. The problem doesn't reside in our religion or race, but in the neglect of appreciating everyone else's.
Words: Mona Sharaf
Black Nativity:
Production Mode Revisited
A purple light masks the half made wooden set; the theatre is silent besides the voice of Tracie Jenkins echoing through the room giving instructions to the few actors standing on stage. Hidden are the dancers in the theatre entrance, not even their feet making a sound. Everyone seems to have gone mute, the silence giving an air of intensity. It was like the moment right as the lights go down before a show, the audience all collectively silent anticipating the show’s beginning. As the cast of Black Nativity prepared for the rapidly approaching show, these were the preceding moments. With only weeks to go, everyone had a goal, and everyone was prepared to reach it. With theatre veterans and newcomers working together, Black Nativity was a learning process for the new taught by those more seasoned.
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Jenkins is the co-director of Black Nativity, and though she is the teacher, she never lets that power hinder
her continual growth. “I find that I’m learning even still as if it’s the first time. Every time is the first time,” she says. For Jenkins, her understanding of once being the student is what helps her maintain that ability. Having worked under both Mike Malone and co-director Katherine Smith, the show is a dramatic reversal in roles, especially for such an important show. For Jenkins, Black Nativity is more than just the average production.
“It’s a journey through
and claiming that she gets “no
t h e A f r i c a n A m e r i c a n ’s
type of sleep” between
perspective on the experience
rehearsals and the workload
of struggle and what one used
for her three AP classes, Laila
to hold on to hope and faith
showed no sign of weakness.
and to get through those
Instead, she showed the
challenges and struggles, she
resilience of a true performer. “I
said. Then she grew silent,
have
my
her mouth open with words
homework over there and I’m
that weren’t there. For her,
going to try and do it over
describing this show was
break because I know that
more than just a question, but
when I get home I’m gonna be
a duty. Its religious overtones
s l e e p o n t h e fl o o r. I t ’s
held particular significance.
happened before.”
Co-founder of DESA, Mike Malone working with “It was this event, the birth of Robin Massengale, originial Black Nativity cast Christ, Jesus Christ. It then member in 1994.
Answering my questions while attempting to eat a bag of popcorn, Laila’s
became a symbol for the African American to use and using gospel music to
cheerful attitude didn’t match the long hours that she
express this way of moving through a very troubled
worked perfecting her role. Playing the lead in such an
existence,” she said.
intense show means hard work. And hard work takes time.
“I am an original Nativity-ite. The choreography was set on me.”
“Trying to balance schoolwork with the rehearsal schedule is pretty hard,” Laila added. As a third year dancer, she
Her eyes shifted from me to the dancers,
knows the commitment that a show like this requires. But
monitoring them as she answered questions, occasionally
with commitment comes a love of what you’re doing. In
smiling for the camera. Her intensity was hypnotizing.
Laila’s case, her love of Black Nativity comes from what
Smith leaned forward, answering questions so rapidly it
the show is doing for her.
seemed as if she knew the question before I did. She managed to speak, smile at the camera, and direct the dancers all at the same time.
“I can find myself more because it’s my culture in this production.” Watching Laila dance, there is a sense of discovery
“What it means to me is very spiritual. I have
radiating from her. Every move quietly different, more
grown through Black Nativity as a person. In my spirit. In
empowered, with the most subtle improvements. But it is
my life. Because I spent so much time with it so it means a
not just Laila who is discovering themselves through Black
lot to me. More than I even have words for.”
Nativity. Birane Moor, one of the two Josephs, finds the
With her deep love of the show, Smith is now able to spread that to other Duke Ellington students, including dancer Laila Franklin.
production equally moving.
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Birane, a senior in the dance department, has been
in countless productions, claiming to “audition for
When I sat down with Laila who is one of the two
everything,” in hopes to be a part of as many productions
Mary’s, her cheery smile and upbeat energy were
as he can, however, being a part of Black Nativity was not
contagious. Despite having danced for three hours straight
just for his love of dancing.
“My mom has always been a big person when it comes to black history and this just fits right in there and so I audition for everything.” With an exterior motive to audition, Birane found a more personal relationship with the show as rehearsals went on. “As a Christian I feel like the conception of Jesus is a very, very historic event and it’s the only one of its kind and to be a part of telling a story to those who may not know it, to see how people will react, it’s a very humbling experience.” Black Nativity means something different to everyone. While the story is universally known, and this particular adaptation is focused on the telling of the story through a black perspective, the power of Black Nativity is infatuating. Told through a combination of dance, gospel music, and spoken word, this piece takes all forms of art to make this story come to life. In 1979, Mike Malone, the co-founder of Duke Ellington,
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took Langston Hughes’s play and transformed it into an everlasting piece of art. With the 40th anniversary of Duke Ellington, the moment to revive this iconic piece has brought out those from Black Nativity’s past and the future. These two elements combine to make the show unique, but also honor the tradition of Black Nativity touching the lives of the Ellington community and chronicling the Black experience, then and
Behind the
Scenes with
Black ! ! NAtivity Malia Williams-Haynes follows the cast of Black Nativity and observes the inner workings of the performance. Students sat eagerly in the Duke Ellington theatre as Mama Tracie prepared to read the short list of students who were to be included in TVOne’s Christmas Special at the Howard Theatre. “Welcome to the world of show biz,” Mama Tia sang from another side of the room, referencing Dreamgirls, the last all school collaborative. “One Christmas” is TVOne’s first holiday special. For the special, the cast of Ellington’s Black Nativity will perform ‘Magnify’ which is “the same song and dance that they auditioned with,” says Vichelle Jones, TDP instructor and stage manager at the school.
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The rehearsal schedule for the students in ‘Black Nativity’ is very demanding. Students are at school rehearsing until 11:00 pm. Most students say they really enjoy being able to learn new choreography and songs, but
getting home late makes it difficult to get homework done. The school insists on developing an environment of balance, where students are given the opportunity to bloom into experienced artists and still excel in their studies. “We're checking up on kids everyday,” noted Jones. For most Ellington productions, time isn’t an affecting factor as much as dedication and delivery.
“Only got half, cuz it was too much money, only got half...” one of the performers sang as they waited for the bus to take them to Howard Theatre, suddenly the whole cast seemed to join in and dance in sync. When the bus finally arrived you could feel the student’s excitement as they boarded. Quick squeals, quick steps, and a few of the vocal students began to warm their voices as the cast took their seats.
The rehearsal order is usually done in sections, beginning with choreography and ending with vocals. Dennis Atkinson, part of the ensemble in the production, said that, relative to previous shows at Ellington, Black Nativity has “a lot more singing and dancing and a lot more theatrics to it.” Atkinson’s point speaks to the show consisting of over 20 songs and original choreo that was installed by our school’s very own co-founder Mike Malone. A show of this nature calls for the students to be accustomed to intense practices and even more intense expectations, most of
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which they put upon themselves. Devin Kessler, narrator
and backup dancer, spoke about the nervousness prepping for the show has created. “Forgetting my line or my blocking… or the note. That’s what I’m nervous about. Most importantly the note you’re singing, because when you’re
mic’d and you sing the wrong note, everyone hears you,” said Kessler.
However nervous, the students are taught to realize the work they are bringing to audiences and take solace in what that means. Black Nativity is a play written by Langston Hughes about the birth of Jesus Christ. Kessler relayed that her favorite part about being in the show is, “taking the message that comes from Black Nativity which, in my opinion, is how ‘gospel’ music helped African-Americans through slavery and difficult times and how we now have become a certain type of people through gospel and I like exploring that aspect.” Taking meaning from the play is a way of really connecting in order to give the best show possible, this is more than likely what occurred at Howard Theatre, since there was an overwhelming beam of glee once it was finished. “The performance was incredible. They did the recording in one take. Spacing was a challenge, but overall, the show went very well,” commented Jones on the TVOne special. Back in the rehearsal spaces of Duke, the collaborative efforts of a school wide production becomes evident as you watch students in all black all around the theatre. The Technical Design and Production (TDP) department has one of the most important jobs in putting together the show. They have to take care of setting up the stage, lighting, sound, and give/ follow the many cues that can’t be missed because that could actually hinder the reception of the play. “We have to order and rent out a lot of stuff so the show’s good so I would say shows like this are harder than regular shows,” said Thomasenia Eady of TDP.
Eady highlighted the complications that exist behind the scenes of Black Nativity, but it is in these times following successful rehearsals and live tapings with major networks that all the long
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hours, the twelve back to back run throughs, the need to hear a line repeated over and over until the right inflection is found,
and the intricate light designs that you may feel only you notice, truly pay off. It pays off to look in various corners of the school
and see the many hands and hearts that are creating as a collective.
Were the songs
enough?
Nia Boulware explores Langston Hughes’ connection to Black Nativity. Langston Hughes (c.1902-1967) author, poet and playwright, was largely credited for the progression of the Harlem Renaissance in the 1920's. If not for him, the evolution of black arts would have been stunted. The Renaissance was a safe haven for African American artists to freely share their work with the rest of the world. To no surprise, black art was based on their harsh realities of discrimination and targeted hatred. In the 1920's, The Jim Crow Laws (e.1876) were still in practice, and the Ku Klux Klan had over 4 million members, including many politicians. Rapes, beatings, lynchings, and racial divide were all common on the lips of Blacks, making the Harlem Renaissance a necessity, and the environment hungry for aggressive leaders to be at the forefront. Langston Hughes was a good choice, but possibly too passive to be a great one.
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Hughes, writer of the gospel songplay, whether Hughes was withholding a message. ‘Black Nativity,’ was ridiculed and underrated The concept of a Black Nativity has so much by peers. Black Nativity was no exception. In weight to be carried, it is difficult to satisfy 1961, "black" was not a welcomed term for with only choir and song. certain African Americans. So why would an Or maybe he had us fooled. His acquiescence could have been the arguably underachieving genius create such veil for a breakthrough in black pride. The idea controversy over a "Black" Nativity? The 60's was the era of black rage. After of putting a black face to a "white" Jesus was the brutal murder of Emmett Till in 1955, the unheard of in the sixties. Langston Hughes Civil Rights movement rose to great lengths for never took to a religion in his personal life, so equality; seeming to be a perfect opportunity embellishing not only church, but a black for impassioned African-American authors to church, was peculiar, yet empowering. Black Nativity was written in 1961 and voice their positions; in a way, Hughes did, ten years before the movement in his piece, ‘The it was a hit on Broadway. The songs kept you Weary Blues.’ A feeling of exasperation with on your feet, the cast was lively, and Hughes being treated as less than and the desire to give used familiar music to amuse and relate to the up that caught the ears of readers. While crowd...no memorable lines. The play has little narrative and African Americans "Every time I read Langston is grandly a had leverage for internal rage, the Hughes I am amazed all over again collective of by his genuine gifts--and s o n g s , path to liberation depressed that he has done so supporting the amongst the little with them." argument that community often - James Baldwin. " B l a c k varied, albeit Nativity" could Hughes’ ‘Blues’ is simply believed to be too pliable, and almost be another piece in the "almost" section of submissive. In ‘I, Too, sing America,’ Hughes black literature; and had modern adaptations paints a major representation of a black man kept the same "Black Nativity" as written knowing of his equality and waiting for the without Mike Malone’s expounding (the shift in realization from his white counterparts. adding of choreography), it is possible the Hughes offers no assertiveness in either poem, production would have gained mere quick glances and not garnered the run it did in a time where it was needed most. Further hesitation from Hughes can also throughout the decades. Maybe this is what Hughes saw, a be suspected in "Black Nativity," where the central idea is to simply glance at the black constant growth over the years, a constant religious culture through song. Naming the reconfiguring of what Black Nativity, black play "Black Nativity" in itself can be seen as a creativity, black life and faith looks and feels revolutionary stance, however, there’s no like. While the songplay wavered in strong dialogue, leaving an audience to speculate literature, it still enlightened the ‘weary’ African Americans to conviction with the premise of a black savior.
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Black 21 Century ! Christ st
Tréseat Lawrence deconstructs the personal and social implications of Kanye West’s Yeezus. He was so tight my mother bought his album. Mr. Controversial rapper himself Kanye West has never been afraid to step outside of the hip hop genre’s box. Ever since his debut in 2004 the man has been known to say what other rappers have failed to. Rap is known to house male bravado and competitive behavior; But does this allow for blasphemous verses and referring to yourself as God? After his mother Donda West suddenly and tragically passed in 2007 it was noted that West may have lost himself. His mother played a major role in his rap career, she managed, supported, and kept his faith intact. It is not
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clear whether or not Kanye felt as if God abandoned him during this time. However, it can be inferred that he felt his life was so out of control at the time and he needed a way of asserting his presence. It’s possible Kanye’s selfassurance hit so low and he needed to reclaim it so badly, that he took the highest power he knew and made himself into it.
Maybe it’s the flashing lights that have blinded the man, because Kanye hasn't been the rapper that we
remember from College Drop Out for a while. And if this Kanye is to be considered our 21st century
black Jesus, we are in trouble. To many, Rap is considered a religion all in itself. This Yeezus persona is asinine and blasphemous to the religion that is Hip Hop. Kanye is plotting for his own downfall. This new Yeezus only appeals to today's teenage hypebeast. That is, the group, seemingly like Kanye, are only attracted to the fame and not the substance of the rappers content. West’s verses that once had depth have now been watered down. His verses have become more fallen angel and less God. It’s cool to put your religion in your art, but when it looks like you are solely doing so for money, it’s a desecration. Are we fools for listening? Rappers today have belittled our minds with nursery rhyme raps that we usually only remember the beat to. Please correct if wrong, but isn’t rap supposed to carry a message? Our generation needs more enlightening messages than it does the boasting/praising of one’s self. Music is an outlet, so of course we as listeners want to hear something other than empty lines and hard beats. The rappers who do give us substance are overlooked; the rappers who rightfully practice Hip Hop’s religion. Kanye using Christianity is a weak outlet. Kanye should go back into his playbook and create the songs that once had my mother singing along. I think he is crying for attention. We as listeners and fans have to get Mr. West to wake up and give us those Late Registration, Graduation verses we loved. Those were religious. Right now with all of his shenanigans, he is acting like the kid in class who has to constantly make a scene to let everyone know they’re there. Where is West’s chill? He is already respected by many and to most one of the hottest rappers in the game. He should
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reconsider his whole Yeezus persona because at this certain point his verses aren't doing any saving.
The
I once held jazz in my hands,
Bohemian
held it tight, so tight, like fingers around jelly roll morton’s thick throat, forcing out unforced notes that flowed down my
Caverns, Jungle Inn
beloved black U Street…
and U Street was jazz
Words: Asia Alston
My mother always says she misses her old neighborhood, the one she felt was hers even before she was born, even before her mother was born. Where our ancestors dressed up on saturday nights in their best clothes (next best to the ones they wore sunday mornings) and filed into the smoky nights clubs smoke sounding like soul, choked up emotions shining like gold on a stage where it was okay to play your lover because when you touched her, she always made the sweetest sounds. They called her jazz. Charles Mingus, and John Coltrane. Pearl Bailey and Cab Calloway. Duke Ellington. U Street in its heyday, Black Broadway is what they called it. And jazz was its language. Jazz was the way black people spoke.
Boy, that jazz sure do leave you wide open and it’s funny how an open wound never heals the same, how you’ll always point to the scar for a story to tell or a story to hide.
I only know U Street without the Broadway A haven for drug dealers streets lined with abandoned buildings, still smelling of smoke left behind from the riots. Blackness. But no, not the angry, languished black that lit fire to its own community after news of Dr.King’s assassination. I’m speaking of something else Something broken We try to play it. But it’s different. The way we can leave jazz when the set is over, never realizing that she once was this beast of a woman that with the right note, broke all you knew to pieces. we are the root of the problem removing the raw and uncut and replacing it with the pursuit of perfection imitating the Billie Holiday’s and the Shirley Horn’s, but not understanding what they were really saying how naming the ways we are destroyed gives us the hope that we never will be just that Destroyed. The new “U Street”? a good time paved over the concrete, hard truths of what use be. “Glow stick night clubs” and rooftop bars the house in which jazz once laid her head now a tomb for the disinterested Many.
Where is our lady? the Blackness that built that community nourished it An affair so deep, you would always come back to be put on your knees. And she would always threaten to leave you there. “Boy, that jazz sure do leave you wide open.” Where she was always easy to find, right there, in her house, on our beloved Black U street.
Volume 1, Special Edition
Daisyjames
Celebrates Duke Ellington School of the Arts’