Showing posts with label Brooklyn. Show all posts
Showing posts with label Brooklyn. Show all posts

Sunday, October 18, 2020

Should Compton Become The New Brooklyn?

 I don't know if Aja Brown, a young African-American urban planner, is still the mayor of Compton, California. Assuming that she is, I will point to an article that appeared on Los Angeles magazine's website dated October 2, 2013. (I accessed the article on February 5, 2019 while looking for anything about the city I once called home in the 1960s.)

What caught my attention, you ask? It was Ms. Brown's prediction, her desire, her belief that Compton will be the new Brooklyn. Disheartened, she said, by "the impact rap has had over Compton for decades," she wants to "rebrand our community."

As any mayor worth his or her salt would do, Ms. Brown touted Compton's many assets: "We're 15 minutes from downtown [it's not clear if she's talking about Los Angeles or Long Beach or both], the port and LAX. We're surrounded by freeways and have light and heavy rail and great institutions....We're ready to have a renaissance."

Let's hope that that renaissance she favors doesn't displace the city's  current residents. I don't know if Ms. Brown has ever been to Brooklyn. But before Compton is turned into a hipster's destination, she should bear in mind the many longtime Brooklynites, like the African-Americans living in the Crown Heights section, who had to leave because the area became too gentrified, too hip, too expensive.

There's an old saying, be careful what you wish for, you may get it. 


Wednesday, May 8, 2019

A New Nickname For Brooklyn, New York

Brooklyn, New York, has long been called the Borough of Churches because of the large number of houses of worship located there. But a few years ago because there were so many shootings in Brooklyn, an on-air person at New York's WBAI-FM gave the borough a new nickname--Gunsmoke, New York.

To be fair, Chicago deserves a new nickname more than Brooklyn does. In light of all the homicides in that city, Chicago instead of being the Windy City, should be known as Gunsmoke City or better still Tombstone City.


Monday, November 20, 2017

Spike Lee's Film Debut Cast, Where Are They Now?

There's been a lot of hoopla in the press about Spike Lee turning his 1986 debut film, She's Gotta Have It, into an updated, half-hour, ten-episode television series. (The show premieres on Netflix on Thanksgiving Day.)

We all know what became of Spike Lee, who played Mars Blackmon, one of Nola Darling's three boyfriends. But what about Lee's three co-stars--Tracy Camilla Johns (Nola), Tommy Redmond Hicks (Jamie), and John Canada Terrell (Greer)? Where are they today and what are they doing?

Since they helped make She's Gotta Have It a cinema classic, they deserve some attention, too. Maybe not as much as the actors who have taken over their roles for the upcoming series, but at least tell us what's happened to them over the past three decades.

Thursday, November 5, 2015

The Men Of The Vale

I'm looking forward to obtaining a copy of Thomas Roma's In the Vale of Cashmere (powerHouse Books, $30), a collection of photos of the landscape in the Vale of Cashmere in Brooklyn's Prospect Park as well as the black and Hispanic gay and bisexual men who frequent this popular cruising area.

I first learned of this book (and the Vale of Cashmere) when I saw a photo essay by Roma called "The Men of the Vale" that appeared in the Sunday Review section of the New York Times (October 11, 2015).

Roma, the director of the photography program at the Columbia University School of the Arts and a heterosexual, stated in his essay that he "photographed the landscape between 2008 and 2011 and introduced myself to the men I encountered. I'd ask them if I could make a portrait for a possible book....Many declined, but many said yes, and I was grateful every time they did."

In the Vale of Cashmere is Roma's tribute to his friend Carl, who died of AIDS in 1991 and was a frequent visitor to that section of the park.


An exhibition of Thomas Roma's photos can be viewed at the Steven Kasher Gallery, 515 West 26th Street, Manhattan, until December 19, 2015.



Wednesday, May 29, 2013

On The Outside Looking In

Letters to the Editor
Time Out New York
475 10th Avenue, 12th Floor
New York, NY 10018
August 11, 2006

Dear Editor:

In her letter, Jennifer Gilchrist accuses TONY of racially stereotyping the residents of Bed-Stuy along racial lines (white wealth vs. black poverty). But Gilchrist herself is guilty of stereotyping. She writes that in "the wealthiest areas of Bed-Stuy...the vast majority of residents are middle-class and upper-middle-class African-Americans." First of all, being middle-class does not mean that one is wealthy. Secondly, she's on the outside looking in. How many of those "wealthy" African-Americans are struggling to maintain a middle-class life for themselves and their families? How many of them are living paycheck to paycheck attempting to keep up with many financial obligations (credit card debt, car payments, mortgages, school tuition, medical expenses, etc.) while at the same time trying to save enough for a comfortable retirement? As the saying goes, looks can be deceiving.

Sincerely yours,

Charles Michael Smith

This letter was not published.

Saturday, January 26, 2013

A Young Brooklyn Choreographer Has His Say

"I'm dancing," says Brendan Upson, a Brooklyn-based dancer/choreographer, "because I have something to say."

Recently [in 1987], in the "New Territory" performance series at BACA/Downtown in Brooklyn, he got the opportunity to have his "say." Two of the three pieces that night had definite social messages.

The first of the dances, "Stay Here and Keep Watch With Me," a male solo (Upson), is about a man's spiritual awakening. At one point, as he sits down in a metal folding chair, he mocks religion by lip syncing the soprano chanter on the soundtrack. But after life's adversities have beaten him down, he sees that the last laugh is on him. It is a very compelling piece, energetically performed.

The second work, an improvisation called "Energy Spot," showcased a group of teens from the El Puente Community Center in the Williamsburg section of Brooklyn. The press release describes "Energy Spot" as depicting "how an individual is blocked from attaining her true potential because of the fears which bind her." However, I came away with the impression that these 11 bodies represented atoms interacting with one another. The El Puente dancers have great potential, although I would like to see the females shed a few pounds; the added weight breaks the flow of movement. I didn't particularly like this work. The dancers crisscrossed the performance space numerous times, making no clear statement. It became so tedious that I was glad when it ended.

Upson was wise to save the best for last. "Delirium Tremens," a satirical piece for four people, good-naturedly explores alcoholism. Upson, displaying a comedic talent, was cast as the alcoholic husband and father. As the lights went up, his head was resting on a portable TV dinner tray, shot glass nearby. His family vainly attempted to rouse him from a drunken stupor. Eventually his dependence on alcohol causes him to wind up in a detox unit. While there he encounters the dreaded "pink elephants," a sign that he is having the D.T.s [convulsions and hallucinations]. The other three dancers, who played his family members, were also the pink elephants, dressed humorously in pink and gray costumes, sunglasses, and elephant trunks. Leslie Arlette Boyce gave a standout performance as Upson's no-nonsense wife.

The piece is appropriately accompanied by New Orleans honky-tonk style music. Although the piece at times can be stereotypical in its portrayal of alcoholic behavior, Upson should be commended for dealing with such a serious subject, the comic touches notwithstanding. Fortunately, Upson knows how far to go. Those comic touches do not turn into slapstick. I was not, sad to say, clear on whether the Upson character licked his problem.


This article was originally published in the New York Amsterdam News (February 20, 1988).

Monday, November 26, 2012

Franklin A. Thomas: The First Black President Of The Ford Foundation

Franklin A. Thomas's selection as the seventh president of the Ford Foundation, the largest and richest foundation in the world (its assets total $3.4 billion) becomes especially significant when you consider the fact that Thomas, a successful lawyer, is a black man and was chosen from among more than 300 applicants. On June 1, 1979, he replaced McGeorge Bundy, who stepped down to retire. (Bundy became president in 1966. He had previously been national security advisor to Presidents John F. Kennedy and Lyndon B. Johnson).

"Frank Thomas's appointment," wrote Vernon Jordan in a 1979 syndicated column, "as head of a major bulwark of American institutional life heralds a new era of black inclusion, not only as soldiers in our society, but as generals commanding its heights."

Franklin Thomas, the youngest of six children, like many black Americans, began life in a working class neighborhood. In his particular case, the Bedford-Stuyvesant section of Brooklyn. His father, who died when Thomas was 11, worked as "a watchman down at the piers," said Thomas. "My mother [a native of Barbados] was a housekeeper; [she] cleaned people's houses, did day work."

As a public school student, Thomas was fortunate enough "to have some teachers who really saw some potential" in him. He also gives credit to his home atmosphere, especially to his mother who fostered the notion that "no one can determine what you're going to be but you and the only time you're damaged is when you let other people's assessment of you start to control your assessment of self. If you're honest and you work hard and you're reasonably smart and [you] get along well with people, you're going to have a good life. That's really what all of this is about. A good life, a decent life. Not hurt other people."

"I never knew any sense of limitation," continued Thomas. "I always worked hard, worked after school, joined the Boy Scouts at the age of 11. You didn't think of yourself as [being] extraordinary. Some guys chose to be on a street corner, hanging out and knocking other people in the head; other guys were on the street corners but you didn't think about trying to rip anybody else off and you knew which blocks were safe to go down, which ones weren't. You built a capacity to survive in an environment that on the one hand is menacing and at the same time is supportive because there are others just like you."

Because of Thomas's athletic ability (he was the captain and star of his high school basketball team), he was offered numerous athletic scholarships. He turned them down and enrolled instead at Columbia University, becoming the first member of his family ever to go to college. "I had a coach and teachers in high school who said 'Don't accept an athletic scholarship. Your grades are good enough to get [you] into the college you want on academic grounds. Then if you want to play basketball, you can. But you're not obliged to play it.' So I got a scholarship based on need rather than an academic scholarship and had a great time. I ended up playing basketball for four years anyway." In 1956 he received his B. A. degree.

After four years in the air force, he went to law school at Columbia, graduating in 1963 with an LL.B degree. A year later, Thomas was admitted to the New York state bar. "My first job was in the housing field [Federal Housing and Finance Agency], working in urban renewal."

Other jobs that followed were: Assistant U.S. Attorney for the Southern District of New York [Manhattan] (1964); deputy police commissioner for legal matters, New York Police Department (1965); and president and chief executive officer of the Bedford-Stuyvesant Restoration Corporation (1967). "After the [urban] riots [in 1964], Senator [Robert] Kennedy and others had the idea of a development effort in the second largest black community in the country, Bedford-Stuyvesant, and asked me if I would leave my job [at the police department] to help organize it and get it started. After a lot of back and forth, I agreed to do it for two years; I stayed ten years. Then I went back and practiced law for a little while" before accepting the $120,000-a- year top job at the Ford Foundation.

Thomas also sits on the board of directors of such corporate giants as CBS, the Aluminum Corporation of America (Alcoa), and the New York Life Insurance Company. He is the only black person sitting on Citigroup's 26-member board of directors and, according to Current Biography (October 1981), "was instrumental in persuading that company to end its loans to the white supremacist government of South Africa."

Thomas, who has been divorced since 1972, has four children. Since he, at the age of 49, can no longer play basketball, he has tried to learn tennis. Once or twice during the winter he skis but, he is quick to point out, "on intermediate slopes, not on too tough slopes."

Despite the enormous responsibilities as head of the foundation, he tries not to take himself too seriously. And he continues to work 12-hour days, just as he did at the Bedford-Stuyvesant Restoration Corporation.

The following interview took place in Thomas's office at the Ford Foundation.

Charles Michael Smith: Has the Ford Foundation increased or decreased its funding for inner city programs?
Franklin Thomas: The foundation has increased its support for inner city poverty-related programs in each of the last four years and we look forward to an increase for the upcoming two-year period.

CMS: What programs are receiving financial assistance from Ford?
FT: The largest of the five major program areas the foundation supports is an area called urban poverty and that concentrates on the problems of housing and social and economic revitalization within the inner cities where large concentrations of poor people live and that effort involves supporting organizations that are trying to improve the living conditions in those areas. These organizations are usually called community development corporations.

CMS: Is volunteerism a viable solution to socio-economic problems?
FT: By itself, it is not a solution. It must be combined with commitments from each of the levels of government and a commitment through the private-for- profit sector. When combined with those commitments, volunteerism is a dynamic, critically important part of our strategy as a nation for dealing with some social problems.

CMS: What criteria do you use when you select an organization for a grant?
FT: We try to define problems on which we're going to work or support work in. We try to do that with sufficient clarity so that a prospective grantee can ask, 'Are you interested in these kinds of problems?' If the answer is yes, then we would encourage that person, group to submit a description of what it is they plan to do about an aspect of the problem. We then sit and go over that as a staff, decide if it seems to make sense, [see] if the apparent capability to carry it out is there, and if the answer to those questions is yes, then we would invite the prospective grantee in and have a discussion with them, and make a decision.

CMS: Do grantees come to you or do you come to them?
FT: We do both.

CMS: If I came to you as an individual with a program, I wouldn't necessarily have to be part of a group?
FT: You wouldn't have to, though the overwhelming share of our money goes to organizations that have a plan and a strategy. We do make some grants to individuals. Usually for study, research, what have you. But almost anything you want to carry out in an operational sense will require some institutional context within which to function. If you want to do something about housing beyond a study or a survey which you can do as an individual but you want to cause some change to happen there, then the odds are you're going to have to find some institutional way to bring that about.

CMS: Do Ford Foundation funds go to anti-poverty projects overseas?
FT: We spend roughly a third of our funds overseas in what we call developing countries. We have nine offices around the world.

CMS: Do you see inner city areas improving because of Ford Foundation money?
FT: That's the toughest question of all.  How do you measure impact? My personal answer is yes, I see improvement. It's slower and less pervasive than any of us would like but it's clearly better than it would have been were these resources not being employed in the way they are and have been employed. I think I can answer that with certainty. The tougher question is "Is it enough?" The answer there is no and if not, then what the hell do you do about it? That's the continuing struggle.

CMS: Do you feel you have a special responsibility to the black community in your present position?
FT: It's a continuation of a concern and an interest and a relationship that really has been a part of my life. So I don't think of them as special. I just think of them as natural. They are with me as a part of what I am.
I also recognize the obligation to the total problem of trying to reduce or eliminate poverty and injustice and worry about peace and security matters, worry about international economic matters, worry about refugees and migration matters, worry about higher education, each of which has an impact on minorities, if you will, worldwide. And perhaps, just based on the experience of living in and working in some minority communities in this country, you get a particular sensitivity on not only what is needed, but on the means of assisting that are most likely to be effective.


This condensed article was originally published in two parts in the Harlem Weekly newspaper in 1984.

Saturday, October 6, 2012

Two Actors, Few Props, No Scenery

For  its second season, Rainbow Repertory Theatre will present January 6-21 [1989] Philip Blackwell's Twoheads, a theatre piece for two actors, at the Alonzo Players Theatre, 317 Clermont Avenue, Brooklyn.

Originally commissioned in 1983 by John W. M. Neeley, a black art gallery owner in New York, Twoheads, in its diversity of themes and characters, has something of interest for almost everybody. The ten vignettes--some humorous, some serious--explore such issues as torture in South Africa, intergenerational romance, sexism, and homosexuality.

The production, directed by Rainbow Rep's artistic director Reginald T. Jackson, is not only a challenge to the actors, Raan Lewis and Bryan D. Webster, who must play a multitude of roles, but also to its audience who are required to use their imaginations since there are few props and no scenery. "Theatre happens," explained playwright Blackwell, in an interview I did with him for the New York Native, "somewhere between you and the actor. You ought to participate in theatre. Not like film where you can sit there and it sort of does it to you. It's very passive. Theatre's not like that. In theatre there's 'suspension of disbelief.' You say, 'I'm not in this big room with this woman kicking me in my chair. I'm on this beach with these people. Once you do that you hear the surf. It's not there, but that's what happens."

Blackwell admits that "some of the pieces are more successful than others, of course. The piece, 'Herbert, Look,' is about a black gay man and his black lesbian friend who commit illegal acts on a billboard in San Francisco."

While waiting for a bus to take them to see a Busby Berkeley movie, Laurie calls to Herbert's attention the "offensive" billboard. Herbert, with a shrug, can't see "what's so terrible" about a black woman appearing in a liquor ad bearing the slogan "Have you ever tasted Black Velvet?" Laurie heatedly replies, "How can you look at it and not see that it's a terrible ripoff of women? And in this case, a ripoff of black women?" She decides, to Herbert's dismay, to take "direct action"--with spray paint.

"Herbert, Look," continued Blackwell, "comes out of an aborted play I tried to write and which had never gone anywhere for me. To be honest, it works better as a piece in Twoheads than it would have worked as a play.
"'Brother, It's Good to See You' is the South African piece that was also very successful. It comes out of a combination of my continuing concern with what's going on in South Africa, what that means to me as a black man in America, and some specific things that I read."

Samuel, a victim of police torture, tells his friend Frederick of his experience: "If you'd seen what I've seen. We were in cells only this high. You couldn't lie out, you couldn't stand up... And hot. And no water...And the torture rooms...We could hear the screams. Then silence. Then screams again. They would come to the cell and pound on the door. And laugh. They would say, 'Come on, you're next.' And then...nothing would happen. They would go away."

Twoheads is part of Rainbow Rep's continuing effort to promote the work of gay and lesbian playwrights of color, with the added aim of presenting positive and inspiring images, especially to gay youth, who will be provided free admission.

This article was originally published in the New York Amsterdam News (January 21, 1989).

Note: See blog post published on April 3, 2012 for an interview with the late Philip Blackwell.

Tuesday, July 3, 2012

A Triple Heritage

The Voice of the People
New York Daily News
220 East 42nd Street
New York, NY 10017

December 7, 1992

Dear Editor:

Voicer Nick Arroyo (December 5, 1991) believes blacks from the Caribbean islands, who now live in Crown Heights [Brooklyn], should not be called African-Americans, but Caribbean-Americans. What he forgets is that their ancestral home is Africa, too. They should be called instead, however unwieldy on the tongue, Afro-Caribbean-Americans. This would remind people of this group's triple heritage.

Sincerely yours,
Charles Michael Smith

This letter was published in the New York Daily News on December 26, 1992.

Friday, July 9, 2010

Helter-Swelter

http://fb.me/BOnT3abgA perfect movie to watch during this heatwave is Spike Lee's Do the Right Thing (1989), set during a sweltering summer day in Brooklyn, New York.
Like the newspaper headlines featured in the movie, the Amsterdam News, a weekly African-American newspaper based in Harlem, made the current heatwave that has gripped the Northeast Topic A with a banner headline that screamed "SWELTERING!"

Monday, August 10, 2009

Flirting With Danger

Dwan Prince, who in 2005 was savagely beaten by Steven Pomie in an anti-gay attack in Brownsville, Brooklyn, blames himself for what happened. According to the Gay City News (Aug. 6-19, 2009), Prince flirted with Pomie. "I have made some big mistakes in my life and that was the stupidest and biggest one of all," he stated in a letter to Pomie, who is currently serving time for the attack.
In the letter he wrote on July 20, he expressed a "desire that you get out as soon as possible" and for them to become friends.
The attack not only has left Prince partially paralyzed but apparently it has done something to his mind.
Who would want such a vicious person out on the street? And who would want to be friends with a person so easily offended by flirtatious behavior that they are willing to maim or kill?
Prince must be really hard up for friendship and filled with self-hatred. I can't think of any other reasons for him to want to have anything to do with someone like Pomie, who deserves to serve significant time behind bars. Would he truly feel safe alone with Pomie? I wouldn't.
If Pomie had made the first move, showing remorse and empathy, maybe there might be some hope. But the reaching out seems one-sided and pathetic.