Unmade Black Projects

The following black experience-related film and stage projects proposed by black entertainers were mentioned in the press but so far they have not been made:

1. Spike Lee (director)--A biopic about the 1938 boxing rematch between Joe Louis and Max Schmeling; A film adaptation of Porgy and Bess.

2. Barry Jenkins (director)--A biopic about the choreographer Alvin Ailey.

3. Jon Batiste (musician/composer)--A Broadway musical based on the life of the artist Jean-Michel Basquiat.

4. Alicia Keys (singer/pianist)--A biopic about the biracial piano prodigy Philippa Schuyler, whose father was the Harlem Renaissance writer and critic George Schuyler.

5. Jesse L. Martin (actor)--A biopic about the R & B singer Marvin Gaye.

How A Gossip Column Provided An Opportunity

When the ultra-right wing New York Post's gossip column Page Six was actually on page 6, not page 12 or page 20, I saw an item that stated that the civil rights icon Andrew Young was running for mayor of Atlanta and was giving up his Los Angeles Times-syndicated opinion column. Since, it was reported, the paper was looking for replacement writers for the column, I immediately contacted the L. A. Times about their talent search. Soon after I was able to contribute three columns.

One of those columns was about homosexuality in the black community. The Oregon Journal in Portland published the article in August 1981 with the headline, "Gays Are Black, Too." The Times editor I submitted the article to begrudgingly sent it out, saying that Andrew Young would not have written about the subject. That was precisely why the column needed to be written. It gave attention to a segment of the black community that was stigmatized and rendered invisible and voiceless.

Unfortunately, Young's column was dropped by many newspapers because it was his opinions they were interested in publishing. To me, this attitude was short-sighted and foolish.  No one should expect one person to speak for all black people. You would've thought they would've been glad to have a multiplicity of black voices and perspectives on a variety of topics. I think it's a safe bet to say that some of those voices they weren't interested in hearing from might have been the next James Baldwin or the next Toni Morrison or the next Audre Lorde.

Anyway, this was the first, and only, time I ever got a job opportunity via a gossip column.

James Baldwin's Centennial Year

This year, in August, will mark what would have been the esteemed novelist/essayist James Baldwin's 100th birthday.

The 1619 Project Puts Slavery And Its Aftermath In The Spotlight

The New York Times Magazine published hundreds of thousands of extra copies of its special 1619 Project issue (August 18, 2019),which commemorated the year 1619 when the first shipload of enslaved Africans landed in the British colony of Virginia.

Unfortunately, despite its distribution at schools, libraries, and museums, I was unable to obtain a copy. It wasn't until three days ago that I found a damp copy of the issue in a Little Free Library kiosk on Saint Nicholas Avenue in Harlem. (It had been raining that day. I went home later and dried the issue on my living room radiator.)

Finding that copy was like finding a pot of gold or the holy grail. I could now read, if I chose, the magazine issue and the book it spawned, The 1619 Project: A New Origin Story (One World/ Penguin Random House, 2021) side by side. (I bought the book at the now-closed Target store in East Harlem in June of this year.)

Both the magazine and the book place slavery, considered America's "original sin," at the root of inequality and injustice in every aspect of American life.

The book will no doubt be among the many books banned and demonized in places like Florida and Texas. But, as the magazine issue's introduction states: "American history cannot be told truthfully without a clear vision of how inhuman and immoral the treatment of black Americans has been. By acknowledging this shameful history, by trying hard to understand its powerful influence on the present, perhaps we can prepare ourselves for a more just future."

The 1619 Project, the brainchild of Nikole Hannah-Jones, a New York Times Magazine staff writer, is also the subject of an original series on the streaming service Hulu. I'm looking forward to seeing it if and when it becomes available as a DVD set.

I'm Finna Discuss "Finna"

The first time I saw the word "finna" was in a Facebook post by one of my great-nieces (she's 36 years old). It was a strange looking word to me, a baby boomer. My first thought was that it was something she made up.

But one evening, to my surprise, as I was leaving the public library on 115th Street in Harlem, at closing time, I saw a book on a book cart with the title Finna: Poems. The book is by Nate Marshall and was published by One World in 2020.

On its back is a definition of "finna." It's described as being from African-American vernacular English and means "going to; intending to."

No doubt the word is used a lot by those involved in hip-hop culture.

Well, folks, I'm finna sign off, bringing this blog post to a close.

Remake "The Cotton Club" Movie

Prior to seeing Francis Ford Coppola's film, The Cotton Club in 1984, I had interviewed several people who had either worked at the nightclub or knew someone who did. The interviews were for a syndicated article I was writing about the upcoming movie.

Like the film critic Rex Reed, in his Guide to Movies on TV & Video, 1992-1993 Edition (Warner Books, 1992), I had heard a lot about this "Harlem bastion of glamour, sequins, and jazz that characterized the Roaring Twenties in New York night life."

So when I went to see the film I was full of excitement and high expectations. For the first time I would be seeing the fabled night spot on the big screen, and see an exploration of the lives and working conditions of the black performers who worked there in a Jim Crow environment, in, of all places, Harlem.

And, like Reed, I was disappointed. "[W]here," he asked, "is the Cotton Club? Somewhere on the cutting-room floor."

The movie was more focused on the white gangsters who owned the place than it was on the black performers who were its backbone. This was a missed opportunity to explore the racial and socio-economic aspects of the period. Instead of watching this movie, "You [will] learn more about the Cotton Club," wrote Reed, "and the people who made it famous just by listening to old records by Lena Horne, Cab Calloway, and Ethel Waters." Amen.

In the hands of Spike Lee, Kasi Lemmons, Barry Jenkins, Ryan Coogler, Ava DuVernay, or another capable black director the movie would have been more riveting, more incisive, and more thoughtful. It certainly would have been more black-centered.

If there is one movie that deserves a remake, The Cotton Club is it.

Note: I wrote a similar blog post in February 2015.

The 1984 article I wrote was published in this blog as "Exotic Negroes at the Cotton Club " on February 12, 2013.

Harlem Renaissance Art Comes To The Met

If there were such a thing as a time machine, I would gladly get in it and travel to the 1920s, to my favorite historical period, the Harlem Renaissance.

It would be a thrill to brush shoulders with the likes of Langston Hughes, Zora Neale Hurston, Claude McKay, Countee Cullen, and sundry other writers, musicians, painters, and sculptors. Since that's not possible, the next best thing would be to visit the upcoming exhibition at the Metropolitan Museum of Art in New York, slated to run next year from February 25 to July 28. It will be called "The Harlem Renaissance and Transatlantic Modernism."

According to an article in the Arts section of the New York Times ("Met Announces Harlem Renaissance Show," August 23, 2023), the show will be "New York's first major survey in nearly 40 years dedicated to one of the most influential artistic movements to have originated in the United States."

The Met will display artworks by African-American artists that will be on loan from historically black colleges and universities such as Clark Atlanta University and Howard University.

Included in the exhibition will be photographs by another Harlem Renaissance notable, James Van Der Zee.

I'm excited about this event. God willing, I don't plan to miss it.

Harry Belafonte, The King Of Calypso, Dies At 96

Rest in peace and power Harry Belafonte (1927-2023). He was known as a singer, an actor, a civil rights activist, a humanitarian, and a son of Harlem.

Today I dusted off an old paperback biography called Belafonte: A Tough Kid from Harlem Goes to Hollywood by Genia Fogelson (Holloway House Publishing, 1980). The book is probably out of print but has a useful (although obviously incomplete) discography and filmography in the back. (Copies of the book are available on Amazon but not at its original price of $1.95. One copy is priced at $25.00, another is being offered for $28.98.)

On The Road With Langston Hughes And Friend

I enjoy a good road-trip movie like The Motorcycle Diaries (2004) and Thelma & Louise (1991). And for a long time I've seen the movie potential of a road trip by car that Langston Hughes and his traveling companion, Zell Ingram, a young artist, took in 1931. (Ingram is described by the biographer Arnold Rampersad in his The Life of Langston Hughes: Volume I: 1902-1941: I, Too, Sing America (Oxford University Press, 1986) as "a big, handsome, young black man, about twenty-one years old, who lived with his mother over a popular Cleveland hot-dog shop.")

The trip took them from Cleveland to Florida. And from there to Cuba and Haiti; then back to Florida, where they picked up the black civil rights activist and college president Mary McLeod Bethune in Daytona Beach. She became Hughes's second traveling companion all the way to New York City.

While Hughes and Ingram were in Cuba and Haiti, they encountered enough adventures and misadventures to make a feature-length movie a riveting cinematic experience.

Sometimes I think I should become a movie producer.

The Forgotten Black World War II Veterans

I had four uncles who were World War II vets. Three served in the army, one in the navy. They served at a time when the American military was racially segregated. (A group photo of Uncle John and his shipmates attests to that.)

One of my biggest regrets is that I neglected to interview my uncles about their wartime service when I had the chance. I remember the four of them sitting in Aunt Vickie and Uncle Lyn's living room on 148th Street in Harlem trading war memories. This would have been sometime in the mid-1970s, when I would have been in my twenties. I heard them talking but I showed no interest in what they were sharing. I didn't realize that what I was hearing was important family history. History that should have been recorded on paper and/or tape so the information could be passed down to future generations.

Now I have to hope to find documents like letters and telegrams among family papers that addressed those war years as well as family mementoes from that time. (Aunt Louise, for instance, saved Uncle John's navy uniform including his dark blue sailor's cap. I found these items at the bottom of an old steamer trunk in her bedroom.)

The New York Times, in its October 6, 2022 issue, ran a review of a book called Half American: The Epic Story of African Americans Fighting World War II at Home and Abroad (Viking). The author is Matthew F. Delmont, a Dartmouth University historian.

I'm eager to read it, all 374 pages. This sorely needed book highlights the lives and accomplishments of those, one black World War II vet, himself included, described as "a forgotten group of people" relegated to the status of half Americans. I hope this book will be a step toward recognizing their role in preserving democracy in America.

Composer Billy Strayhorn Was Never In The Closet

A biopic about composer and pianist Billy Strayhorn, Duke Ellington's friend and musical collaborator, is long overdue.

In the 1990s, director Irwin Winkler was set to turn David Hajdu's biography of Strayhorn, Lush Life (Farrar, Straus and Giroux, 1996), into a movie. It never happened. I remember Winkler being quoted in a newspaper interview as saying that Strayhorn was not open about his homosexuality. Clearly Winkler hadn't read the book. I, who read a significant portion of the book, learned early on that Strayhorn was very much open about his sexuality.

"...Strayhorn," writes Hajdu (pronounced Hay-doo) on page 79, "made himself a triple minority: he was black, he was gay, and he was a minority among gay people in that he was open about his homosexuality in an era when social bias forced many men and women to keep their sexual identities secret."

Maybe it was a good thing that the movie was never made. Who knows what other inaccuracies would have crept into the script.

In the right hands a Strayhorn biopic could become a powerful and memorable cinematic experience. Someone like director Barry Jenkins (Moonlight and If Beale Street Could Talk) might be that someone who could accurately bring Strayhorn's life and musical achievements to the big screen.

The big question then becomes this--who would be a good candidate to play Billy Strayhorn?

Dr. Dre's Mom's Long Road Out Of Compton

It was about twelve years ago when I came across a copy of Verna Griffin's memoir, Long Road Outta Compton: Dr. Dre's Mom on Family, Fame, and Terrible Tragedy (Da Capo Press, 2008). Browsing through the book in the library, I learned she was born in the same year as me (she's three months older) and attended the same high school, Centennial, in Compton, California. I'm sure we were classmates in some of the classes but I don't remember her. I looked for her picture in a yearbook, but I was unable to find it. She may have dropped out due to giving birth to Dr. Dre at age 16 in 1965.

Now I want to track that book down, probably at New York's famous Strand Bookstore. They are sure to have copies in stock. When I get it, I want to read it from cover to cover. Perhaps I can gain some insights into how she managed to rise above the gangs and street violence of Compton and successfully raise a son who is rich and famous and who has helped put the city on the map as well as raise ten million dollars to build a performing arts high school in Compton.

Hubert Delany, Science Fiction Writer Samuel Delany's Uncle, Needs A Biography Written About Him

Stephen L. Carter's fascinating biography of his grandmother Eunice Hunton Carter (1899-1970), Invisible: The Forgotten Story of the Black Woman Lawyer Who Took Down America's Most Powerful Mobster (Henry Holt, 2018), mentions another fascinating figure, Hubert Delany.

I'm hoping someone will write a book or make a documentary film about Delany (1901-1990) who, writes Carter, "was the Negro lawyer who was the GOP candidate in the November 1929 special election for Harlem's seat in the House of Representatives." He lost that election due to the unscrupulous, racist antics of Tammany Hall Democrats.

A graduate of the New York University Law School, Delany went on to become an assistant U.S. Attorney specializing in white-collar crime.

His sisters were Sadie and Bessie Delany, who wrote the famous memoir, Having Our Say. His nephew is the science fiction writer Samuel R. Delany.

Until a book about Hubert Delany is written, I'll have to be content with whatever information can be had about him in his sisters's memoir.

Note: The mobster referred to in the subtitle of Carter's book is Charles "Lucky" Luciano.

I sent Samuel Delany a message on Facebook stating that his uncle deserved a full-length biography. He agreed with me. I asked him if he had any information about his uncle not mentioned in the Carter book. Here is what he wrote on June 20, 2021:

"Characters based on both my dad and Uncle Hubert are the focus of much of the first short novel in 'Atlantis:Three Tales.' Certainly he was the biggest influence-for-good on my father. Probably on me, too. At least one scholar was pretty convinced he was gay.

"From another older cousin, dead a few years ago, I had confirmation of a long-term-close friendship (and possibly affair) with a famous black singer who was also his client. There's a bit of not-talked-about stuff in my report of his funeral in 'Letters from Amherst.' But I'd be curious to know more myself...

"He was the paternal uncle closest to me and my father, followed by Uncle Hap."

Must-See Television Shows

Once in a while a show will come on that's must-see TV. For me, it was Dallas in the 1970s and '80s; Lou Grant in the '70s, a series about reporters at a Los Angeles daily newspaper; City of Angels, a 2000 series set in an urban hospital, with a mostly African-American cast (it lasted two seasons); and Smash (2012-2013) which concerned itself with the behind-the-scenes drama of  mounting a Broadway musical about Marilyn Monroe called Bombshell. Other shows in the must-see category are Monk, Mad Men, and the reality shows Queer Eye for the Straight Guy (the original version) and Shark Tank.

Lately, it's been the weekly night time soap opera Saints & Sinners on the Bounce channel. When I began watching it last year, I thought it was a new series. Consulting the entertainment website IMDb, I learned it debuted in 2016.

Set in a Georgia town called Cypress, the mostly African-American characters are every bit as corrupt, conniving, backstabbing, adulterous, and homicidal as any characters in a white night time or daytime soap. And each week I'm glued to my TV set eager to find out what happens next.

I'm not sure if Saints & Sinners is a candidate for an NAACP Image Award. After all it does depict African-American characters unfavorably. But let's face it, black people in real life are not angels. And there are people in the black community who are corrupt, ruthless, greedy, and murderous. In other words, not nice people. It's foolish to pretend that such people don't exist among us. In fact, it's good to see a show about African-Americans that's not a clown show, that shows us as being human, warts and all, like every other ethnic group in America.

The Multi-Talented Stacey Abrams

The first time I heard of Stacey Abrams was when she was running for governor of Georgia in 2018. At the time I was working at a call center in Midtown Manhattan that specialized in political surveys. (We were polling people in Georgia regarding their choice for the governorship.)

The only thing I knew about Abrams was that she was a political candidate and a voting-rights activist.

Last Sunday (May 9, 2021), the New York Times had two articles about her: a Q &A interview in the Book Review and a lengthy profile in the Arts & Leisure section.

To my pleasant surprise there is more to Stacey Abrams than I thought. She is a novelist (writing romance novels under a pseudonym) as well as an avid, eclectic reader (among the authors she has read are David Halberstam, Canadian novelist Robertson Davies, and Charlotte Bronte).

Her latest novel, a thriller called While Justice Sleeps,was recently published by Doubleday. This book, like two previous works of nonfiction, appears under her own name.

When asked by the New York Times Book Review how she organized her books, she responded, "Fiction on one side of the shelves (poetry, classics, general fiction, romance, thrillers, comic books, etc.) and nonfiction on the other side (political biography, general biography, history, science, social science and so on)."

What especially caught my attention was her classification of poetry as "fiction." The New York Times Book Review placed The Hill We Climb by the young poet Amanda Gorman (who read it at President Biden's inauguration) in the "fiction" category; whereas Publishers Weekly classifies it as "nonfiction." The late poet Mary Oliver who wrote poems about her life and the natural world would probably scoff at her work being called "fiction."
 

Hunting A Serial Killer In 1920s Harlem

I love the Harlem Renaissance and I also love mystery novels. When those two loves are combined, I am overjoyed.

So you can imagine how I felt when I read in Publishers Weekly (April 19, 2021) that a mystery novel set in Harlem in 1926 was scheduled for publication in June.

In a sidebar interview, Nekesa Afia, author of Dead Dead Girls: A Harlem Renaissance Mystery (Berkley Prime Crime), stated that she "love[s] the Harlem Renaissance" because "it was this period of growth, and art, and music, and fashion."

Afia continued: "That post-WWI generation had such brilliance and creativity, and they were so alive and fun even though they had just gone through a war, and the world was a mess."

Dead Dead Girls is Afia's debut novel, the first in a series. Its protagonist, Louise Lloyd, a showgirl and waitress--who is black and lesbian--helps the police track down a serial killer of black girls.

The accompanying review notes that Afia "couples tender relationships with strong senses of era and place." (Will Harlem Renaissance figures like Langston Hughes, Zora Neale Hurston, Countee Cullen, and Claude McKay make a cameo appearance?)

If Dead Dead Girls is as interesting as it sounds, I can't wait to read it. And I will definitely be looking forward to other books in this new series.

Thomas A. Dorsey, The Father of Gospel Music

Thomas A. Dorsey (1899-1993), who wrote more than a thousand gospel songs, among them "Take My Hand, Precious Lord," "If We Never Needed the Lord Before (We Sure Do Need Him Now)," and "Peace in the Valley," was called "the father of gospel music," a title he rightfully earned.

His most famous composition, "Take My Hand, Precious Lord," became Dr. Martin Luther King, Jr.'s favorite. The classic song has been translated into more than fifty languages. Dorsey wrote it following the death of his first wife who died during childbirth. The child too died shortly after birth. The song's words mirrored Dorsey's feelings of grief and depression.

Born in Villa Rica, Georgia, Dorsey, when he was in his teens, played the blues on the piano in bordellos, a fancy name for whorehouses. He later composed several blues and jazz tunes and became known by his stage name, Georgia Tom. According to Wikipedia, "In 1923, he became the pianist and leader of the Wild Cats Jazz Band accompanying Gertrude "Ma" Rainey, a charismatic and bawdy blues shouter who sang about lost love and hard times."

Dorsey created the term "gospel music," merging elements of the blues and the spiritual. So people who consider the blues the Devil's music should be reminded that its presence is in gospel music, thanks to Thomas A. Dorsey.

Note: This blog post is based on an unpublished biographical sketch I recently found. I wrote it on February 15, 1993. Some changes to the original have been made. I hope to do more research on Dorsey's life and musical career.