tag:blogger.com,1999:blog-45875188491270709482024-03-05T03:27:55.829-08:00New DayJustin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.comBlogger302125tag:blogger.com,1999:blog-4587518849127070948.post-86176620138609944352022-06-01T16:39:00.004-07:002022-06-14T17:22:21.665-07:00Eighty-Eight Keys to Barry Harris<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eDoYtWlHsK1Zd-OCnDP7DOWVPX9wAh23nKXB-sz1w0MmBcTVq1xOr09Sg7c0VuspS7g1Tkfv28eFG0QyGZUVvRXqXRHNe7s_Qpn0S7z6bS4mDoJb879uD8WB9dz6Fqs0zZmw8upt0Mbk1iWhJD1ODJvemRIpMiCuoMs--p9ZuV6Y6uyYkGgYbIhJxA/s2000/harris%20barry%20francis%20wolff.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eDoYtWlHsK1Zd-OCnDP7DOWVPX9wAh23nKXB-sz1w0MmBcTVq1xOr09Sg7c0VuspS7g1Tkfv28eFG0QyGZUVvRXqXRHNe7s_Qpn0S7z6bS4mDoJb879uD8WB9dz6Fqs0zZmw8upt0Mbk1iWhJD1ODJvemRIpMiCuoMs--p9ZuV6Y6uyYkGgYbIhJxA/s320/harris%20barry%20francis%20wolff.jpg" width="320" /></a></div><br /><p></p><p class="MsoNormal"><b><span style="font-size: 16pt; line-height: 107%;">Eighty-Eight
Keys to Barry Harris<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">By Justin
Desmangles<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The sudden
get-down-boogie-stop-shuffle-bounce-back-beat-bump breaking hearts echoing back
to the wrong side of the tracks is Barry Harris’s right hand. His left is doing
something different, its chanting the changes to Charlie Parker’s Be-Bop
hallelujah, “Ah-Leu-Cha”! Both hands are talking about it and telling it like
it is, as only true Jazz piano masters can, with the Blues all up in it. That
right hand is weaving patterns through the many-colored threads adorning the
tune’s harmony. The left hand though, it ain’t letting go of that church shout.
There’s still a moaner’s bench in Harris’s modus operandi. Both hands are exalting
Bird’s emanation of divinity. It is a song of praise, the highest vibration,
and therefore challenging to play, demanding virtuosity. Harris could make the
complexities of this music come together with wit. A graceful navigation of the
stars, finding new constellations of meaning in Parker’s ecstatic logic. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Harris came
up in Detroit alongside a generation under the genius of Thelonious Monk and
Bud Powell actively composing, performing, touring, and recording. Fellow
Detroit pianists Tommy Flanagan and Hank Jones (brother of Elvin and Thad),
alongside Harris became among the foremost interpreters of Powell and Monk’s
music. All three continued to perform its repertoire to the end of their lives.
Harris outlived them all, dying recently at the age of 91.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As a
late-night jazz disc jockey, you learn to come to work armed and equipped with
the essential. I held this job for seven years at San Francisco’s fabled radio
station KPOO. This was where Ntozake Shange hosted a program called The
Original Aboriginal Dancing Girl at the time she was writing <i>for colored
girls who have considered suicide / when the rainbow is enuf</i>. Harris’s
Riverside album <i>Newer Than New</i> became not only essential, but a record
that could get you out of trouble. In a live situation like this one (I never
did a prerecorded broadcast, ever), the sequencing of record albums is an art
form in itself. It is easy to get lost out there if you don’t keep a silent sun
at the center of things. With this music, you are narrating the history of the
New World, not just the United States. That multicultural encounter attributed
at the very origin story of New Orleans remains in the story of all Jazz music.
Jazz piano is complicated, and the piano is among the few instruments through
which the entire genealogy of the music can be traced. If Jazz had a Genesis
chapter it could very well read “In the beginning was the piano, and it was
good.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Harris’s <i>Newer
Than New</i> got me out of a lot of jams because of its vivid emotional directness
and immediate harmonic depth, a quality Toni Morrison hints at in an interview shortly
after winning the Nobel Prize. “[Jazz] has the characteristic of being sensual
and illegal. And its sensuality and its illegality may prevent people from
seeing how sophisticated it is. Now, that to me says something about the
culture in which I live and about my work.” Something illegal, a fugitive in
elegant finery, buying freedom with gold buried beneath the sea. The
sophistication is evident and there is so much joy in its simple call to our intuitions.
Listening to it is an art as well. But that is just the thing, you see, to get
out of any traps you might lay as a disc jockey, by accident or oversight. What
is the next song if the first one either went too far, or more mysteriously,
set a more vivaciously demanding mood? Mixing at the turntables at 3 in the
morning, been came on at midnight, now is the time! Where can you go into the
ebb and flow? No matter where you are at <i>Newer Than New</i> brings you back
home, intimately with assurance. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After all, as
all listening is an intimacy between worlds inner and outer, Harris has the
glue to the fourth dimension on this album. He is holding the Be-Bop universe
in place. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Joining Harris
is the frontline of the Charles Mingus organization of the day, “those Be-Bop
kids from Detroit” Mingus called them. Charles McPherson and Lonnie Hillyer,
alto saxophone and trumpet respectively, burn this mother down! The sudden
shifts of nuance and timbre, even in the most subtle degree, are given fullness
and contour. They get down on things like “Anthropology” but also their own Bop
bag “Make Haste” with its index of quotes, accelerating tempos, and strategic
imagination. Hillyer really takes hearts away with the beautiful “I Didn’t Know
What Time It Was” in balladeer stylings. Not a dry eye in the house, I’m
telling you. The breadth of his tone is wide, dark, glowing. You can tell
Hillyer knows the poetry to this classic by Richard Rodgers and Lorenz Hart. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">What Harris
is probably best known for is his contributions to Lee Morgan’s break-out album
<i>The Sidewinder</i>. I was always most impressed by Harris on “Totem Pole”
where he almost steals the show. It begins with a piano introduction, giving
him something of a head-start. Once we get to his solo, he has already been
bright, glistening in the undercurrent of the tune. Harris comes out so
elegantly, such buoyant images swing out, he sounds as if he is dancing. But
this dancer has multiple partners, and is so deft in his rhythm and grace, he
can keep them all satisfied. They are all at the club that night laughing and
talking to each other. These folks got some moves, boy! There’s a story being
told here, actually several stories, Harris is in full narrative mode. Great
musicians can take on several voices and have a conversation of styles within a
single performance. Consider the cast in a play, the musician as playwright,
because Harris has real drama. Powell could do this practically better than
anyone else. Monk was the greatest dramaturg of them all. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">If you can
understand the way Eugene O’Neil families might end up at Tennessee Williams’s
one day, then you know that a lot the very best pianists came long before
either Monk, or Powell. Men like Art Tatum, Fats Waller, James P. Johnson, Earl
Hines, Willie “The Lion” Smith, Meade Lux Lewis, Albert Ammons, and going back
much further the man himself, Ferdinand La Menthe, popularly known as “Jelly
Roll” Morton. Well, I will tell you, just as there is a bit of Aeschylus in
Ishmael Reed, all those pianists above can be heard in Barry Harris, and that
is saying something, brother! But you know what, that is the way it is with all
the true masters of Jazz. They carry the entire history of the music and their
instrument within them at all hours of the day. Whether they are touching a
piano or not, the eighty-eight keys are within them. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One of
Harris’s greatest recordings is the <i>Live in Tokyo</i> album released on
Xanadu. The concert culminates with one of the most incandescent treatments of
Powell’s “Un Poco Loco” ever. Time travel happens in the arc of this rainbow.
Afro-Latin rhythms layer in as if they were a drum choir. People who know the
original Bud Powell Trio recording with Curly Russell and Max Roach, May Day,
1951, know it as an unforgettable musical experience. The African retentions so
evident in music from throughout the Americas is explosive in Harris’s trio
performance here. A beat within the beat becomes the heart in another space and
time in syncopation. The ancestors have come to dialog on this session, have
their say loud and clear to all who agree to boogie your body. Just how Harris
greets this space between worlds is as a glorious one. He gives over to it and
lets the spirits do their work. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">That was a
real show-stopper, or an immediate tonic to pick me up on the late-night shift
at KPOO. The Nightfly, the radio show was called, and I loved spinning that
record. From a professional broadcasting point of view, I have over thirty
years on-the-air as a jazz disc jockey, Barry Harris is one of the keys to the
kingdom. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The study of
Jazz requires much reading into the literature of Black writers who were
contemporaries of the musicians. Just as a novelist can reveal and disclose the
lives of people in ways that a journalist cannot, so Jazz musicians can stick
closer to the facts of Black life in America. Writers who helped me understand
this and more about the music of Charlie Parker, Bud Powell, and Thelonious
Monk, include Chester Himes, Richard Wright, and Langston Hughes. Of particular
interest is Hughes’s <i>Montage of a Dream Deferred</i>, a suite of poems comprising
an entire book, one that is a direct response to Be-Bop in Harlem, New York at
the time. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Jazz
contains all the orality and folklore from which all great Black literature has
come from. Barry Harris had it in spades. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Recordings
by Barry Harris discussed in this article<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">“Ah-Leu-Cha”
(Charlie Parker) <i>Magnificent!</i>, Prestige, 1970<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">"Anthropology"
(Dizzy Gillespie, Charlie Parker) <i>Newer Than New</i>, Riverside, 1961<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">“Make Haste”
(Barry Harris) <i>Newer Than New</i>, Riverside, 1961<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">"I
Didn't Know What Time It Was" (Rodgers - Hart) <i>Newer Than New</i>,
Riverside, 1961<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">“Totem Pole”
(Lee Morgan) <i>The Sidewinder</i>, Blue Note, 1964<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">“Un Poco
Loco” (Bud Powell) <i>Live in Tokyo</i>, Xanadu, 1976<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">(photo of Barry Harris by Francis Wolff c. 1964)</span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">This essay appeared in in <i>Konch</i>, Summer 2022 issue.</span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p>Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-12194807322673347082021-08-02T14:06:00.001-07:002021-10-01T15:27:31.561-07:00How Black Was My Reading List, How White Was My Statue? By Justin Desmangles<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhatezkahalYOk-le6vvhWmHJ17eMgyMf9ftVw0UdzVAf3m8UjNPKkuJVU11nD2eMCs_FTPakg3C7EExSfdGlinnublEjnLsg6qPzznncDL31127LEzLUIgCsPhebgf0bGdrye1mf-uC6GY/s1920/erwan-vaquet-day-30.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1920" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhatezkahalYOk-le6vvhWmHJ17eMgyMf9ftVw0UdzVAf3m8UjNPKkuJVU11nD2eMCs_FTPakg3C7EExSfdGlinnublEjnLsg6qPzznncDL31127LEzLUIgCsPhebgf0bGdrye1mf-uC6GY/s320/erwan-vaquet-day-30.jpg" width="320" /></a></div><br /> <p></p><p class="MsoNormal"><b><span style="font-size: 16pt; line-height: 107%;">How Black
Was My Reading List, How White Was My Statue?</span></b></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">By Justin
Desmangles<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-size: 16pt;">“Any time you find the
government involved in a conspiracy to violate the citizenship or the civil
rights of a people, then you are wasting your time going to that government
expecting redress. Instead, you have to take that government to the World Court
and accuse it of genocide and all of the other crimes that it is guilty of
today.”<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-size: 16pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-size: 16pt;">Malcolm X, “The Ballot or
the Bullet”, April 3, 1964<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Republicans
and Democrats agree on most things and the thing they agree on most is that
they, and they alone, should run the country. The mesmerizing media machinery
that churns amplifying their differences is a multi-billion-dollar industry. So
persuasive is its affecting charisma, many Americans believe the two parties to
be at each other’s throats most waking hours. This is especially true during an
election year, which increasingly seems to be stretching its calendar
thirty-six months. But when it comes to the social degradation, economic
exploitation, pre-mature death, and mass murder of Black lives throughout the
world, there is common ground. Much of that ground can be found in Africa,
where the most radical expansion of U.S. military power on the continent was
led by Barack Obama under the aegis of AFRICOM. There is not a car on the
American road that has not filled its tank a hundred times over with Nigerian
blood. A fact long true before the 21st century. Ask Ken Saro-Wiwa. More
recently, the war in the Democratic Republic of the Congo over coltan — the
essential ingredient in smart phones, laptop computers &c. — has left millions
of Blacks dead in recent decades, with reporting stateside at a minimum as not
to disrupt tech-heavy stock markets. The oil and mineral wealth of Africa is
the burning that fuels Europe and America, without which there would be
neither. This is also increasingly true of China, which of late has
successfully usurped its Western competition in controlling extraction of these
resources in numerous countries, leading to proxy wars and terror.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">During the
cultural revolution of the 1960s and 70s, the American Left and what was left
of it identified with anti-Imperialist revolutionary struggle in Africa, as
well as in South and Central America, the Caribbean, and Asia. In his speech
“Beyond Vietnam,” April 4, 1967, Martin Luther King, Jr. was clear and sharply
focused on the necessity for this international approach when dealing with
problems created by American imperialism at home. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .1in; margin-right: .1in; margin-top: 0in; margin: 0in 0.1in 8pt;"><span style="font-size: 16pt; line-height: 107%;">"A true
revolution of values will soon look uneasily on the glaring contrast of poverty
and wealth. With righteous indignation, it will look across the seas and see
individual capitalists of the West investing huge sums of money in Asia,
Africa, and South America, only to take the profits out with no concern for the
social betterment of the countries, and say, 'This is not just.' . . . This
business of burning human beings with napalm, of filling our nation's homes
with orphans and widows, of injecting poisonous drugs of hate into the veins of
peoples normally humane, of sending men home from dark and bloody battlefields
physically handicapped and psychologically deranged, cannot be reconciled with
wisdom, justice, and love. A nation that continues year after year to spend
more money on military defense than on programs of social uplift is approaching
spiritual death."<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Malcolm X
had been making similar points upon his return to the U.S. after meeting with
African presidents and prime ministers, months before his assassination. Following
the deaths of these leaders, efforts to dissuade and distract American Blacks
from this type of international strategic thinking have become pervasive in
popular culture. Since then, the self-hating grotesqueries of Black images in
Hollywood and the art world have been celebrated as breakthroughs and an
ever-growing list of firsts. Firsts first held probably by someone passing for
white or in-the-closet, so who’s zooming who? Nevertheless, for observers of
geopolitics and globalization (read global warming), the facts both Martin
Luther King, Jr. and Malcolm X emphasized in their shared, mature, strategic
vision remain the same. The treatment of Blacks in America at the hands of our
own government, whether it be state, local, or federal, constitutes an international
human rights crisis, one whose only solution lies in the solidarity of its Black
victims throughout the African world and its diaspora. Ironically, it is a
human rights crisis of such extraordinary dimensions, similar ones have been
used as a pretext towards justifying sanctions against other countries, often
leading to invasion and regime change by the U.S.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
generation of Black American artists, writers, and educators who heard the
message calling for unity among all African people took it up as a vocation.
Inspired by an earlier generation’s manifesto, “Blueprint for Negro Writing” by
Richard Wright, and essays such as Langston Hughes’s “The Negro Artist and the
Racial Mountain,” this new generation sought to manifest the civic potential of
the arts in Black political and economic life, as well as social. The use of
oratory combined with music and dance was particularly effective, reaching its
apotheosis in the work of Ntozake Shange. Organizations such as the New Federal
Theater, Umbra, Association for the Advancement of Creative Musicians, Black
Artists Group, Watts Writers Workshop, and Black Arts Repertory Theatre and
School all sought to raise consciousness within Black America of its abiding
ties to the continent and its struggle for self-determination.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Today by
comparison, many contemporaries are faking the funk with poems that don’t sweat
or smell and talk only in polite company. The conservative individualism
exemplified by Ralph Ellison, Albert Murray and their less talented progeny have
taken root as nasty weeds choking a garden. Houston Baker laid it out with his
American Book Award winning study <i>Betrayal: How Black Intellectuals Have
Abandoned the Ideals of the Civil Rights Era</i>. A glut of MFAs can be counted
on to declare themselves a renaissance every few years and nowadays corporate
media is starting to underwrite their marketing. Appending the prefix Afro to
just about everything you can think of in branding, rebranding, and consumer campaign
hustle is now accepted. Tokens with two books are routinely gassed-up with
bizarre and sometimes freakish comparisons to American literature’s pantheon of
gods. Meaningless cartoon phrases like “instant classic” drip haphazardly from
the mouths of people who damn well know better. Do we need an Afro-Futurist
without so much as a glance at the future of Africa? For those writing and
directing in the Marvel Comics Universe, the answer in dollars is yes. When former
Secretary of State Tillerson made a diplomatic tour of Africa to ink long-term
agreements with various governments across the continent, the big story that
week here was Wakanda. Ta-Nehisi Coates, who as a journalist beat all with the skill,
clarity, and prodigious research of pieces like “The Case for Reparations”
(June 2014) and “The Black Family in the Age of Mass Incarceration” (October
2015) now comes on like a detective whose been bought off the case. Writing for
<i>Time</i> magazine this year, Ibram X. Kendi tells us Black artists today
“got the Black Judge out of our heads. We refuse to carry the race on our
shoulders.” Well, whose shoulders does Kendi think he’s standing on? Anyone
want to mention Sisyphus to the author of “The Hill We Climb”?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Amiri
Baraka’s last shot fired on the way out was a bullseye, taking down Charles
Rowell’s anthology <i>Angles of Ascent</i>. Baraka’s skill at going upside many
heads at once left his enemies bruised, battered and scarred. “A sharp class
distinction has arisen, producing a mini-class of Blacks who benefited most by
the civil rights and Black Liberation movements, thinking and acting as if our
historic struggle has been won so that they can become as arrogant and ignorant
as the worst examples of white America. It is obvious, as well, looking through
this book, that it has been little touched by the last twenty years of
Afro-American life, since it shows little evidence of the appearance of spoken
word and rap.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">On May 26,
2020, America woke-up and discovered it was a monstrous vermin. A familiar
story, it needed to recapture what was human about itself. Without time to read
Kafka, new book lists would have to do. Ones that would please the public while
remaining unread. Corporate America jousted with itself, trying to outdo the
outdone reading trendy bromides on how to placate Blacks. Pay-walls were taken
down and social media prompted people to educate themselves. Victors of the
colonial wars feigned shock and dismay at the details of the battles they had
won, the missing and mutilated they themselves had murdered. There was a lot of
talk about forgiveness and its ugly cousin forget. Some folks started singing
and saying we were all sinners, others shouted to turn that record over. But
what did not come up in the near endless stream of lynching postcards turned
video clips, the humiliation as entertainment, the noble guilt as torture, was
that the rites and rituals of murdering Blacks with impunity are inexorable
from the American global empire. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p><br /></o:p></span></p><p class="MsoNormal"><i style="font-size: 16pt;">Sacramento, CA., March 21, 2021</i></p><p class="MsoNormal"><i style="font-size: 16pt;"><br /></i></p><p class="MsoNormal">This essay was composed for <i>A Gathering of the Tribes</i> magazine, issue number 16, edited by Ishmael Reed and Danny Simmons, to be published Winter 2021-2022 </p><p class="MsoNormal">Photo image of <i>Element Statue</i> by artist Erwan Vaquet<o:p></o:p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-49489884892769733652021-02-09T17:51:00.000-08:002021-02-09T17:51:02.436-08:00John Giorno Wants Your Body<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9G5nVeSO91lzeovx4fpbDi3M74SxB9ZF2ltBtfsqpF0xPVWmcI2GjccNkdt8hLN3oDk6wRvyITJ2ELaC5V16Oe7B1dBtxoW6EVunAYjf3rGY10l0JyKeL5HAtdWAkLEwmGlYifrbIVEi0/s1000/giorno+demon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="662" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9G5nVeSO91lzeovx4fpbDi3M74SxB9ZF2ltBtfsqpF0xPVWmcI2GjccNkdt8hLN3oDk6wRvyITJ2ELaC5V16Oe7B1dBtxoW6EVunAYjf3rGY10l0JyKeL5HAtdWAkLEwmGlYifrbIVEi0/w424-h640/giorno+demon.jpg" width="424" /></a></div><br /> </div><br /> <p></p><p class="MsoNormal"><b><span style="font-size: 14pt; line-height: 107%;"><br /></span></b></p><p class="MsoNormal"><b><span style="font-size: 14pt; line-height: 107%;">John
Giorno Wants Your Body <o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">by Justin
Desmangles<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt; line-height: 107%;"><o:p> </o:p></span></i></p>
<p class="MsoNoSpacing"><i><span style="font-size: 14pt;">Great Demon Kings: A
Memoir of Poetry, Sex, Art, Death, and Enlightenment<o:p></o:p></span></i></p>
<p class="MsoNoSpacing"><span style="font-size: 14pt;">By John Giorno<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-size: 14pt;">351 pp. Farrar, Straus and
Giroux. $28.00<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Some people
make their own luck. In the right place and at the right time because they are
on their own clock. “Now Is the Time.” John Giorno was just such a person.
Anointed by the sweat of Dylan Thomas, to hear him tell it in his newly
published posthumous memoir <i>Great Demon Kings</i>, he followed a path to the
ancients. The lyric poet as someone scooping out their insides and telling you
how sensitive they are had mercifully been killed-off by Modernism. And it’s a
good thing too, because otherwise a book of this kind, containing this kind of
history would never have been written. The American running-style of literature
— a style rooted in Blues, Ragtime and stride piano — conveys images of
everything seemingly happening at once. Stories turn topsy-turvy in rapid
succession and collide. Anecdotes cascade one into the other, tales interweave
and spool like a movie projectionist slipping in an extra reel without
explanation. The rhythmic tension in this style is taut yet supple, bending and
snapping-back, never breaking. As James Brown would say, “Moving, grooving,
doing it, you know, like a sex machine.” The left hand of James P. Johnson.
It’s in Dos Passos <i>U.S.A.</i> and other Lost Generation writers influenced
by the new thing in poetry. “Make it new” meant imitate the musical phrase and
the new music was Jazz. West African polyrhythms on a Celtic tongue in
Tennessee. Gatsby is a syncopated piano overheard where someone got killed.
Satchmo’s grace notes falling like stars — flashing, flaring before a midnight
sun. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Giorno
adopts this running-style all throughout the pages of this book. He acquired it
by way of the Beat Generation. They who had grafted it from Jack Kerouac’s
masters Louis-Ferdinand Céline and Charlie Parker. Moving from one thing to
another with no respite, no let up, not taking a breath. Running you out to get
to know your breathing and just how many breaths you take. Leaving you duly
exhausted from their intensity of purpose, “exhilerausted” in Bob Kaufman’s
language.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">The hero of
the Blues comes up against adversity and uses verbal charms and linguistic
talismans to get around the trouble. Shuts his mouth wide open and wonders will
a match box hold his clothes. Employing a symmetry of what seems absurd to his
enemy, an unseen window opens in time and the hero of the Blues slips away.
Giorno makes his a continuous get away, careening through and laying down with
a cultural Olympus of American art demi-gods and yes, demons. The demonic spew
a venom that is ambrosia to his muse and he drinks it down with gusto. He in
turn becomes lover and muse to the demons themselves. Andy Warhol, Robert
Rauschenberg, Jasper Johns, and the king of Hell himself William S. Burroughs. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Had Giorno
never written a poem, published a book, or recorded an album, he would still be
enshrined in the primers of artist’s history. He was Warhol’s first superstar,
appearing in the movie <i>Sleep</i>. Warhol’s early films marked a dramatic,
some would say traumatic break. Not only in the direction his own work would
take, but the whole of cinema internationally. Opportunities to see this film
today presented <i>as a film </i>are scant. Even the ethereal hustle of the
internet has a tough time with this one. Six hours of a man sleeping. Step back
MFA grads, the check is in the mail. But in the hey-day of New York’s cinema
avatar Jonas Mekas and his Filmmakers' Cinematheque, this movie could be shown
almost any night of the week. Right alongside Kenneth Anger’s <i>Scorpio Rising</i>,
Jack Smith’s <i>Flaming Creatures</i>,<span style="mso-spacerun: yes;">
</span>Ron Rice’s <i>The Flower Thief</i>, John Cassavetes’s <i>Shadows</i>, or
classics such as Maya Deren’s <i>Meshes of the Afternoon</i>. Warhol knew what
was popping and he had an eye for talent. When he turned on the camera from the
first, it was John Giorno he was focused on.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Warhol liked
to stare, he liked to watch, to evaporate and observe without presence. A kind
of forensic detective. What he discovered he harvested to a precise vision,
images of America’s true religion. Money bleeding through. It was a vampirism
that Giorno found toothsome, a quality later tasted in his relationship with
Burroughs. If these guys needed their tanks filled-up, Giorno had the gas. If
they needed their engine tuned, he supplied the tool. Warhol’s mother had
religion and the religious iconography he grew up around sharpened the wit of
his eye. That which a culture worships, that which a culture adores, image
counterpoints of sin and salvation. Even more money, even more blood.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">The writing
about Warhol in this book is tender, playful, romantic and above all revealing
in its candor. Giorno was not afraid to learn from his mistakes and he made
lots of them. Yearning for wisdom, Giorno made new ones, always learning.
Always moving forward. The time spent with Warhol is some of the most touching
and humorous in the book, the two young lovers teaching each other how to live.
Buoyant like a game of tag, a lot of names float through and quick. There is no
effacing it’s a game, this art world business, where people come as equipped
with roles to play. The size of these personalities is so big that even the
background players are all-stars nowadays. Asked in an early local television
interview at the Leo Castelli gallery how he responded to his detractors,
Warhol answered “They’re right.” It takes an awfully bright person to create
the illusion that they are dim. A lot of people thought Warhol was running on
about two watts. He was in fact running on incredible amounts of speed, as were
a great many people that surrounded him. Alcohol, tobacco, marijuana burn,
flow, waft, pour and otherwise guide the reader through much of this book.
Later mushrooms and LSD. In this mix it is how things get done. The original
party people from way back, here to funk your head up. And it certainly took
its toll with early deaths and suicides. There is much meditation on death and
its meaning throughout this book. It is here that Giorno’s breath gets hot and
he starts getting into his own thing. Purely his own current. That same
electric pulse you feel in his best performances. He’s got an ear on the lost
chord in these moments and the writing is his. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Hagiographers
of Warhol will want to pay careful attention to the sensitive portrait drawn of
his mother. Giorno’s acknowledgement of their unique ethnic heritage and its
language is rendered with insights into their private world. She lived in the
back you see, with her son taking up the front of the house. These were the
days before the life of fortune and fame and flashy names. Warhol always
brought home the bacon. It was partially his work ethic that allowed him to
burn through people as he did. They were lazy as far as he could see. That
drive is on display seeing him cast aside onlookers out his path to greet
Marcel Duchamp arriving at <i>Americans 1963</i>, a breakthrough exhibit at the
Museum of Modern Art, Giorno literally hanging by his sleeve. Out one night at
a poetry reading, Warhol quietly asked “Why are they so boring?” The poets were
Frank O’Hara and John Ashbery, the question echoed in Giorno’s mind. Why were
they so boring? It was a question that he was driven to answer for the rest of
his life in fresh, sometimes astounding ways. Giorno writes “It was clear that
poetry was seventy-five years behind painting, sculpture, music, and dance. The
golden age of poetry was just about to begin.” And begin it did. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Years later
Giorno would say “When a poet is performing in front of an audience, he's
talking to the audience, and every single word has to grab them. And most
often, poets completely do not understand that. They have this great,
wonderful, magnificent work, and they read it in front of an audience, and it's
like showing radio over television or something.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Giorno
Poetry Systems was soon founded as a non-profit cultural organization and later
became one of the most innovative record labels in America. The Black Arts
movement had created Jihad Records, an attempt to amplify the role poetry could
play in civic life, bringing about constructive change. The legendary Caedmon
Records, inspired by Dylan Thomas’s tour of the United States, sought to deepen
listeners aesthetic sensibilities. Giorno Poetry Systems found a way to braid
together these two directions, these two impulses simultaneously. The record
label would produce, record, and distribute albums featuring Miguel Algarín, Glenn
Branca, Jayne Cortez, Jessica Hagedorn, Linton Kwesi Johnson, Lydia Lunch,
Psychic TV, and many others who would otherwise not have been available to audiences
off-of-the-page. Albums were given titles such as <i>Better an Old Demon Than a
New God</i>, and <i>A Diamond Hidden in the Mouth of a Corpse</i>. Giorno
himself was both activist-organizer and poet-performer, willing to go to
extremes on stage and off to get his message across. And not be boring. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">As things
wound-down with Warhol, and after an Tangierian interlude with Brion Gysin, a
new romance, this time with Robert Rauschenberg, bloomed in the incestuous
gardens of his art circle. Rauschenberg, unlike Warhol, was not <i>out</i> in
the sense of how we might think of that today. There was a front of being
straight, so to speak, and the parameters of the social life the two would lead
were much different. Rauschenberg further cultivated Giorno’s involvement in
theatrical performance, experimental theater, dance, Happenings, and hybrid’s
of poetry and music. He introduced him to Bob Moog whose then new invention,
the synthesizer, became a part of Giorno’s growing arsenal. Rauschenberg also
created original art for the cover of Giorno’s first book, <i>Poems</i>.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">The
cross-pollination of disciplines in the arts in New York during the sixties
produced an incandescent atmosphere. As the Jazz capitol of the world, the city
was already steeped in exploring the theatrical possibilities of dance movement
with poetry and improvised sound for at least three generations. Now with poets
and writers getting into the act, holding their own festivals, building their
own off-off-Broadway theaters, things were getting heated where before they had
been left for dead cold. The inferno generated by all this activity became so
caustic that wave after wave began to flee and by the next decade much of this activity
had migrated to either the San Francisco Bay Area or Europe. Giorno remained
very much a New Yorker and expanded his experimentation to one of the most
successful conceptual pieces combining poetry and new technology. <i>Dial-a-Poem</i>!
A massive phone bank of pre-recorded works by a veritable who’s-who of the
American avant-garde. Callers who dialed in would be treated to a recording of
an original work, calling back as much as they liked. The project became so
popular that the machinery broke down more than once. The basic idea made its
way into general consciousness so fast that soon there was a
dial-a-just-about-everything-you-can-think-of industry. Horoscopes, advice to
lovelorn, legal help, amateur pornography, but unlike Giorno’s art
installation, all charged a fee.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Those
wishing to make a quick study of just what sort of high-weirdness and serious
fun Giorno was having in creating these experiments with sound poetry, music,
and performance are hereby directed to “Everyone Is a Complete Disappointment”
from the album <i>John Giorno & Anne Waldman</i>, released in 1977. It’s
the kind of gleeful, mischievous nihilism that disguises a much more willful
desire to create one’s own meanings for existence. The occasionally sardonic
barbs are really just pushing the buttons on the joy-spring. If you can get with
this, great; and if you can’t, so what, it seems to say with a sly grin. Daring
you to talk back. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Giorno
doesn’t pull any punches in this book and he lands more than a few that will
put some readers on the floor. The first T.K.O. is bound to be sex. Graphic sex
and lots of it. Not everyone will care to see their art heroes depicted
burbling a mouth full of sperm, but the sperm being his, Giorno wants you to
know. The dimensions of a canonical novelist’s penis or the favored anal
penetration of one of the world’s greatest painters is not for everyone, to be
sure. But let it be known at the outset that none of these passages are
rendered with vulgarity, but rather as any other creative act in Giorno’s
quest. In fact, rather than a sheerly pornographic language, the sex is given
empathy and it is the trust between the men having it that comes through more
than any other element. Including, remarkably enough, an orgy in a subway
bathroom at Prince street station with the young Keith Haring. He also lands a
few jabs and an upper-cut to Allen Ginsberg, reprinting portions of a then
controversial interview from the magazine <i>Gay Sunshine</i>, 1974,
criticizing Ginsberg’s public relations politics, manipulations and tactics. “Allen
uses mantra to support ego.” This coincided with Ginsberg’s winning the
National Book Award for <i>The Fall of America</i>, an honor he shared that
year with Adrienne Rich’s masterpiece <i>Diving into the Wreck</i>. Giorno’s
relationship with Ginsberg remained a fertile one throughout their lifetime,
though he felt unjustly excluded from the Jack Kerouac School of Disembodied
Poetics, now part of Naropa University, a school founded by Ginsberg along with
poet Anne Waldman also in 1974.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">But it is
Giorno’s lifelong and nurturing relationship with his close friend, the writer
William S. Burroughs that really distinguishes this book. The least
commercially popular of the Beat triumvirate completed by Ginsberg and Kerouac,
likely because in the last analysis his message is so anti-White. Burroughs’s
routine evisceration of all things holy to the so-called White American doesn’t
end with a blunt dismissal of bourgeois consumer values or the
military-industrial complex or his revulsion towards Christianity. Not by any means.
The whole European-American Western civilization is regarded as a rancid,
decaying putrid corpse to be torched and soon before it spreads anymore of its
pestilence. To do that Burroughs cuts-up and cuts into just about every
existing genre of American fiction, high and low, turning them out anew in the
running-style adopted by the early Modernists from their affinity with Jazz and
Blues. His most widely read book <i>Naked Lunch</i>, oscillates from the sounds
of “metallic cocaine bebop” to Ellington’s early composition “East St. Louis
Toodle-Oo” and back again. The ultimate concerns are with the life of the mind
and changing it to resemble a utopian ideal, one populated by gay, often drug
addicted, pirates, cowboys, private detectives and doctors on the make. But
that is another matter.<span style="mso-spacerun: yes;"> </span>As far as
Burroughs was concerned, literature as ritual magic and self-defense was the
only answer to fighting back this morally debauched, sickly society of barking
advertising men, pimps, pushers, and private-eyes up to no good. Giorno agreed
whole heartedly. He may have found a different means in performance poetry and
new technologies for casting off the yoke that intended to strangle them, true,
but their critical perspective shared mostly common ground. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">There are
few people who had as positive and life-sustaining an effect on Burroughs as
Giorno did. They were sexual intimates, yes, but much closer friends. The
tenderness that emerges from a deep and abiding respect between human beings
who trust one another with their lives is a strength beyond words.
Nevertheless, Giorno finds those words when talking about his years living
alongside side each other in the Bowery, where Burroughs rented his famous
Bunker in the same building as Giorno’s apartment, traveling the world performing
and recording albums together, or just visiting the ageing writer at his final
home in Lawrence, Kansas. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Like
Burroughs, Giorno was a descendant of America’s upper-middle class, and both
were stabilized financially well into their adult lives by the considerable
wealth of their parents. Otherwise lethal situations were neatly avoided with a
monthly allowance, keeping them off the streets unless they really wanted to be
there. Often, it was Burroughs who really did want to be there. Giorno is
upfront about his access to wealth throughout this book. No shame in his game. Whatever
material similarities they may have shared in their upbringing, their
connection to each other was essentially spiritual. In fact, fundamentally so.
Burroughs performance persona, beloved by international audiences throughout
the last decades of his life, was as much Giorno’s cultivation as it was his
own. Appearing as a duo on countless bills around the world and in the United
States, Giorno helped Burroughs craft a stage presence that in time became
distinctly his own. In the end that was what paid the bills and the constant
touring took a toll. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">The picture
of Burroughs that emerges is one that both harmonizes and contradicts the
literary mask the world saw on stage and heard on record. His boyish delights
in handling the heavy metal phallus of weapons is certainly familiar. The soft,
yearning desire for shared love, a need that is finally fulfilled by his gentle
relationships with an extended family of cats and kittens, is less well known.
The last words the revolutionary novelist would write in his journal stated any
resolution to the violent conflict of his life was found in the experience of mutual
love and affection with his cats and kittens. <span style="mso-spacerun: yes;"> </span>“Like I felt for Fletch and Ruski, Spooner and
Calico. Pure love. What I feel for my cats, present and past. Love? What is it?
Most natural painkiller there is. LOVE.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">The chapters
surrounding Burroughs death are the most harrowing in the book. Graciously, Giorno’s
intuitive response to the situation is miraculously balanced throughout. After
the reader had earlier been treated to the arc and panorama of Giorno’s
religious devotions in Tibet and India, the wisdom gained there now reaches its
full flower. There is considerable ugliness, especially with one or two of
Burroughs hangers-on, but Giorno navigates the necessary and the needful with
skill. Applying mystic beliefs and practices acquired through his own Buddhist
discipline, Giorno guides the now dead Burroughs at the inception of the
deceased’s journey into <i>The Western Lands</i>. Though much of this will
certainly be regarded as occult by some readers, I see no reason to doubt the
veracity of what Giorno says in regards to these events (or any others in the
book for that matter). It is the kind of denouement that suggests all roads
were leading here, every moment however infinitesimal, was leading us here. A
climax gathering of all themes, all motifs, great and small.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;">Any serious
student of American art and literature in the late 20<sup>th</sup> century will
want to read this book. If you don’t you got a hole in your bucket. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 18.6667px;">[originally published in <i><a href="https://www.ishmaelreedpub.com/" target="_blank"><b>Konch</b></a></i>, Winter Issue, 2021]</span></p>
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<p class="MsoNormal"><span style="font-size: 14pt; line-height: 107%;"><o:p> </o:p></span></p>Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-3780793978370826442020-10-17T22:35:00.007-07:002020-10-17T22:39:06.790-07:00Quincy Troupe on Black Renaissance Noire departing NYU, controversial jazz critic Stanley Crouch <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG8Zn_UD7La1qY4fqybaZircRnUAHi5Hv6FzZFd_hiZdscy9a9HFE5M0cfG35PwSeaJaHI9IfRwBkiRBjjXtg-5_mXKW8Bo3WbCrBRPhLxJ2cicdk5WDbdUrfQyN076zXUOiryzIUfAai/s1665/Calvin+C.+Hernton%252C+Ishmael+Reed%252C+Amiri+Baraka%252C+Quincy+Troupe%252C+photo+by+Eugene+B.+Redmond.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG8Zn_UD7La1qY4fqybaZircRnUAHi5Hv6FzZFd_hiZdscy9a9HFE5M0cfG35PwSeaJaHI9IfRwBkiRBjjXtg-5_mXKW8Bo3WbCrBRPhLxJ2cicdk5WDbdUrfQyN076zXUOiryzIUfAai/s320/Calvin+C.+Hernton%252C+Ishmael+Reed%252C+Amiri+Baraka%252C+Quincy+Troupe%252C+photo+by+Eugene+B.+Redmond.jpg" width="320" /></a></div><br /> <p></p><p><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-weight: 700; white-space: pre-wrap;">Quincy Troupe in Conversation with Justin Desmangles, Sept. 26, 2020 </span></p><span id="docs-internal-guid-5b5d7269-7fff-a01c-00ea-744b0a73644c"><p dir="ltr" style="line-height: 1.3245952606201172; margin-bottom: 0pt; margin-right: 0.200439453125pt; margin-top: 36.55535888671875pt; text-indent: 0.9465560913085938pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Quincy Troupe has been among the most frequent guests on my radio show over the past twenty years. The following transcription is excerpted from a two-hour conversation covering a vast array of topics, largely focusing on his body of work as a poet and his forthcoming collection </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Duende: Poems, 1966-Now </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">(Seven Stories Press). For this issue of </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Konch</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the editors and I have chosen to focus on two points of great interest in the recent history of American art, the departure of </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">from New York University and the death of controversial jazz critic Stanley Crouch. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.9187164306640625pt; margin-top: 35.350006103515625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">On the departure of Black Renaissance Noire from New York University </span></p><p dir="ltr" style="line-height: 1.324899673461914; margin-bottom: 0pt; margin-left: 0.083526611328125pt; margin-right: 0.4061279296875pt; margin-top: 10.15533447265625pt; padding: 0pt 0pt 0pt 0.20879364013671875pt; text-indent: -0.20879364013671875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Justin Desmangles</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: When I was describing your poetry as creating the vision for the possibility of real freedom, I was thinking of it as integral to all of these other traditions that inform your writing. Because if you’re listening to a Quincy Troupe poem, or you’re reading a Quincy Troupe poem, and you’re not moving your body, if you don’t have some boogie or some stomp or some shuffle or some bounce, you’re not hearing the poem! In order to really hear the Quincy Troupe poem, you have to boogie your body. You have to be able to step lively. The music that is in the poetry is the practical form of real freedom. The possibility of that imagination moving the body. </span></p><p dir="ltr" style="line-height: 1.3213102340698242; margin-bottom: 0pt; margin-left: 0.3758392333984375pt; margin-right: 19.62884521484375pt; margin-top: 8.706512451171875pt; padding: 0pt 0pt 0pt 0.9465560913085938pt; text-indent: -0.9465560913085938pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">That wellspring of wisdom is also what informed the way that you shaped and moved and created the very supple </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, which under your leadership as editor expanded the range into all these other sensuous presentations of art. </span></p><p dir="ltr" style="line-height: 1.327055025100708; margin-bottom: 0pt; margin-left: 0.4871978759765625pt; margin-right: 4.14508056640625pt; margin-top: 8.748153686523438pt; padding: 0pt 0pt 0pt 0.34799957275390625pt; text-indent: -0.34799957275390625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You recently announced to your friends and colleagues that there was a departure of ways coming between you and NYU [New York University] and </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Could you speak to us about that? </span></p><p dir="ltr" style="line-height: 1.327055025100708; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 4.2679443359375pt; margin-top: 8.681549072265625pt; text-indent: 0.1809539794921875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Quincy Troupe</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Sure. This is the way it was explained to me. You know, I have an office down there that I never go to, so I said, let somebody else have it. I can work really well at my place, I have everything at my disposal. I got everything. So </span></p><p dir="ltr" style="line-height: 1.3270576000213623; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 6.63140869140625pt; margin-top: 0pt; text-indent: 0.8073577880859375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I said, just give it to somebody else. I think that rubbed some people the wrong way. “This guy, he ain’t even going to take the office.” You never know what rubs people the wrong way, but somebody told me that. </span></p><p dir="ltr" style="line-height: 1.3270597457885742; margin-bottom: 0pt; margin-left: 0.5150375366210938pt; margin-right: 45.939605712890625pt; margin-top: 8.68145751953125pt; padding: 0pt 0pt 0pt 0.8073577880859375pt; text-indent: -0.8073577880859375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Anyway, Manthia Diawara hired me because of the fact that he loved </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Code </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">magazine so much. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.68145751953125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Oh yes. </span></p><p dir="ltr" style="line-height: 1.3241822719573975; margin-bottom: 0pt; margin-left: 0.3758392333984375pt; margin-right: 0.35302734375pt; margin-top: 10.1553955078125pt; text-indent: 0.4454345703125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: He was my contributing editor. He’s from Mali. He used to provide stuff for </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Code</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, so when </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Code </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">stopped, when I moved back to New York, he said “Why don’t you take over </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">?”. And that’s what I did, I took it over and I said, “Well you know, I am going to change it. I just want to let you know that.” He was one of the one’s who started it, he and Walter Mosley and Clyde Taylor. He said, “That’s what I want you to do, that’s why I am hiring you, because I know you’re going to change it.” [laughter] “I know it’s going to make a lot of people mad, but I think it needs to be changed.” I said, “I am going to bring in some white people and everybody else.” He said, “Do it, I am giving you free reign.” So that’s what I did, I felt empowered at </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, I could do what I wanted. He said, “I trust your judgement, your editorial judgement and what you will do. I really do, I think it’s going to be remarkable.” So I said, “O.K., man!” </span></p><p dir="ltr" style="line-height: 1.3253315448760985; margin-bottom: 0pt; margin-left: 0.5150375366210938pt; margin-right: 1.53118896484375pt; margin-top: 8.714813232421875pt; padding: 0pt 0pt 0pt 0.320159912109375pt; text-indent: -0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">And so, I pissed-off a lot of people because I started to change a lot of stuff. I remember this guy who was one of the old editors. We had a meeting early on, maybe in the second year or so, and he came in, he was mad. He was mad with me because of the fact that I had made some changes and had rejected somebody that he had brought in. So we were sitting there . . . and I liked the guy, I liked him a lot . . . he says “Why did you do that, why did you do that?” I said, look at my title. He said, “Wha-wha-what?” I said, “Look at my title, it’s Editor-in Chief. Editor-in-Chief means I make the decisions.” I learned that when I was doing </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Code </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">with Larry Flynt. It’s my decision. “If I don’t like it, it’s going,” I said, “I have no guilt.” I have no guilt about stuff like that. He said, “But I, I just . . .,” and I said, “Look man, I just told you, I have no guilt so this is useless.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.701507568359375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Let me save you some time!</span></p><p dir="ltr" style="line-height: 1.322748041152954; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 7.19744873046875pt; margin-top: 0pt; text-indent: 0.1809539794921875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Yeah! “Look, I’m not going to do it, man. I’m going to do what I want to do.” “Well, I’m going to quit then.” I said, “Hey, man that is your choice. I like you, man, but I am the Editor-in-Chief and you’re not.” [laughter] “You’re a contributing editor, I am the Editor-in-Chief, O.K.? Manthia told me that’s what it was and I take that stuff seriously.” </span></p><p dir="ltr" style="line-height: 1.3221319198608399; margin-bottom: 0pt; margin-left: 0.4871978759765625pt; margin-right: 0.0518798828125pt; margin-top: 8.97149658203125pt; text-indent: 0.960479736328125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In the end what I do is what’s going to come down on me. It’s not going to come down on Manthia, it’s going to come down on me. And so anyway, that went on for a while. Then Manthia left and he said “Quincy, I don’t want to be involved with the magazine anymore. I am a university professor and I want to travel more. You can call on me or Clyde or Walter when you want to, but Deborah Willis is going to take my position.” I said, “Well, I know Deb,” and he said, “Well you know she has a kind of different take on stuff.” O.K. I didn’t know what that was, and so she took over his position. </span></p><p dir="ltr" style="line-height: 1.3227451801300047; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 8.9500732421875pt; margin-top: 8.9786376953125pt; text-indent: 0.8073577880859375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">He had been telling me that there were some mysterious white professors in the administration who were jealous. That is what he said. They admitted that it was a great magazine but they were jealous, they were envious because they were getting asked about me all the time and they didn’t like that. I understand that kind of stuff so . . . </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.73150634765625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: This is something that has happened a lot to you. </span></p><p dir="ltr" style="line-height: 1.3270544528961181; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 9.34429931640625pt; margin-top: 10.15533447265625pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Yeah, it happens. So one day, Deb calls me up and says “We’re going to have to make some changes with the magazine.” “What? What do you mean?” She says, “Well, they think we ought to do things like this . . .” “I’m not doing it, what do you mean?” She says, “Well, they think we should do things like this.” I said, “I’m not going to do it. I am just not going to do it.” She said, “Well, maybe, I guess we’ve reached a parting of the ways.” </span></p><p dir="ltr" style="line-height: 1.895793056488037; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 103.718017578125pt; margin-top: 8.6815185546875pt; text-indent: 1.1553573608398438pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Hey, it was like that, it was just like that. You know what I mean? </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Wow, this is Deb Willis talking? </span></p><p dir="ltr" style="line-height: 1.3270561695098877; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 14.514892578125pt; margin-top: 2.0841522216796875pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Yeah, Deb Willis, but then I found out it wasn’t even her. She was told to do that. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.681503295898438pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I see. </span></p><p dir="ltr" style="line-height: 1.3270576000213623; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 6.1544189453125pt; margin-top: 0pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: She said to me later, “Well, I didn’t want to do that, see, but the higher-ups, they wanted to do it.” She says, “I teach here,” you know, “I got to get along with these people.” I said, “Hey, it’s your decision. This is what I want to know,” I said, </span></p><p dir="ltr" style="line-height: 1.3213122367858887; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 10.1119384765625pt; margin-top: 0.761474609375pt; text-indent: 0.6959991455078125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“since you’re going to cease publishing the magazine, can I take it with me at some opportune time and take it off campus. Maybe get money and start it over again with somebody else.” “Oh, yeah,” she said “You can do that, you can do that.” </span></p><p dir="ltr" style="line-height: 1.3270554542541504; margin-bottom: 0pt; margin-left: 0.6959991455078125pt; margin-right: 14.2413330078125pt; margin-top: 8.7481689453125pt; padding: 0pt 0pt 0pt 0.19487762451171875pt; text-indent: -0.19487762451171875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Well, that’s what I am going to do. That’s what is going to happen. I am going to own it. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.68157958984375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: That’s great. </span></p><p dir="ltr" style="line-height: 1.3270541667938232; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 0.362060546875pt; margin-top: 10.155303955078125pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I am going to have control of it. I am just going to let it go for a while and then we are going to do it. I just have to get the money together first. I have some people. I had NYU behind me. That is a lot of money, we were coming out three times a year. It was costing some money to do that magazine like it was done. So we’ll see. If not it will just have to be gone. Maybe we can do a big one every year. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.6815185546875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Like an annual. </span></p><p dir="ltr" style="line-height: 1.327054738998413; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-right: 9.21405029296875pt; margin-top: 10.15533447265625pt; padding: 0pt 0pt 0pt 0.5011215209960938pt; text-indent: -0.5011215209960938pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I can be a contributing editor and somebody else can be Editor-in-Chief if we raise enough money. So that’s what happened. I know Deb is sorry now, she is really sorry it happened because she is catching grief. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.681488037109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I’ll bet. </span></p><p dir="ltr" style="line-height: 1.3270543098449707; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 11.347412109375pt; margin-top: 10.15533447265625pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: People call me, they call me up, “What happened, what happened to the magazine?” I say, call Deb Willis, and I give them her number. And so she says to me, “Quincy, could you please stop giving my . . .” I said, ”No, I am not going to take the blame. I had nothing to do with it.” </span></p><p dir="ltr" style="line-height: 1.3236084938049315; margin-bottom: 0pt; margin-left: 0.05568695068359375pt; margin-right: 18.91033935546875pt; margin-top: 8.6815185546875pt; padding: 0pt 0pt 0pt 0.23663330078125pt; text-indent: -0.23663330078125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Let me ask you this. In recent years the United States has openly embraced fascism and a lot of the trends that have been taking place in so-called higher education have reflected that. Some of the most far-right think tanks in the United States have exerted extraordinary control over curriculum on America’s college campuses and universities. Groups like the Manhattan Institute, the Heritage Foundation, and the Hoover Institute out here in California. </span></p><p dir="ltr" style="line-height: 1.3270576000213623; margin-bottom: 0pt; margin-left: 0.8351974487304688pt; margin-right: 20.4815673828125pt; margin-top: 0pt; text-indent: 0.6124801635742188pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Do you suspect or do you know that the decision coming through NYU vis-à-vis </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">has illustrated part of that larger trend? Is that fair to say? </span></p><p dir="ltr" style="line-height: 1.3213122367858887; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 10.0577392578125pt; margin-top: 8.68145751953125pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I would think so. I don’t know. I had thought about it because it just came all of a sudden. I don’t even know the people who pulled the trigger, I don’t even know who they are. They’re shadowy people. I never met them. If I did meet them, you know, they were very nice to me, you know what I mean? </span></p><p dir="ltr" style="line-height: 1.3241832733154297; margin-bottom: 0pt; margin-right: 7.63922119140625pt; margin-top: 8.9881591796875pt; text-indent: 0.3758392333984375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There was a provost there who loved the journal. A gay white guy and he was married to a black gay guy. He was the provost, he loved the journal. He started teaching again, he wanted more freedom, they said. And this woman took over. She was the one who executed it, you know. Her name was Parker or something like that. I never met her. I asked for meetings when I heard all this stuff was about to happen. She would never meet with me. I don’t know what happened. I just know the decision was by some higher-ups. </span></p><p dir="ltr" style="line-height: 1.3227451801300047; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 8.2012939453125pt; margin-top: 8.714813232421875pt; text-indent: 0.125274658203125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Some of those people in the English Department, they were jealous and envious of the journal because everybody was talking about it. They were talking about it with great esteem. [The English Department] was pissed-off. Somebody said, “Why he’s not even down here, he doesn’t even come to his office.” [laughter] What does that have to do with the product? </span></p><p dir="ltr" style="line-height: 1.3270544528961181; margin-bottom: 0pt; margin-left: 0.06960296630859375pt; margin-right: 2.447265625pt; margin-top: 8.73150634765625pt; padding: 0pt 0pt 0pt 0.22271728515625pt; text-indent: -0.22271728515625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Exactly. There was something about </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black Renaissance Noire</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, especially for younger readers who are not necessarily immersed in the culture, that opened up worlds within worlds for them. In other words, it became a medicinal substance for people who were otherwise in triage. I think that is part of the move that is being made here by these shadowy higher-ups. They’re trying to cut off the flow of medicine to people who need it. </span></p><p dir="ltr" style="line-height: 1.3270561695098877; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 3.0994873046875pt; margin-top: 8.6815185546875pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Right! Right! That’s what it is. That’s why I am glad they are going to allow me to take it and do something with it. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.681503295898438pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: That’s the best news I’ve heard all day. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.9187164306640625pt; margin-top: 10.155349731445312pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">On the late jazz critic Stanley Crouch </span></p><p dir="ltr" style="line-height: 1.3270561695098877; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-right: 23.4835205078125pt; margin-top: 10.155349731445312pt; padding: 0pt 0pt 0pt 0.01392364501953125pt; text-indent: -0.01392364501953125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I was a Jayne Cortez’s house one day and Stanley [Crouch] was talking this shit, man, and I said, “Shut the fuck up, Stanley.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 0pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Serious. </span></p><p dir="ltr" style="line-height: 1.3270554542541504; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-right: 8.04058837890625pt; margin-top: 10.1553955078125pt; padding: 0pt 0pt 0pt 0.01392364501953125pt; text-indent: -0.01392364501953125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: He said, “What?” I said, “Shut up. If you don’t shut up I’m going to smack the shit out of you.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.68157958984375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: There you go. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-top: 10.15533447265625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Stanley used to always bully people. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 10.3953857421875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: That’s right. </span></p><p dir="ltr" style="line-height: 1.321310806274414; margin-bottom: 0pt; margin-left: 0.7377471923828125pt; margin-right: 8.33514404296875pt; margin-top: 10.1553955078125pt; padding: 0pt 0pt 0pt 0.083526611328125pt; text-indent: -0.083526611328125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: He said, “You going to do what?” I said, “Say it again, say it again.” He said it again. I knocked him out. I didn’t knock him out, I knocked him on the bed with a right cross. Buh-ow! [laughter] On the bed. Jayne said, “Oh my god!” And Mel Edwards started laughing. [Stanley] never said nothing to me ever again. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 1.4476776123046875pt; margin-top: 8.748138427734375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">He would bully people, Stanley. </span></p><p dir="ltr" style="line-height: 1.3184356212615966; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 16.44488525390625pt; margin-top: 10.395355224609375pt; text-align: justify; text-indent: 0.946563720703125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I’d say, “Stanley, Stanley.” He’d say “Yeah, Troupe what is it?” I’d say, “Don’t go there, man, I might have to clock you again.” And Stanley and I got along to the end. Because I used to tell him, that shit you talking about is stupid. </span></p><p dir="ltr" style="line-height: 1.3241816997528075; margin-bottom: 0pt; margin-left: 0.4732818603515625pt; margin-right: 0.921875pt; margin-top: 9.021514892578125pt; padding: 0pt 0pt 0pt 0.013916015625pt; text-indent: -0.013916015625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You were talking about it earlier [the up-front, plain-spoken style of the Midwest]. K. Curtis Lyle and I moved to St. Louis from Los Angeles. He still lives there and I told Curtis, “The difference between you and me, we are both intellectuals but how you express yourself is kind of like California.” Now Curtis is a big guy, he will knock you out, but he’s always trying to get around it. He told me one day, “Now I understand how you are, since I lived in St. Louis so long.” They’ll just clock you, they’ll shoot you, [laughter] they don’t think about it. </span></p><p dir="ltr" style="line-height: 1.3270557403564454; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 9.97235107421875pt; margin-top: 8.71484375pt; padding: 0pt 0pt 0pt 1.1553573608398438pt; text-indent: -1.1553573608398438pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: It’s that same Blues impulse that you hear in Richard Pryor, you can hear it in Miles Davis. You can hear it in a lot of artists that come from that area. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-top: 8.681503295898438pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: That’s right, that’s it, man. Point blank. </span></p><p dir="ltr" style="line-height: 1.895795202255249; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 115.12445068359375pt; margin-top: 10.155349731445312pt; padding: 0pt 0pt 0pt 0.5289535522460938pt; text-indent: -0.5289535522460938pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Point blank and no filigree, no adornment, just right there. </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: No filigree. [laughter] </span></p><p dir="ltr" style="line-height: 1.895793056488037; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 116.08331298828125pt; margin-top: 2.084136962890625pt; padding: 0pt 0pt 0pt 0.5289535522460938pt; text-indent: -0.5289535522460938pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Plain as moonlight in the forest and if you can’t dig it, fine. </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Fine.</span></p><p dir="ltr" style="line-height: 1.3270576000213623; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 20.84234619140625pt; margin-top: 0pt; padding: 0pt 0pt 0pt 0.20879364013671875pt; text-align: justify; text-indent: -0.20879364013671875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I am glad that you brought up Stanley though because I find him to be very troubling. In as much as he seemed to spend a career just going which way the wind blows, and he became a professional assassin for his bosses. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-top: 8.68145751953125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Yes. </span></p><p dir="ltr" style="line-height: 1.3241845607757567; margin-bottom: 0pt; margin-left: 0.083526611328125pt; margin-right: 4.1976318359375pt; margin-top: 10.1553955078125pt; padding: 0pt 0pt 0pt 0.20879364013671875pt; text-indent: -0.20879364013671875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: In other words, the New York literary establishment would hire Stanley to abuse and punish Black men whom they felt got out of line. I for one am very confused at the praise that is being heaped on him in death because this was a man who committed the most egregious of sins. Betrayal of the spiritual tradition that brought him into existence. In fact, there are very few people that he didn’t betray. Even his mentor Albert Murray, the man who co-signed for Stanley. He betrayed him too. </span></p><p dir="ltr" style="line-height: 1.3270541667938232; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 5.59246826171875pt; margin-top: 8.714813232421875pt; text-indent: 0.320159912109375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Right. I don’t know if you saw it, but they had a notice of his death on Facebook and I wrote a piece . . . everybody was, like, oh shit! I talked about it. I said Stanley was brilliant. I knew Stanley from the time we didn’t have no money in Watts. You know, we were running around together. He was out there with us, the Watts Writers. He was going with Jayne Cortez. </span></p><p dir="ltr" style="line-height: 1.327056884765625; margin-bottom: 0pt; margin-left: 0.5011138916015625pt; margin-right: 11.9432373046875pt; margin-top: 8.681488037109375pt; text-indent: 0.946563720703125pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I watched him slide down that slope. I saw him just sell himself out. I said that in that piece. He was avaricious, he was evil, you know what I mean? </span></p><p dir="ltr" style="line-height: 1.3241816997528075; margin-bottom: 0pt; margin-left: 0.64031982421875pt; margin-right: 2.38128662109375pt; margin-top: 8.681488037109375pt; text-indent: 0.8073577880859375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Let me tell you this one story. I remember when he loved Miles Davis, I mean absolutely adored, loved. We go in to a club one night . . . I’m from St. Louis, Miles is from East St. Louis . . . I saw Miles standing over there against the wall with this woman. Beautiful woman. He always had beautiful women. Stanley said, “Hey, man, that’s Miles Davis, I am going to go over and say something. We’re going to go over and say hello.” I said, “I’m not going over there, Stanley. Miles don’t want to talk to you, man.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 8.71484375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: Exactly. </span></p><p dir="ltr" style="line-height: 1.3270554542541504; margin-bottom: 0pt; margin-left: 0.5289535522460938pt; margin-top: 10.155380249023438pt; text-indent: 0.29232025146484375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: I said, “Miles don’t want to talk to you.” He said, “Well, I’m going over and saying hello, man.” He went over there to talk to Miles Davis, saying, I’m so and so and so and so, I’m Stanley Crouch. Miles said, “Fuck you motherfucker, get the fuck out of my motherfucking face.” Just like that. Point blank, boom! </span></p><p dir="ltr" style="line-height: 1.3236099243164061; margin-bottom: 0pt; margin-left: 0.3758392333984375pt; margin-right: 0.02459716796875pt; margin-top: 0pt; text-indent: 0.3897552490234375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Stanley, he was upset. Up until that point he had written nothing but real praise about Miles. The next week in the Village Voice he wrote a piece putting-down Miles Davis like a dog. Just because he got cursed out. I called him up, I said, “That is some chicken shit stuff that you just did, man. You know goddamn well you love Miles Davis. The reason you wrote that piece was because he cursed your ass out. Talking about how he can’t play?” I said, “Are you a fool? Just because he cursed you out, he can’t play, huh? You’re the only one who believes that, you and Albert Murray. Don’t bring that shit to me, man, I know you. </span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I know you</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. I’m not one of these crazy people or them white boys that you hang-out with. They don’t know you like I know you. You’re just chicken shit.” He would tiptoe around me after that. </span></p><p dir="ltr" style="line-height: 1.309818649291992; margin-bottom: 0pt; margin-left: 0.5150375366210938pt; margin-right: 23.466552734375pt; margin-top: 8.961517333984375pt; padding: 0pt 0pt 0pt 0.38976287841796875pt; text-indent: -0.38976287841796875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">All that stuff that he was writing, attacking all these writers, people, musicians and everything. It’s just bullshit. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-top: 9.1214599609375pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: It is. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-left: 0.8212738037109375pt; margin-top: 10.15533447265625pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: It’s just crazy. </span></p><p dir="ltr" style="line-height: 1.327054738998413; margin-bottom: 0pt; margin-left: 0.29232025146484375pt; margin-right: 4.01904296875pt; margin-top: 10.15533447265625pt; padding: 0pt 0pt 0pt 1.0300750732421875pt; text-indent: -1.0300750732421875pt;"><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">JD</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: He was remarkably in tune with the Reagan era. That is when he really rose to position over there in New York. By following the new conservative trend of Ronald Reagan. A lot of people don’t like my saying that, but it is true. </span></p><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">QT</span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">: It’s true. It is absolutely true. I was there! I watched him make those moves.</span></span><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span><span style="font-family: Calibri, sans-serif; font-size: 13.92pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div><div><span style="font-family: Calibri, sans-serif;"><span style="font-size: 18.56px; white-space: pre-wrap;">Originally published in <i>Konch</i>, Fall Issue, October 14, 2020 </span></span></div><div><span style="font-family: Calibri, sans-serif;"><span style="font-size: 18.56px; white-space: pre-wrap;"><br /></span></span></div><div><span style="font-family: Calibri, sans-serif;"><span style="font-size: 18.56px; white-space: pre-wrap;">(l-r, Calvin C. Hernton, Ishmael Reed, Amiri Baraka, Quincy Troupe, photo by Eugene B. Redmond c. 1981)</span></span></div>Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-9628752005103496212020-06-17T15:23:00.000-07:002020-06-17T16:19:26.840-07:00UNCLE SAM PLAYS THE TRUMP CARD <br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%;">UNCLE SAM PLAYS THE
TRUMP CARD<o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 107%;">by Justin Desmangles<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">“'Tis dangerous to take a cold, to
sleep, to drink; but I tell you, my lord fool, out of this nettle, danger, we
pluck this flower, safety. The purpose you undertake is dangerous, the friends
you have named uncertain, the time itself unsorted, and your whole plot too
light for the counterpoise of so great an opposition.”</span></i><span style="font-size: 12.0pt; line-height: 107%;"> – Hotspur, <i style="mso-bidi-font-style: normal;">Henry IV</i>, Act 2 Scene 3, William Shakespeare <o:p></o:p></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">“This is NOT a time for
penny-pinching or horse trading on the Hill.”</span></i><span style="font-size: 12.0pt; line-height: 107%;"> – White House economic advisor Peter Navarro,
February 23, 2020, memo to the President warning of an impending 2 million
deaths in the U.S. from corona virus.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">I had been
wondering what they dug out of Reinhard Heydrich’s grave last December; I guess
this virus may have been it! Having just read <i style="mso-bidi-font-style: normal;">The Man in the High Castle</i>, Philip K. Dick’s dystopian sci-fi
masterpiece in which the Nazis emerge as victors of World War II, the name
sounded familiar. In the novel, set in the Bay Area, Dick places Heydrich quite
high in the order of things, as well he would have been had he not been
assassinated by Czech Resistance fighters. The real Reinhard Heydrich was the
principal designer of the proposed “final solution” as well as the organizer of
Kristallnacht. A man whose infamous cruelty was so severe it was both feared
and admired by his Nazi peers, he was also rumored to have Jewish ancestry.
Contemporary admiration for his ideas led his followers to resort to grave
robbing at the end of last year. Who is to say towards what ritual purpose
these actions may have been put? Among certain secret societies, fraternal
orders, even wealthy occultists, there would be a great demand for such a
substance as previously contained in that grave. Haven’t heard a lot from Skull
and Bones at Yale lately. Maybe some of the folks in the Federalist Society
could find some Johnnie Walker for a round of congratulations? They can send
the bill to A.L.E.C., Americans for Prosperity, or maybe Freedom Works. I am
sure Dick Armey’s pension can handle it. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Nazi
intellectuals and law makers had great admiration for American domestic
policies concerning race and ideas of racial hygiene and were not shy about
saying so prior to the U.S. entering the war (see <i style="mso-bidi-font-style: normal;">Hitler's American Model: The United States and the Making of Nazi Race
Law</i>, James Q. Whitman, Princeton University Press, 2017). They, too, looked
out at the world and saw “shithole countries,” to quote Donald Trump, rather
than places where people lived. Forced sterilization of undesirables was especially
attractive to them, a policy which remained active in the United States well
into the 1970s. The factory-like settings in which Germany would implement
their version of these strategies resemble nothing so much as their American
cousins in the prison system. Replete with often lethal, illegal medical
experimentation on prisoners. Had Heydrich lived to ascend to Germany’s Chancellorship,
as many believed he would, I am sure he would have approved of the Trump-Pence
junta and its handling of the coronavirus thus far. Particularly the lines of
class, race, ethnicity, education and income levels so clearly demarcated by
its lethality. To put it country-simple, the right people are dying.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Dean Baquet
would probably be the last to admit it, right after David Remnick, but a great
many of their wealthiest readers scan headlines like “BLACK AMERICANS BEAR THE
BRUNT AS VIRUS SPREADS” (lead story, front page, <i style="mso-bidi-font-style: normal;">The New York Times</i>, April 8, 2020) and breathe a quiet hallelujah. The
impulse leading toward the genocide of non-white people in the Americas is not
only alive and well, it is thriving and growing in strength. Though that
impulse began many centuries ago, too many of its key features are with us
today in stark and undeniable ways. The elaborate construction of concentration
camps along the southern border, tens of thousands of children being held at
subsistence level, barely alive, the violent breaking apart of their families as
public spectacle. All of these details would show themselves as familiar to any
serious student of the history of these continents north and south, going back
to the earliest settlements by Spanish, French, Portuguese and English
colonists. Their mirror images in the present become obscured only by the fact
that collectively we put those events in a sentimental, seductive past, rather
than accepting their hideous, grotesque reflection of now. Our greatest
palliative in the process of this un-remembering, dismembering today has been
access to the narcotizing excesses of so-called media. As the poet Bob Kaufman
accurately reported in his now classic “Heavy Water Blues”, “Television,
america’s ultimate relief, from the indian disturbance.” Can the Navajo draw
such a distinction with its near past? Can any indigenous tribe that has
survived unto the 21<sup>st</sup> century? Surely the rampantly rising
infection rates among immigrant workers in Wisconsin’s meat processing plants
reveal the centuries old motive for this violence. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Cut to commercial. Real Uncle Tom
scene, Ben Carson singing Water Boy on a small riser at the end of dark room
under a single spotlight, a tiny scrim behind him on which is projected a
waving confederate flag. <o:p></o:p></span></i><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Voice over: Stop the war of northern
aggression, give generously to the Strom Thurmond Foundation to End
Miscegenation. <o:p></o:p></span></i><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Camera zooms out to reveal a Heidi–type
character, smiling, arms extended a la Julie Andrews in The Sound of Music,
twirling atop green rolling hills.</span></i><span style="font-size: 12.0pt; line-height: 107%;"> <o:p></o:p></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Voice over:</span></i><span style="font-size: 12.0pt; line-height: 107%;"> <i style="mso-bidi-font-style: normal;">Yearning
to return to her regular pogroming, Erica bought futures in pork bellies last
week. She has faith in Tyson Foods and so can you. <o:p></o:p></i></span><br />
<span style="font-size: 12.0pt; line-height: 107%;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Next we see the fat winking face of
Mitch McConnell fill the screen like so much pink gelatin, “With so many
channels to choose from, why have one point of view?”<o:p></o:p></span></i><br />
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">And now back to our regular pogroming
. . . <o:p></o:p></span></i></div>
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<span style="font-size: 12.0pt; line-height: 107%;">The American
presidency has always existed in moral twilight. Presidents lie, it is
important that they do so in order to keep their job. Even those who audition
for the role often start by telling a lot of lies in public to see how much
traction they can gain coming into the race. No president as far as we know has
lied as much as Donald Trump. His bilious regurgitation of insults, exaggerations,
half-truths and outright deceptions is unparalleled by any measure, save for
his heroes in professional wrestling. Rowdy Roddy Piper, indeed. But I’ll tell
one thing he is not lying about, the number of Federal judges he has appointed
to the bench. Other than Ronald Reagan, no president has seated more of these
immeasurably powerful lifetime appointments. This extraordinary ordinary fact
is a vivid example of what can go wrong when a country stops paying attention.
A lot of America’s self-appointed intelligentsia at the papers-of-record and
the jibber-jabber-jaws of cable news have taken porn stars, errant penises, and
illicit payoffs to be more worthy of their commentary than federal judges. Charismatic
advertising, you know. Because as long the news-gathering model for reporting
is based on advertising revenue, they will continue to do so. Beguiling and
bewildering their audiences for the cheap thrill of pretending they are the
monsters they so despise. The desire for power among those who don’t have it
and the misconceptions that brings is more haunting than the Ghost of Christmas
Past but with much less conscience. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">We interrupt this pogrom with a
special news bulletin. Disgraced financier Jeffrey Epstein, a presumed death by
suicide, was discovered impersonating Elvis as a contestant in a south Florida
karaoke bar. Claiming to be the winner of the contest when detained by local
officials, Mr. Epstein reportedly said that he was without an agent and willing
to work at scale.<o:p></o:p></span></i><br />
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Next on Fox, Kitten on a Hot Mic,
Becky Misandric spews mutilated Marxism before uncorking wine bottles with her
teeth, a trick she learned at Socialist summer camp in the hills of Berkeley,
California. <o:p></o:p></span></i></div>
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<span style="font-size: 12.0pt; line-height: 107%;">The Confederacy
was a declared enemy of the United States. Maybe that is the message from these
crowds flying Stars and Bars, carrying big guns and screaming that the country
be re-opened. They remind me of the religious flagellants from an earlier
plague, some even have the same taste in headgear (see Francisco de Goya’s
painting <i style="mso-bidi-font-style: normal;">A Procession of Flagellants</i>.)
These masochistic zealots were famously portrayed by Ingmar Bergman in his icy
tour-de-force <i style="mso-bidi-font-style: normal;">The Seventh Seal</i>, a
meditation on God’s silence in the face of atrocities. Like the new breed of
flagellants, they believed if they got the whipping over with, inflicting
violence on themselves and others, their God might show them some mercy. Last I
checked, God don’t let you pick your switch, but that’s them. People who laugh
at the malapropisms and misspellings of these new flagellants do so at their
own peril. It’s not funny. Fascist authoritarian governments have always had a
tenuous relation with these kind of rabble-rousing provocateurs, they are as
necessary to white supremacist terror as clean sheets are to the Klan. It can
all go to Hell of course when these people mess-up, kill, or intimidate the
wrong person. They’re largely bunglers who have been known to bite the hand
that feeds off at the elbow, sometimes even turning their former leaders upside
down with entrails hanging out. The trouble in dealing with these death cult
ecstatics is tell-them-off too well and they may like you just too much. As has
been seen at these demonstrations, they’re just getting riled up, spoiling for
the fight and terrorism that comes later. But why would a country allow people
carrying guns to fly the flag of its declared enemy in front of state houses
and government buildings?<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">The only good __________ is a dead
___________. You’re an American, so you can fill in the blanks with live
ammunition. <o:p></o:p></span></i></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Advertising psychology
plays its experienced role as dramaturge, the golden rule being that of
tricking the customer about the product. Why not be Jekyll when you can play
Hyde and seek on the weekend? Political theater? The governor of California, a
thespian by choice, has communicated far more effectively for having partnered
with a professional actress. Don Jr.’s main squeeze is the governor’s ex-wife,
also trained in the theater arts. Her beaux has been performing much better on
camera since she stepped in the picture, he even passes as an author on Amazon.
Donald Trump for his part continues the traditions of Vaudeville. Still visible
in the popular culture are the techniques of the traveling tent shows of the
19th century. There’s Skip Gates swabbing celebrity DNA and telling them they
were Cleopatra. Trump’s rebarbative motifs are borrowed from the top-ten hits
of European fascism. Vituperative, cruel, heartless, the words come easy. Venom
lolls off the tongue, joining a river of bile. His imperious gaze reflecting
fits of pique that his authority be questioned at all. Standing at the lectern
with the world chomping at the bit, ready to restore ratings with the latest
bilge. Having sewn chaos in the garden of democracy, he now reaps a harvest in
the Electoral College. Women vote for him, their sons admire him, even
grandpa’s got his blood up again. “Dad called a man he didn’t know a nigger at
the grocery store in front of a security guard and the security guard laughed!”<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Much in the
style of Don Rickles, Trump performs the politics of the 19th century too, an
era of obsession among his underwriters at the corporate level. “Those damn
Civil War amendments, 13 and 14, you heard of them, well get rid of them!”<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Mass
incarceration of African-Americans is re-enslavement, a process beginning in
the immediate wake of the emancipation provided by the 13<sup>th</sup>
amendment (see Douglas Blackmon, <i style="mso-bidi-font-style: normal;">Slavery
by Another Name: The Re-Enslavement of Black Americans from the Civil War to
World War II</i> Anchor Books, 2008). As I have written elsewhere in this
magazine (“Just Us and Jeff Sessions”, <i style="mso-bidi-font-style: normal;">Konch</i>,
Spring Issue 2018) the elimination of the 14<sup>th</sup> amendment’s
guarantees of citizenship and voting rights is the center piece of the agenda
promoted by the Trump administration’s first Attorney General Jeff Sessions and
his former aide, now presidential advisor, Stephen Miller. Lee Atwater would
have been proud of these guys. American liberal and progressive political
thinkers often begin with the premise that the state and its authority have a
moral and ethical right to exist. The murder of innocent blacks at the hands of
police is viewed with the ironic distance of a malfunction in an otherwise
purring engine that works for everybody. Drive it long enough and it will take
you where you want to go, local and express. <span style="mso-spacerun: yes;"> </span>But the murder and destruction of non-white
people by state authority is not an accident that calls for a tune-up, it is an
essential constituent of American life. A set of religious rites and rituals
that inform long standing traditions of Western domination. As Susan Sontag has
famously written, “The truth is that Mozart, Pascal, Boolean algebra,
Shakespeare, parliamentary government, baroque churches, Newton, the
emancipation of women, Kant, Marx, Balanchine ballets, et al, don't redeem what
this particular civilization has wrought upon the world. The white race is the
cancer of human history; it is the white race and it alone—its ideologies and
inventions—which eradicates autonomous civilizations wherever it spreads, which
has upset the ecological balance of the planet, which now threatens the very existence
of life itself.” (“What's Happening to America?” <i style="mso-bidi-font-style: normal;">Partisan Review</i>, 1967).<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Front page,
above the fold, a lead item, two of the four journalists who published the
aforementioned <i style="mso-bidi-font-style: normal;">New York Times </i>piece
followed up on May 11, 2020 with “Questions of Bias in Virus Care Haunt
Mourning Black Families.” Above the headline is an image of the empty hall of a
high school in northern Germany, its doors flung open to better circulate the
air free of viruses. The article details the impact of anti-black racism on
American public and private health care systems and their long history of
abuse, neglect, illegal experimentation, and premature death contextualizing
our moment of genocide. The acceleration of African American deaths due to
coronavirus infection has been reported on in the European press as well,
“African Americans have died at a rate of 50.3 per 100,000 people, compared
with 20.7 for whites, 22.9 for Latinos and 22.7 for Asian Americans. More than
20,000 African Americans – about one in 2,000 of the entire black population in
the U.S. have died of the disease,” (“Black Americans Dying of Covid-19 at
Three Times the Rate of White People”, <i style="mso-bidi-font-style: normal;">The
Guardian</i>, May 20, 2020). <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Can we talk
about those concentration camps now? <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Of course collecting
data is a problem, some would say the problem. As Althea Maybank, chief equity
officer at the American Medical Association, has made clear, “We’re not
collecting the stats on race and ethnicity we desperately need,” reminding us
that “Fewer than a dozen states have published data on the race and ethnic
patterns of the pandemic,”(“The Pandemic’s Missing Data”, <i style="mso-bidi-font-style: normal;">New York Times</i>, April 8, 2020). In other words the numbers reported
above by <i style="mso-bidi-font-style: normal;">The Guardian</i> are likely much
higher. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">More on that
missing data question. In January of this year the National Archives announced
that U.S. Immigration and Customs Enforcement (ICE) was free to destroy
documents related to the sexual abuse and death of undocumented immigrants.
Included also are detainee’s complaints detailing violations of their human
rights. This maneuver on the part of the National Archives also extends itself
to the destruction of records by the Department of the Interior, dealing with
such subjects as endangered species, unsafe drinking water, even domestic oil
exploration. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Heydrich and
his admirers have done themselves proud. As Upton Sinclair would say, it’s a jungle
out there.</span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">This essay was composed on May 24, 2020 and first published June 10, 2020 in <i>Konch </i></span></div>
<br />Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-49482710485723742712018-04-23T20:11:00.000-07:002018-04-23T20:11:11.452-07:00C.D. Wright's Letter to Ishmael Reed Seeking Employment at Before Columbus Foundation, August 28, 1979<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVl_zEPPK8k1bjUlp3ug061zzeUgrkflpXAsazrD7vXiRBnGU9hHAkkfCm9q6gsn45UtAzwBYmZOFCJMSXIdW-ZBFd7IxnU9ZA-xgHjSBgM7Flye46tjRs9ZMziSiMhxDmWxruBcnH8sm/s1600/C.D.+Wright+letter+to+Ishmael+Reed.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVl_zEPPK8k1bjUlp3ug061zzeUgrkflpXAsazrD7vXiRBnGU9hHAkkfCm9q6gsn45UtAzwBYmZOFCJMSXIdW-ZBFd7IxnU9ZA-xgHjSBgM7Flye46tjRs9ZMziSiMhxDmWxruBcnH8sm/s640/C.D.+Wright+letter+to+Ishmael+Reed.jpeg" width="494" /></a></div>
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<span style="font-size: 18.0pt; line-height: 107%;">Dear Ishmael
Reed,<o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">I sold the
printing equipment in July and moved myself and the Lost Roads inventory to SF
this month. Since I have been here I’ve had the flu, the blues, the hives, and
a stopped up head. Now that’s all clearing up and I am ready to go back on
line, finish my manuscript, continue with Frank’s work, and with Lost Roads, as
well as, with some kind of employment. The latter being why I am writing to
you. While I am aware the job I aspire to probably doesn’t exist, I’m still
applying. As the publisher/editor and sole staff member of Lost Roads I’ve
acquired some skills I’d like to put to use: I’ve learned the fundamentals of
offset printing, done the typesetting, layout, camera work, stripping, plate
burning, design, type and paper selection and ordering, silkscreening;
coordinated distribution, edited manuscripts, handled correspondence, written
grants, filled out legal forms, tax forms, done the mailing and the billing,
etc., etc. I’ve spent my free time perusing the California literary scene, and
the only one that makes any damn sense to me is the activity around Before
Columbus, Y’bird, and Reed, Cannon and Johnson. With all those irons in the
fire – even if all the printing and design work is jobbed out – you still have
to maintain some semblance of a staff. Don’t you? If not maybe you have a lead
or two for me. After three years as a grad assistant, two years on a grant, and
a year running LR I am spoiled – I just don’t want to work for a fool. I want
to work for who I want to work for – else I just don’t care what happens. I go
to pot. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">I have a
standard resume if you want to see it. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">And I have
time at your convenience if you could talk to me about this. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">I move into
an apt this weekend but won’t have a phone for a few weeks. A message can be
left for me at 552-5464 or a card at the LR p.o. would do. Meanwhile I may keep
trying to reach you at Before Columbus.<o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">My thanks,
appreciation, the best, <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 18.0pt; line-height: 107%;">CD<o:p></o:p></span></i></div>
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<span style="font-size: 18.0pt; line-height: 107%;">CD Wright<o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;">cc/cdw<o:p></o:p></span></div>
<br />Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-11038484257688692672018-03-29T09:11:00.000-07:002018-03-29T09:11:45.744-07:00Race and the Totalitarian Century: Geopolitics in the Black Literary Imagination (July 2, 2017)<br />
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<span style="font-weight: 700;"><span style="font-size: 14pt;">(July 2, 2017)</span></span></div>
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<span style="color: #312e2c; font-family: "source sans pro" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 18.6667px; letter-spacing: 0.14px;"><b><a href="http://kdvs.ucdavis.edu/archives/2017-07-02_4530_320kbps.mp3">http://kdvs.ucdavis.edu/archives/2017-07-02_4530_320kbps.mp3</a></b></span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">This afternoon in the 5 o'clock hour, I am joined by Vaughn Rasberry for a discussion of his book, <em style="letter-spacing: 0.14px;"><a href="http://www.amazon.com/Race-Totalitarian-Century-Geopolitics-Imagination/dp/0674971086/ref=sr_1_1?ie=UTF8&qid=1460944709&sr=8-1&keywords=race+and+the+totalitarian+century" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">Race and the Totalitarian Century: Geopolitics in the Black Literary Imagination</a></em></span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">Vaughn Rasberry studies African American and twenteth-century American literature, literature of the African Diaspora, postcolonial theory, and philosophical theories of modernity. In 2016, Harvard University Press published his first book, <em><a href="http://www.amazon.com/Race-Totalitarian-Century-Geopolitics-Imagination/dp/0674971086/ref=sr_1_1?ie=UTF8&qid=1460944709&sr=8-1&keywords=race+and+the+totalitarian+century" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">Race and the Totalitarian Century: Geopolitics in the Black Literary Imagination</a></em>, recipient of the American Political Science Association's 2017 Ralph Bunche Award ("awarded annually for the best scholarly work in political science published in the previous calendar year on ethnic and cultural pluralism.") His book questions the notion that desegregation prompted African American writers and activists to acquiesce in the normative claims of postwar liberalism. Challenging accounts that portray black cultural workers in various postures of reaction to larger forces--namely U.S. liberalism or Soviet communism--his project argues instead that many writers were involved in a complex national and global dialogue with totalitarianism, a defining discourse of the twentieth century.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">During World War II and the Cold War, his book shows, the United States government conscripted African Americans into the fight against Nazism and Stalinism. An array of black writers, however, deflected the appeals of liberalism and its anti-totalitarian propaganda in the service of decolonization. Richard Wright, W. E. B. Du Bois, Shirley Graham, C. L. R. James, John A. Williams, and others remained skeptical that totalitarian servitude and democratic liberty stood in stark opposition. Their skepticism, <em style="padding: 0px 3px 0px 0px;">Race and the Totalitarian Century</em>contends, allowed them to formulate an independent perspective that reimagined the anti-fascist, anti-communist narrative through the lens of racial injustice, with the United States as a tyrannical force in the Third World but also as an ironic agent of Asian and African independence.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">His article, "<a href="http://www.press.umich.edu/1168369/james_baldwin" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">'Now Describing You': James Baldwin and Cold War Liberalism</a>," appears in an edited volume titled <em style="padding: 0px 3px 0px 0px;">James Baldwin: America and Beyond</em> (University of Michigan Press, 2011). A review essay, "<a href="http://www.alh.oxfordjournals.org/cgi/content/full/ajs053?ijkey=u2pfesltcNA8Que&keytype=ref%22" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">Black Cultural Politics at the End of History</a>," appears in the winter 2012 issue of <em>American Literary History</em>. An article, "<a href="http://novel.dukejournals.org/content/47/1.toc" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">Invoking Totalitarianism: Liberal Democracy versus the Global Jihad in Boualem Sansal's <em style="padding: 0px 3px 0px 0px;">The German Mujahid</em></a>," appears in the spring 2014 special issue of <em style="padding: 0px 3px 0px 0px;">Novel: a Forum on Fiction</em>. In 2015, he published a book chapter, "<a href="http://www.cambridge.org/us/academic/subjects/literature/american-literature/cambridge-companion-john-f-kennedy" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">JFK and the Global Anticolonial Movement</a>," in <em style="padding: 0px 3px 0px 0px;">The Cambridge Companion to John F. Kennedy</em>. He has another book chapter, "<a href="http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118494067.html" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">The 'Lost' Years or a 'Decade of Progress'? African American Writers and the Second World War</a>," published in <em style="padding: 0px 3px 0px 0px;">A Companion to the Harlem Renaissance</em> (Wiley-Blackwell, 2015). </span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">For Black History Month, he published an op-ed essay, "<a href="http://www.aljazeera.com/indepth/opinion/2012/02/2012213114932547730.html" rel="nofollow" style="color: #8c1515; outline: none; text-decoration-line: none;" target="_blank">The Shape of African American Geopolitics</a>," in <em>Al Jazeera</em> English. </span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">An Annenberg Faculty Fellow at Stanford (2012-14), he has also received fellowships from the Schomburg Center for Research in Black Culture and the Humanities Center at the University of Pittsburgh.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: 14pt;">Vaughn also teaches in collaboration with the Center for Comparative Studies in Race and Ethnicity (CCSRE) and the programs in Modern Thought and Literature, African and African American Studies, and American Studies. </span></span></div>
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<table class="show-tracks-table" style="background-color: white; border-spacing: 0px 3px; color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; width: 720px;"><thead>
<tr><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Artist</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Song</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Album</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Label</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Comments</th></tr>
</thead><tbody>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sonny Stitt</td><td style="padding: 10px;">The String</td><td style="padding: 10px;">Only the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;">October 11, 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Ben Webster</td><td style="padding: 10px;">Jive at Six</td><td style="padding: 10px;">King of the Tenors</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;">December 8, 1953</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Bud Powell</td><td style="padding: 10px;">Bud's Bubble</td><td style="padding: 10px;">Bud Powell Trio</td><td style="padding: 10px;">Royal Roost</td><td style="padding: 10px;">January 10, 1947</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Bud Powell</td><td style="padding: 10px;">Off Minor</td><td style="padding: 10px;">Bud Powell Trio</td><td style="padding: 10px;">Royal Roost</td><td style="padding: 10px;">January 10, 1947</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Gigi Gryce</td><td style="padding: 10px;">Nica's Tempo</td><td style="padding: 10px;">Gigi Gryce Quartet And Orchestra</td><td style="padding: 10px;">Savoy</td><td style="padding: 10px;">October 15, 1955</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Swing Spring</td><td style="padding: 10px;">Miles Davis and the Modern Jazz Giants</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;">December 24, 1954</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Thelonious Monk</td><td style="padding: 10px;">Skippy (alternate take)</td><td style="padding: 10px;">More Genius Of Thelonious Monk</td><td style="padding: 10px;">Blue Note - Japan</td><td style="padding: 10px;">May 30, 1952</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Thelonious Monk</td><td style="padding: 10px;">Hornin' In (alternate take)</td><td style="padding: 10px;">More Genius Of Thelonious Monk</td><td style="padding: 10px;">Blue Note - Japan</td><td style="padding: 10px;">May 30, 1952</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sarah Vaughan</td><td style="padding: 10px;">I'm Glad There Is You</td><td style="padding: 10px;">Sarah Vaughan</td><td style="padding: 10px;">EmArcy</td><td style="padding: 10px;">December 16, 1954</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sarah Vaughan</td><td style="padding: 10px;">You're Not the Kind</td><td style="padding: 10px;">Sarah Vaughan</td><td style="padding: 10px;">EmArcy</td><td style="padding: 10px;">December 16, 1954</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sonny Clark</td><td style="padding: 10px;">I Didn't Know What Time It Was</td><td style="padding: 10px;">Sonny Clark Trio</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">October 13, 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sonny Clark</td><td style="padding: 10px;">Little Sonny</td><td style="padding: 10px;">Sonny Clark Quintets</td><td style="padding: 10px;">Blue Note - Japan</td><td style="padding: 10px;">December 8, 1957</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Betty Carter</td><td style="padding: 10px;">I Don't Want to Set the World on Fire</td><td style="padding: 10px;">The Modern Sound of Betty Carter</td><td style="padding: 10px;">ABC-Paramount</td><td style="padding: 10px;">August 1960</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Betty Carter</td><td style="padding: 10px;">Remember</td><td style="padding: 10px;">The Modern Sound of Betty Carter</td><td style="padding: 10px;">ABC-Paramount</td><td style="padding: 10px;">August 1960</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Barry Harris</td><td style="padding: 10px;">I Didn't Know What Time It Was</td><td style="padding: 10px;">Newer Than New</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">September 28, 1961</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Barry Harris</td><td style="padding: 10px;">Make Haste</td><td style="padding: 10px;">Newer Than New</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">September 28, 1961</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Kenny Dorham</td><td style="padding: 10px;">Beautiful Love</td><td style="padding: 10px;">Matador</td><td style="padding: 10px;">United Artists</td><td style="padding: 10px;">April 15, 1962</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Kenny Dorham</td><td style="padding: 10px;">Prelude</td><td style="padding: 10px;">Matador</td><td style="padding: 10px;">United Artists</td><td style="padding: 10px;">April 15, 1962</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Carmen McRae</td><td style="padding: 10px;">If You Could See Me Now</td><td style="padding: 10px;">Bittersweet</td><td style="padding: 10px;">Focus</td><td style="padding: 10px;">c. 1964</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Carmen McRae</td><td style="padding: 10px;">Here's That Rainy Day</td><td style="padding: 10px;">Bittersweet</td><td style="padding: 10px;">Focus</td><td style="padding: 10px;">c. 1964</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Ted Curson</td><td style="padding: 10px;">Antibes</td><td style="padding: 10px;">Plenty of Horn</td><td style="padding: 10px;">Old Town</td><td style="padding: 10px;">April 11, 1961</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Vaughn Rasberry in Conversation with Justin Desmangles</td><td style="padding: 10px;">Vaughn Rasberry in Conversation with Justin Desmangles</td><td style="padding: 10px;">Vaughn Rasberry in Conversation with Justin Desmangles</td><td style="padding: 10px;">Vaughn Rasberry in Conversation with Justin Desmangles</td><td style="padding: 10px;">Vaughn Rasberry in Conversation with Justin Desmangles</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Pierre Dørge and Walt Dickerson</td><td style="padding: 10px;">Tai-Gong</td><td style="padding: 10px;">Landscape With Open Door</td><td style="padding: 10px;">SteepleChase</td><td style="padding: 10px;">c. 1979</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-56192293549900587962018-03-22T13:54:00.002-07:002020-06-04T15:15:57.209-07:00Just Us and Jeff Sessions: Evidence<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKT-5Ea_61eYyh2TE1RA2SC3qn9T1Hr4qNREsVP5bdzM1uYryU1Ff_4xA_cUiq0jVwqh2OydPvW8SokKLCGNbG16mGQYkUQKIylddT9mP-CjIJhhE9Rns_mobifOaJq4FdBXD3Wqnj2T2q/s1600/sessionspolice-1024x683.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKT-5Ea_61eYyh2TE1RA2SC3qn9T1Hr4qNREsVP5bdzM1uYryU1Ff_4xA_cUiq0jVwqh2OydPvW8SokKLCGNbG16mGQYkUQKIylddT9mP-CjIJhhE9Rns_mobifOaJq4FdBXD3Wqnj2T2q/s320/sessionspolice-1024x683.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18.0pt; line-height: 107%;"><br /></span></b>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18.0pt; line-height: 107%;">Just Us and Jeff Sessions: Evidence<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-size: 18pt; line-height: 107%;">by Justin Desmangles</span></div>
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<span style="font-size: 18pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt; line-height: 107%;">"Find
out just what any people will quietly submit to and you have found out the
exact measure of injustice and wrong which will be imposed upon them, and these
will continue till they are resisted with either words or blows, or with both.
The limits of tyrants are prescribed by the endurance of those whom they
oppress." ~ Frederick Douglass,<i style="mso-bidi-font-style: normal;"> If
There Is No Struggle, There Is No Progress </i>(1857)<o:p></o:p></span></div>
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<span style="font-size: 16.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">In February
of 2007 I was arrested for crimes that I did not commit. Despite my innocence,
I was held for seven weeks at San Francisco County Jail - San Bruno, waiting
for a bail hearing. The District Attorney’s office made an offer. They would
dismiss the felony charges against me in exchange for a guilty plea to a
misdemeanor, sending me back to jail for the year. There was one problem, I
wasn’t guilty of anything. Despite the fact that a felony conviction would lead
to a lengthy prison sentence, I refused the D.A.’s offer and spent the next ten
months fighting my case. It destroyed my life, but I had my freedom in the end.
<o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Despite what
one sees on television and in the movies, juried criminal trials are rare in
America. Typically, a person arrested will be charged with the maximum
penalties available to the arresting officer. A simple jay-walking could be
blown-up to obstructing traffic, adjusting your arms while handcuffed could
become resisting arrest. Police always exaggerate far beyond the reality of the
circumstances they encounter when detaining someone. Making a case for the D.A.
to easily win is part of their job, they believe, and D.A.’s rarely if ever
lose. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Here’s how
it works. The police ramp-up accusations of wrong-doing that are so egregious,
carrying such intimidating punishments, that the D.A. will offer a plea bargain
somewhere in the middle. Most defendants, not all but most, take the plea
bargain as commonsense, being instructed to do so as they often are by legal
counsel. My decision to fight for my freedom is almost unheard of in the
contemporary criminal-justice system, with success falling below single digit
percentiles. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Whether you
are for or against mass incarceration of Blacks and Latinos, the factors
leading to it are invariably the same, racial profiling, prosecutorial
misconduct, and disproportionate sentencing. There is also a profit motive to
keeping millions of Blacks and Latinos locked up, which I will get into a bit
later in this essay. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Racial
profiling has all but been legalized by directives emerging from the Justice
Department under Jeff Sessions, endorsed heartily by Donald Trump, aided and
abetted by a market-driven U.S. culture industry. The flames of irrational fear
are continuously being fanned high by official statements coming from federal,
state, and local law enforcement around the country. Mainstream film and
television broadcasting throw gasoline on that same fire by surreptitiously
presenting images of Blacks, Latinos, and increasingly Muslims, as those of
virulent criminals. It is important here to remember that Jeff Sessions was one
the earliest and most powerful supporters of Trump’s bid for the presidency,
with one of Trump’s earliest institutional endorsements coming from the Fraternal
Order of Police. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Sessions and
the F.O.P. had a long wish list beginning January 20, 2017, and they expected
results. The F.O.P. went so far as to issue a set of policy directives to the
incoming administration the previous month in the form of a press release
titled <i style="mso-bidi-font-style: normal;">The First 100 Days</i>. Despite
whatever nonsense corporate news has drummed-up about dissention between Trump
and Sessions, they’ve been getting those wishes fulfilled. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Trump has
enjoyed playing the role of political Santa Claus with many of the most backward
and criminal money-men in the Republican Party, rolling back and rescinding
every Obama era rule and regulation possible. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Here are a
few examples. In late February, 2017, Sessions directed the Justice Department
to end Federal oversight of America’s police departments proven to have
internal cultures of racial prejudice and abuse. The strategy had been
implemented by the Obama administration to fight racial profiling and hold
violent officers accountable. This in the wake of innumerable examples of
brutality and murder that had gone unpunished. That same week, Sessions dropped
any objections on the part of the Justice Department to a Texas voter-identification
law that had been understood by the Obama administration as an unconstitutional
violation of voting rights. That Texas law had been crafted in 2011 by the
Republican Party to further negate the potential votes of Blacks and Latinos,
as well as left-leaning young people, in their state. The Obama administration
had been pursuing the case against Texas since 2013. As the <i>New York Times</i>
correctly observed that month, “Under the Trump administration, the Civil
Rights Division of the Justice Department is expected to undergo the most
severe shift in philosophy of any other section under the Trump administration,
and Mr. Sessions appears to be quickly meeting those expectations.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">By the
second week of March in 2017, Sessions had asked forty-six Obama-appointed U.S.
attorneys in the Justice Department to resign. At the end of that same month,
Sessions released a memo directing all those in the Department to immediately
review activities and investigations “including collaborative investigations
and prosecutions, grant making, technical assistance and training, compliance
reviews, existing or contemplated consent decrees, and task force participation”
to verify that they were in compliance with the Trump administration. The
review of consent decrees was specifically meant to derail Federal
investigations of existing police corruption, specifically in Chicago and
Baltimore. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Returning to
the aforementioned question of minimum sentencing and the radical expansion of
the prison population as a result, it should be remembered that it was Bill
Clinton who championed such measures well over a decade previously. In his
administration’s capitulation to the so-called Gingrich Revolution, Clinton
sponsored the Crime Omnibus Bill, subsequently incarcerating more Blacks and
Latinos than the previous two presidents, Reagan and Bush, combined. During his
wife’s second failed bid for the White House, the former president would
apologize for the insistence on minimum sentencing, underlining it as a mistake
and the root cause of racially biased mass incarceration. The Obama
administration had worked to end the rules that bound judges to impose such
draconian measures, as they had indeed proved to be invariably racist. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">By May of
2017, Sessions was directing Federal prosecutors to seek the maximum sentence
possible in all cases, charging defendants with the most severe crimes
available to their circumstances, overturning the Obama administration’s
previous directives. That July, Sessions reversed yet another Obama era rule,
dramatically reinstating property seizures, such as cars and money, of those
accused or suspected of a crime, even if the charges did not necessarily end in
a conviction. Later that month, Trump told police gathered in Long Island for a
speech on illegal immigration not to worry about injuring suspects during an
arrest. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">By the end of
summer, Sessions, with Trump’s support, was redirecting the Civil Rights Division
of the Justice Department to investigate race-based preferences in college
admissions. Preferences he viewed as possibly criminal. That September,
Sessions defended far-right activists, including Neo-Nazis, as exercising free-speech
as protected by the constitution. Before the year was out, Sessions would
revoke 25 legal guidance documents used by the Department of Justice since
1975, saying they provoked “confusion.” Just before New Year’s Day, Sessions
would reopen the legal doors to potentially enfranchise debtor’s prisons
nationally for the poor and indigent. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">All of which
brings us to today. At the end of February this year, the Supreme Court
reversed an earlier 9<sup>th</sup> Circuit Court ruling, <i style="mso-bidi-font-style: normal;">Jennings v. Rodriguez</i>, thus making it legal to detain immigrants
indefinitely. This decision followed hot-on-the-heels of Sessions abolishment
of an Obama administration rule barring Federal contracting with the private
prison industry. It is no secret that this these for-profit private prisons are
the main artery through which ICE channels those it detains. Many thousands of
those detained are children, all are kept in deplorable conditions with little
of the oversight one finds in government-run facilities. The private-prison
industries are also a major source of funding for Republican candidates
throughout the country.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">As if to
open the doors further for this money-making venture disguised as
law-and-order, in early March, Sessions made a rare visit to California’s
capitol, Sacramento, to announce litigation against the state’s “sanctuary
cities.” Sessions delivered his remarks at the 26<sup>th</sup> annual Law
Enforcement Legislative Day hosted by the California Peace Officers'
Association, saying “California, we have a problem. A series of actions and
events has occurred that directly and adversely impact the work of our federal
officers. For example, the mayor of Oakland (Libby Schaaf) has been actively
seeking to help illegal aliens avoid apprehension by ICE. Her actions support
those who flout our laws and boldly validate the illegality. There's no other
way to interpret her remarks. To make matters worse, the elected Lieutenant
Governor (Gavin Newsome) of this state praised her for doing so. Bragging about
and encouraging the obstruction of our law enforcement and the law is an
embarrassment to this proud and important state. . . . In recent years,
California has enacted a number of laws designed to intentionally obstruct the
work of our sworn immigration enforcement officers--to intentionally use every
power it has to undermine duly-established immigration law in America. . . . California
has also claimed the authority to inspect facilities where ICE holds people in
custody.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Trump
followed up soon after, using his weekly address to all but declare war on
California, imploring congress to cut-off Federal dollars funding any
municipality that supports “sanctuary” policies for immigrants. Trump stated
unequivocally, “The State of California is sheltering dangerous criminals in a
brazen and lawless attack on our Constitutional system of government.<span style="mso-spacerun: yes;"> </span>Every state in our Union is subject to the
laws and Constitution of the United States – including California.<span style="mso-spacerun: yes;"> </span>Yet California’s leaders are in open defiance
of federal law. They don’t care about crime. They don’t care about death and
killings. They don’t care about robberies. They don’t care about the kind of
things that you and I care about.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">Soon after,
an official spokesman for ICE in California, James Schwab, resigned in protest,
citing both Sessions and Trump’s exaggerations of the threats posed by
immigrants in California. Speaking to the <i style="mso-bidi-font-style: normal;">San
Francisco Chronicle</i>, Schwab said, “I quit because I didn’t want to perpetuate
misleading facts. I asked them to change the information. I told them that the
information was wrong, they asked me to deflect, and I didn’t agree with that.
Then I took some time, and I quit.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">While the
threat of so-called illegal immigration to the United States has most certainly
been exaggerated by both Sessions and Trump, their very real threats to
California cannot be overstated. <span style="mso-spacerun: yes;"> </span>Unlike
the Eastern states, or even those of the Mid-West and South, California was
never entirely settled. These new threats are attempts to do just that in
classic circle-the-wagons settler fashion. In point of fact, the 19<sup>th</sup>
century was all but half-way over before California even joined the Union. Its
status within the Republic has always occupied both the center and the absolute
margins, socially, politically, economically, culturally. The Trump-Sessions
junta in American politics should not only be supremely resisted, it should be
destroyed. California is the only state with the power to do so with a democratic super-majority, leading the nation as it has in the past. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">As it
stands, another Obama policy upended by Trump at the behest of the F.O.P. and
enthusiastically embraced by Sessions, is the continued arming of local police
forces with military-grade arms and equipment. Gifts from Homeland Security and
the Department of Defense. As all of the above changes continue unabated, it
will not be long before we see more and more of this type of equipment being
deployed by local police forces, as we did in Ferguson, MO. and Baltimore, MD.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">ICE and the
Justice Department are spoiling for a fight, particularly in Oakland,
California and the greater Bay Area, as they made excruciatingly clear in the
early weeks of March, 2018. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">In the late
1940’s, the jazz standard, <i style="mso-bidi-font-style: normal;">Just You, Just
Me</i>, was transformed by Thelonious Monk, becoming the original composition <i style="mso-bidi-font-style: normal;">Just Us</i>, later titled <i style="mso-bidi-font-style: normal;">Justice</i>, and finally known as <i style="mso-bidi-font-style: normal;">Evidence</i>. I think he had a point. Without
evidence there will be no justice, and without either, it will stay just us,
and if we’re not careful, each one of us will be left saying “just me.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 18.0pt; line-height: 107%;">(this essay was originally published March 22, 2018 in Konch)</span></div>
<div class="MsoNormal">
<br /></div>
<br />Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-43441399264890421392017-12-04T19:13:00.002-08:002017-12-04T19:13:29.703-08:00RIOT.STRIKE.RIOT Joshua Clover in Conversation with Justin Desmangles<br />
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New Day Jazz</h2>
<div class="dj-name" style="font-size: 15px; margin-bottom: 11px; padding: 0px;">
<b><a href="http://kdvs.ucdavis.edu/archives/2017-05-28_4441_320kbps.mp3">http://kdvs.ucdavis.edu/archives/2017-05-28_4441_320kbps.mp3</a></b></div>
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;">Joshua Clover joins me this afternoon in the 5 o'clock hour to discuss his most recent book, <em><span style="color: red;">Riot.Strike.Riot: The New Era of Uprisings</span></em>. </span></span></div>
<div style="margin-bottom: 11px; padding: 0px;">
<b>Conversation begins at 1:58:00 (see play list below) </b></div>
<div style="font-size: 12px; margin-bottom: 11px; padding: 0px;">
<span style="color: #222222; font-family: arial, sans-serif; font-size: medium; font-weight: 700;">Joshua Clover is author of six books including</span><em style="color: #222222; font-family: arial, sans-serif; font-size: large; font-weight: 700;"> Riot.Strike.Riot: The New Era of Uprisings</em><span style="color: #222222; font-family: arial, sans-serif; font-size: medium; font-weight: 700;"> (Verso 2016), a political economy of insurrection and renarration of capital’s history; and </span><em style="color: #222222; font-family: arial, sans-serif; font-size: large; font-weight: 700;">1989: Bob Dylan Didn’t Have This To Sing About</em><span style="color: #222222; font-family: arial, sans-serif; font-size: medium; font-weight: 700;">. He is a Professor of English and Comparative Literature at UC Davis and edits </span><em style="color: #222222; font-family: arial, sans-serif; font-size: large; font-weight: 700;">Studies in Revolution and Literature</em><span style="color: #222222; font-family: arial, sans-serif; font-size: medium; font-weight: 700;"> for Palgrave Macmillan.</span></div>
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Sunday 5/28/2017 @ 3:00PM - 6:00PM</div>
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<a href="https://kdvs.org/past-playlists/4441" style="color: white; display: inline-block; outline: none; padding: 7px; text-decoration-line: none;">< < PAST PLAYLISTS</a><a class="fright" href="https://kdvs.org/upcoming-playlists/4441" style="color: white; display: inline-block; float: right; outline: none; padding: 7px; text-decoration-line: none;">UPCOMING PLAYLISTS > ></a></div>
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<table class="show-tracks-table" style="border-spacing: 0px 3px; font-size: 12px; width: 720px;"><thead>
<tr><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Artist</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Song</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Album</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Label</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Comments</th></tr>
</thead><tbody>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis / Gil Evans</td><td style="padding: 10px;">Prayer (Oh, Doctor Jesus)</td><td style="padding: 10px;">Porgy and Bess</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;">August 4, 1958</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis / Gil Evans</td><td style="padding: 10px;">Fisherman, Strawberry and Devil Crab</td><td style="padding: 10px;">Porgy and Bess</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;">July 29, 1958</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis / Gil Evans</td><td style="padding: 10px;">My Man's Gone Now</td><td style="padding: 10px;">Porgy and Bess</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;">July 22, 1958</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Diner au motel</td><td style="padding: 10px;">Ascenseur pour l'échafaud</td><td style="padding: 10px;">Fontana</td><td style="padding: 10px;">December 4 & 5, 1957</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Evasion de Julian</td><td style="padding: 10px;">Ascenseur pour l'échafaud</td><td style="padding: 10px;">Fontana</td><td style="padding: 10px;">December 4 & 5, 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Visite du vigile</td><td style="padding: 10px;">Ascenseur pour l'échafaud</td><td style="padding: 10px;">Fontana</td><td style="padding: 10px;">December 4 & 5, 1957</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Au bar du Petit Bac</td><td style="padding: 10px;">Ascenseur pour l'échafaud</td><td style="padding: 10px;">Fontana</td><td style="padding: 10px;">December 4 & 5, 1957</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Boplicity</td><td style="padding: 10px;">Birth of the Cool</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;">April 22, 1949</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Venus de Milo</td><td style="padding: 10px;">Birth of the Cool</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;">April 22, 1949</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Israel</td><td style="padding: 10px;">Birth of the Cool</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;">April 22, 1949</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Miles Davis</td><td style="padding: 10px;">Rouge</td><td style="padding: 10px;">Birth of the Cool</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;">April 22, 1949</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Arkestra</td><td style="padding: 10px;">The Blue Set</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">June 14 1960</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra and His Arkestra</td><td style="padding: 10px;">Big City Blues</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">June 14 1960</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Astro Solar Infinity Arkestra</td><td style="padding: 10px;">Blues on Planet Mars</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">September 22, 1968</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra and His Astro Solar Infinity Arkestra</td><td style="padding: 10px;">Saturn Moon</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">September 22, 1968</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Arkestra featuring Pat Patrick</td><td style="padding: 10px;">A Blue One</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">c. 1962</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra and His Arkestra featuring Pat Patrick</td><td style="padding: 10px;">Orbitration in Blue</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">c. 1962</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Astro Solar Infinity Arkestra</td><td style="padding: 10px;">I'm Gonna Unmask the Batman</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">July 4, 1974</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra and His Astro Solar Infinity Arkestra</td><td style="padding: 10px;">The Perfect Man</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">May 24, 1973</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra</td><td style="padding: 10px;">Disco 2021</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">January 23, 1978</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra</td><td style="padding: 10px;">Rough House Blues</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">May 1979</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Astro Solar Infinity Arkestra</td><td style="padding: 10px;">Discipline 8</td><td style="padding: 10px;">Discipline 27-II</td><td style="padding: 10px;">Strut / Artyard</td><td style="padding: 10px;">c. 1973</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra and His Arkestra</td><td style="padding: 10px;">Calling Planet Earth / We'll Wait For You</td><td style="padding: 10px;">Thunder of the Gods</td><td style="padding: 10px;">Modern Harmonic</td><td style="padding: 10px;">c. 1973</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Justin Desmangles in Conversation with Joshua Clover</td><td style="padding: 10px;">Justin Desmangles in Conversation with Joshua Clover</td><td style="padding: 10px;">Justin Desmangles in Conversation with Joshua Clover</td><td style="padding: 10px;">Justin Desmangles in Conversation with Joshua Clover</td><td style="padding: 10px;">Justin Desmangles in Conversation with Joshua Clover</td></tr>
</tbody></table>
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</article></div>
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Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-33219324524791479422017-12-04T15:48:00.001-08:002017-12-04T16:20:23.587-08:00Marc Anthony Richardson in Conversation with Justin Desmangles, June 4, 2017<a href="http://kdvs.ucdavis.edu/archives/2017-06-04_4441_320kbps.mp3"><b><span style="font-size: large;">http://kdvs.ucdavis.edu/archives/2017-06-04_4441_320kbps.mp3</span></b></a><br />
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<span style="font-size: large;"><br /></span></h2>
<div>
<span style="font-size: large;">Conversation begins at 2:05:00</span><br />
<span style="font-size: large;"> (see play list below)</span></div>
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<h3 style="line-height: 26px; margin: 0px 0px 1em; padding: 0px;">
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<div class="showcase-info" style="background: rgb(228, 228, 228); font-size: 15px; padding: 7px; text-align: center;">
Sunday 6/04/2017 @ 3:00PM - 6:00PM</div>
<div class="showcase-image" style="background-image: url("http://scriptoriumsaturday.com/wp-content/uploads/2016/08/marcpic-copy-300x295.jpg"); background-position: center center; background-repeat: no-repeat; background-size: cover; height: 250px;">
</div>
<div class="showcase-controls clearfix" style="background: rgb(178, 0, 0); color: white; text-transform: uppercase;">
<a href="https://kdvs.org/past-playlists/4441" style="color: white; display: inline-block; outline: none; padding: 7px; text-decoration-line: none;">< < PAST PLAYLISTS</a><a class="fright" href="https://kdvs.org/upcoming-playlists/4441" style="color: white; display: inline-block; float: right; outline: none; padding: 7px; text-decoration-line: none;">UPCOMING PLAYLISTS > ></a></div>
</div>
</div>
<table class="show-tracks-table" style="background-color: white; border-spacing: 0px 3px; color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; width: 720px;"><thead>
<tr><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Artist</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Song</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Album</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Label</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Comments</th></tr>
</thead><tbody>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Tony Williams</td><td style="padding: 10px;">Extras</td><td style="padding: 10px;">Spring</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">August 12, 1965</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Tony Williams</td><td style="padding: 10px;">Echo</td><td style="padding: 10px;">Spring</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">August 12, 1965</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Myron O'Higgins (Gloria Foster)</td><td style="padding: 10px;">To a Young Poet</td><td style="padding: 10px;">A Hand Is on the Gate</td><td style="padding: 10px;">Verve-Folkways</td><td style="padding: 10px;">September 1966</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">James Vaughn (Roscoe Lee Browne)</td><td style="padding: 10px;">from Four Questions</td><td style="padding: 10px;">A Hand Is on the Gate</td><td style="padding: 10px;">Verve-Folkways</td><td style="padding: 10px;">September 1966</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Eric Dolphy</td><td style="padding: 10px;">Straight Up and Down</td><td style="padding: 10px;">Out to Lunch!</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">February 25, 1964</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Cecil Taylor</td><td style="padding: 10px;">Tales (8 Whisps)</td><td style="padding: 10px;">Unit Structures</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">May 19, 1966</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Art Blakey and the Jazz Messengers</td><td style="padding: 10px;">Calling Miss Khadija</td><td style="padding: 10px;">Indestructible!</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">May 15, 1964</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Art Taylor</td><td style="padding: 10px;">Move</td><td style="padding: 10px;">A.T.'s Delight</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">August 6, 1960</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Max Roach</td><td style="padding: 10px;">Filide</td><td style="padding: 10px;">Deeds, Not Words</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">September 4, 1958</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Chet Baker</td><td style="padding: 10px;">Do It the Hard Way</td><td style="padding: 10px;">It Could Happen to You</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">August 1958</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Chet Baker</td><td style="padding: 10px;">I'm Old Fashioned</td><td style="padding: 10px;">It Could Happen to You</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">August 1958</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Elvin Jones</td><td style="padding: 10px;">Shadowland</td><td style="padding: 10px;">Elvin!</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">December 27, 1961</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Elvin Jones</td><td style="padding: 10px;">Pretty Brown</td><td style="padding: 10px;">Elvin!</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;">July 11, 1961</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Andy and the Bey Sisters</td><td style="padding: 10px;">Love is Just Around the Corner, I Love You, Love You Madly</td><td style="padding: 10px;">'Round Midnight</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;">c. 1965</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sam Rivers</td><td style="padding: 10px;">Upstairs Blues Downstairs</td><td style="padding: 10px;">Fuchsia Swing Song</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;">December 11, 1964</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra</td><td style="padding: 10px;">Call for All Demons</td><td style="padding: 10px;">Sun Ra Singles Vol. 1</td><td style="padding: 10px;">Strut / Art Yard</td><td style="padding: 10px;">tba</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">The Cosmic Rays</td><td style="padding: 10px;">Dreaming</td><td style="padding: 10px;">Sun Ra Singles Vol. 1</td><td style="padding: 10px;">Strut / Art Yard</td><td style="padding: 10px;">tba</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra</td><td style="padding: 10px;">Great Balls of Fire</td><td style="padding: 10px;">Sun Ra Singles Vol. 1</td><td style="padding: 10px;">Strut / Art Yard</td><td style="padding: 10px;">tba</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra featuring Pat Patrick</td><td style="padding: 10px;">The Blue One</td><td style="padding: 10px;">Sun Ra Singles Vol. 2</td><td style="padding: 10px;">Strut / Art Yard</td><td style="padding: 10px;">tba</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Duke Ellington</td><td style="padding: 10px;">Money Jungle</td><td style="padding: 10px;">Money Jungle</td><td style="padding: 10px;">United Artists</td><td style="padding: 10px;">September 17, 1962</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Duke Ellington</td><td style="padding: 10px;">Fleurette Africaine (African Flower)</td><td style="padding: 10px;">Money Jungle</td><td style="padding: 10px;">United Artists</td><td style="padding: 10px;">September 17, 1962</td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Marc Anthony Richardson in Conversation with Justin Desmangles</td><td style="padding: 10px;">Marc Anthony Richardson in Conversation with Justin Desmangles</td><td style="padding: 10px;">Marc Anthony Richardson in Conversation with Justin Desmangles</td><td style="padding: 10px;">Marc Anthony Richardson in Conversation with Justin Desmangles</td><td style="padding: 10px;">Marc Anthony Richardson in Conversation with Justin Desmangles</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Jimmy Giuffre</td><td style="padding: 10px;">In the Mornings Out There</td><td style="padding: 10px;">Jimmy Giuffre 3</td><td style="padding: 10px;">ECM</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Jimmy Giuffre</td><td style="padding: 10px;">Goodbye</td><td style="padding: 10px;">Jimmy Giuffre 3</td><td style="padding: 10px;">ECM</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-34064820211707341422017-11-18T21:53:00.001-08:002017-11-18T21:57:43.021-08:00Blues Jump Blues Jazz <div class="gmail-clearfix gmail-show-info" style="border-bottom: 1px solid rgb(229, 228, 228); padding-bottom: 20px; padding-top: 20px;">
<div class="gmail-grid_6" style="float: left; margin-left: 0px; min-height: 1px; width: 345.767px;">
<h2 style="color: #ab0000; font-family: "open sans", sans-serif; font-size: 25px; font-weight: normal; line-height: 1.2em; margin: 0px 0px 5px; padding: 0px 0px 16px;">
New Day Jazz</h2>
<div class="gmail-dj-name" style="color: #504b4b; font-family: arial, helvetica, sans-serif; font-size: 15px; margin-bottom: 11px; padding: 0px;">
Justin Desmangles</div>
<div class="gmail-dj-name" style="margin-bottom: 11px; padding: 0px;">
<span style="color: #222222; font-family: arial, sans-serif;"><a href="http://kdvs.ucdavis.edu/archives/2017-07-09_4530_320kbps.mp3"><b>http://kdvs.ucdavis.edu/archives/2017-07-09_4530_320kbps.mp3</b></a></span></div>
<div style="color: #504b4b; font-family: arial, helvetica, sans-serif; font-size: 12px; margin-bottom: 11px; padding: 0px;">
</div>
<div style="color: #504b4b; font-family: arial, helvetica, sans-serif; font-size: small; margin-bottom: 11px; padding: 0px;">
<span style="font-weight: 700;">at right, detail from <em>Watchmaker</em>, 1946</span></div>
<div style="color: #504b4b; font-family: arial, helvetica, sans-serif; font-size: small; margin-bottom: 11px; padding: 0px;">
<span style="font-weight: 700;">Jacob Lawrence</span></div>
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<div style="color: #504b4b; font-family: arial, helvetica, sans-serif; font-size: 12px;">
<span style="font-size: 10pt;"><span style="font-weight: 700;">original, tempera and graphite on paper, </span><span style="font-weight: 700;">30 1/2 × 21 1/2 in</span></span></div>
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<span style="font-size: 10pt;"><span style="font-weight: 700;"><br /></span></span></div>
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<div class="gmail-showcase-info" style="background: rgb(228, 228, 228); font-size: 15px; padding: 7px; text-align: center;">
Sunday 7/09/2017 @ 3:00PM - 6:00PM</div>
<div class="gmail-showcase-image" style="background-image: url("https://d32dm0rphc51dk.cloudfront.net/1mYwzEBC-9uU1o0X9QGXqw/larger.jpg"); background-position: 50% 50%; background-repeat: no-repeat; background-size: cover; height: 250px;">
</div>
<div class="gmail-showcase-controls gmail-clearfix" style="background: rgb(178, 0, 0); color: white; text-transform: uppercase;">
<a href="https://kdvs.org/past-playlists/4530" style="color: white; display: inline-block; outline: none; padding: 7px; text-decoration-line: none;">< < PAST PLAYLISTS</a><a class="gmail-fright" href="https://kdvs.org/upcoming-playlists/4530" style="color: white; display: inline-block; float: right; outline: none; padding: 7px; text-decoration-line: none;">UPCOMING PLAYLISTS > ></a></div>
</div>
</div>
<table class="gmail-show-tracks-table" style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; width: 720px;"><thead>
<tr><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Artist</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Song</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Album</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Label</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Comments</th></tr>
</thead><tbody>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ray Charles</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What'd I Say</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What'd I Say</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Atlantic</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 18, 1959</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hank Ballard</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Kansas City</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What You Get When the Gettin Gets Good</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">November 13, 1958</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">T-Bone Walker</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Natural Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Natural Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1946</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">J.B. Hutto</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Combination Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Combination Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1954</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Howlin' Wolf</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Well That's Alright</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Legendary Sun Performers</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">April 17, 1952</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Snooky Pryor</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Someone to Love Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Combination Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1956</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Eddie Cleanhead Vinson</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hold It Right There</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Back In Town</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Willie Nix</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">All By Myself</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Combination Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1953</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hadda Brooks</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Romance in the Dark</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Romance in the Dark</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1946</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lloyd Glenn</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Midnight Boogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Texas Man</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">December 26, 1947</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Roy Hamilton</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blue Turning Grey</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Big Fat Mama</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">December 27, 1947</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Savannah Churchill</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Things You Do to Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Time Out For Tears</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Autumn 1948</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">James Moody</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">I'm in the Mood for Love</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">James Moody and His Swedish Crowns</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Dragon</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">October 12, 1949</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Big Jay McNeely</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Willie the Cool Cat</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Road House Boogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Saxophonograph</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 1949</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Smiley Lewis</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Gumbo Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Caldonia's Party</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">K.C.</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1952</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Washboard Sam</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">River Hip Mama</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Washboard Sam</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">B.O.B.</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 10, 1942</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Illinois Jacquet</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Diggin' the Count</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Fabulous Apollo Sessions</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Vogue</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">May 21, 1947</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Little George Smith</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Oopin' Doopin' Doopin'</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Oopin' Doopin' Doopin'</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ace</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1956</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sister Rosetta Tharpe</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Strange Things Happening Every Day</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Boogie Blues: Women Sing & Play Boogie Woogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 22, 1944</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Dinah Washington</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Wise Woman Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Wise Woman Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">December 1945</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Mary Lou Williams</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Boogie Misterioso</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Boogie Blues: Women Sing & Play Boogie Woogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 24, 1946</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Nora King Lee</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Canonball</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sorry But I Can't Take You: Women's Railroad Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 9, 1942</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Memphis Minnie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Shout the Boogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Boogie Blues: Women Sing & Play Boogie Woogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">December 27, 1947</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hadda Brooks</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Bully Wooly Boogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Boogie Blues: Women Sing & Play Boogie Woogie</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1946</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ethel Waters</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Push Out</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Complete Bluebird Sessions</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rosetta Records</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 15, 1939</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sam Price (Jimmie Gordon)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sail with Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Singing with Sammy Vol. 1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingtime</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">May 18, 1938</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sam Price (Yack Taylor)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Whip It to a Jelly</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Singing with Sammy Vol. 1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingtime</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 23, 1941</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charles Brown</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">My Heart is Mended</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sunny Road</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Route 66</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">May 20, 1955</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Bull Moose Jackson</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Big Fat Mama's Are Back in Style</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Big Fat Mama's Are Back in Style</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Route 66</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 27, 1950</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ella Fitzgerald</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Louisville, Kentucky</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Forever Young: Ella Fitzgerald Vol. 2</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingtime</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 8, 1941</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Leo Watson (Artie Shaw)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Freewheeling</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Leo Watson: The Scat Man</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingtime</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 17, 1937</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Big Joe Turner (Joe Sullivan)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lowdown Dirty Shame</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Start to Jump Because It's Jubilee</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingtime</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 9, 1940</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">John Lee Hooker</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">High Priced Woman</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">House of the Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1951</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Muddy Waters</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Screamin' and Cryin'</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Real Folk Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1949</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lowell Fulson</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Swingin' Party</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lowell Fulson</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1962</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Miles Davis (Leonard Bernstein)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sweet Sue, Just You</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What Is Jazz?</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 10, 1956</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ray Charles</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">That's Enough</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What'd I Say</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Atlantic</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">May 28, 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hank Ballard</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sexy Ways</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What You Get When the Gettin Gets Good</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">April 24, 1954</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Eddie Cleanhead Vinson</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Cleanhead's Back in Town</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Back In Town</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Charly R&B</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 1957</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Toni Harper</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Candy Store Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Candy Store Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Official</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">December 26, 1947</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Dinah Washington</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Pillow Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Complete Dinah Washington Vol. 8</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Official</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">May 6, 1952</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Carmen McRae</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Moonray</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Invitation</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Official</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 1958</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Michel Legrand</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Wild Man Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Legrand Jazz</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 25, 1958</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Michel Legrand</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Django</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Legrand Jazz</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 25, 1958</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Django Reinhardt</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">I'll See You In My Dreams</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Solos/Duets/Trios, Volume 2</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Inner City</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1937</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Django Reinhardt</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Improvisation</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Solos/Duets/Trios, Volume 2</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Inner City</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1937</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Django Reinhardt</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Viper's Dream</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintet Of The Hot Club Of France</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Inner City</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">November 11, 1937</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Savannah Churchill</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">My Baby-kin</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Time Out For Tears</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1947</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hadda Brooks</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Close Your Eyes</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Romance in the Dark</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1949</td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hadda Brooks</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Hungary (Gypsy) excerpt</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Romance in the Dark</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Jukebox Lil</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1947</td></tr>
<tr><td class="gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Brass Ensembles of the Jazz and Classical Music Society</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Three Little Feelings</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Music For Brass</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">October 20, 1956</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-20498810827826718792017-11-18T21:21:00.002-08:002017-11-18T21:21:38.316-08:00Billie's Birthday<div class="m_16555423129934315gmail-clearfix m_16555423129934315gmail-show-info" style="background-color: white; border-bottom: 1px solid rgb(229, 228, 228); color: #222222; font-family: arial, sans-serif; font-size: 12.8px; padding-bottom: 20px; padding-top: 20px;">
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New Day Jazz</h2>
<div class="m_16555423129934315gmail-dj-name" style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 15px; margin-bottom: 11px; padding: 0px;">
Justin Desmangles</div>
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="color: magenta; font-size: medium;">Billie Holiday (April 7, 1915 – July 17, 1959) Know your history, know your culture. Your independence depends on your remembrance. Each one, teach one.</span></span></div>
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<tr><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Artist</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Song</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Album</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Label</th><th style="border-bottom: 1px solid rgb(229, 228, 228); font-size: 15px; font-weight: normal; padding: 20px 10px 10px; text-align: left;">Comments</th></tr>
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<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Them There Eyes</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Billie Holiday Story</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Decca</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 29, 1949</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Do Your Duty</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Billie Holiday Story</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Decca</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 8, 1949</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">A Pigfoot and a Bottle of Beer</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Billie Holiday Story</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Decca</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">September 8, 1949</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ntozake Shange (Laurie Carlos)</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">sorry</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">for colored girls who have considered suicide / when the rainbow is enuf</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Buddha</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1976</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ain't Nobody's Business If I Do</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Billie Holiday Story</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Decca</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 17, 1949</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ntozake Shange</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">no more love poems #1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">for colored girls who have considered suicide / when the rainbow is enuf</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Buddha</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1976</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Comes Love</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Body and Soul</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 4, 1957</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Gee, Baby Ain't I Good to You</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Body and Soul</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 9, 1957</td></tr>
<tr><td class="m_16555423129934315gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">I Wished on the Moon</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 2, 1935</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">What a Little Moonlight Can Do</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 2, 1935</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Miss Brown to You</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 2, 1935</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">It's Like Reaching for the Moon</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol. 2</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 30, 1936</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">These Foolish Things</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol. 2</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 30, 1936</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lester Young</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">These Foolish Things</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Aladdin Sessions</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blue Note Re-issue Series</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">October 1945</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sonia Sanchez</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">liberation / poem</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">A Sun Lady For All Seasons Reads Her Poetry</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Folkways</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1971</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sonia Sanchez</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">summer words of a sistuh addict</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">A Sun Lady For All Seasons Reads Her Poetry</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Folkways</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1971</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Mal Waldron</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blues For Lady Day</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blues For Lady Day</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Arista</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 5, 1972</td></tr>
<tr><td class="m_16555423129934315gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Margaret Walker</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Kissie Lee</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Anthology of Negro Poets</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Folkways</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1954</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Be Fair With Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Aladdin</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1951</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blue Turning Grey Over You</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Aladdin</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1951</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Rocky Mountain Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Aladdin</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1951</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Detour Ahead</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Aladdin</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1951</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lover Man</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Billie Holiday Story</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Decca</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">October 4, 1944</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Thelonious Monk</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lover Man</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The London Sessions Vol. 1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Black Lion</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">November 17. 1971</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">This Years Kisses</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.3</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 25, 1937</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Why Was I Born?</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.3</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 25, 1937</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">I Must Have That Man</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.3</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 25, 1937</td></tr>
<tr><td class="m_16555423129934315gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Do Nothing till You Hear from Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">All or Nothing at All</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 14, 1956</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Cheek to Cheek</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">All or Nothing at All</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 14, 1956</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ill Wind</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">All or Nothing at All</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 14, 1956</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">God Bless the Child</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lady Sings the Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 1956</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Sonny Rollins</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">God Bless the Child</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Bridge</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">RCA</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 30, 1962</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Eric Dolphy</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">God Bless the Child</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Status</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Prestige</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">July 16, 1961</td></tr>
<tr><td class="m_16555423129934315gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Ronald Stone</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lady Day Spring Toned</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">New Jazz Poets</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Broadside</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">c. 1967</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Archie Shepp</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lady Sings the Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Live in San Francisco</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Impulse!</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">February 19, 1966</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Herbie Nichols</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Lady Sings the Blues</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Third World</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blue Note Re-issue Series</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">August 1, 1955</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Easy Living</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.4</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 1, 1937</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Teddy Wilson and His Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">I'll Never Be the Same</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.4</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 1, 1937</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday and Her Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Me, Myself and I</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.4</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 15, 1937</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday and Her Orchestra</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">A Sailboat in the Moonlight</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The Quintessential Billie Holiday, Vol.4</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Columbia</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">June 15, 1937</td></tr>
<tr><td class="m_16555423129934315gmail-airbreak" colspan="5" style="font-family: arial, sans-serif; font-size: 14px; margin: 0px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="m_16555423129934315gmail-odd-row" style="background-color: #e4e4e4;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Billie Holiday</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">They Can't Take That Away From Me</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Body and Soul</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Verve</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">January 9, 1957</td></tr>
<tr class="m_16555423129934315even-row" style="background-color: #f1f1f1;"><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Thelonious Monk</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Blue Sphere</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">The London Sessions Vol. 1</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">Black Lion</td><td style="font-family: arial, sans-serif; margin: 0px; padding: 10px;">November 17. 1971</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-47837539666572007422017-09-01T11:12:00.002-07:002017-09-02T12:55:46.611-07:00photo by Alfredo Véa, Oakland, CA. 08.30.2017<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7DQiObgbKhyDHUe25kcmZlbZMlR630Ir47WocUb4ah4mKZzcE9Hieb2drb7AailKN4KCE9sDLq1QrR8tMm0Nbpy3NU9j7s0Y9Ys4PtL6nSZan8XXsGRd-XcG-lPlcYlQoofMALraYTS3a/s1600/IMG_1027+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1593" data-original-width="1195" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7DQiObgbKhyDHUe25kcmZlbZMlR630Ir47WocUb4ah4mKZzcE9Hieb2drb7AailKN4KCE9sDLq1QrR8tMm0Nbpy3NU9j7s0Y9Ys4PtL6nSZan8XXsGRd-XcG-lPlcYlQoofMALraYTS3a/s320/IMG_1027+%25281%2529.jpg" width="240" /></a></div>
<br />Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-78138139329619140882017-04-11T13:35:00.002-07:002017-04-11T15:39:52.564-07:00Janice Lowe in Conversation with Justin Desmangles, Sunday 11/06/2016<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmJjE754z-6r_qamT38lZNaENrD8-3eOase8Ty765DDZzVrDP9GhuWK7rAAa5YAbPpOFkYA6tkz76r7MmY_XMmWINhSQIyYlEupnKA5Lrjgt0haGJya32arNoMjHQnaTJcq6f7SENdDWd/s1600/lowe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmJjE754z-6r_qamT38lZNaENrD8-3eOase8Ty765DDZzVrDP9GhuWK7rAAa5YAbPpOFkYA6tkz76r7MmY_XMmWINhSQIyYlEupnKA5Lrjgt0haGJya32arNoMjHQnaTJcq6f7SENdDWd/s320/lowe.jpg" width="320" /></a></div>
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<b><span style="font-size: large;"><a href="http://kdvs.ucdavis.edu/archives/2016-11-06_4127_320kbps.mp3">http://kdvs.ucdavis.edu/archives/2016-11-06_4127_320kbps.mp3</a></span></b></div>
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<b><span style="font-size: medium;">Joining me in conversation this afternoon in the 5 o'clock hour, poet, composer, Janice Lowe. A co-founder of the Dark Room Collective, Ms. Lowe's most recent collection of poetry is Leaving CLE: poems of nomadic dispersal (Miami University Press, 2016).</span></b></div>
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<b><span style="font-size: medium;">She is also the author of the chapbook SWAM (Belladonna Series). Her poems have been published in Callaloo, American Poetry Review, In the Tradition, and The Hat; they have also appeared on a digital album with Drew Gardner’s Poetics Orchestra. Her essays have appeared in Sing the Sun Up and The Cleveland Neighborhood Guidebook.</span></b><br />
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<b><span style="font-size: medium;">“In Leaving CLE, Janice Lowe’s debut collection, she imagines poems as scores for socially-charged lyric and performative possibility. These poems explore the psychic and material spaces and traces of Cleveland and other cities through forms that leap off the page. Lowe transforms life’s arcs into song: ‘Sing back to me bright as Sunday’—and she does.”</span></b><b><span style="font-size: medium;">— John Keene</span></b><br />
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<b><span style="font-size: medium;">Conversation begins at 02:02:40, the preceding music on play list below. </span></b></div>
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<b>Sunday 11/06/2016 @ 3:00PM - 6:00PM</b></div>
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<b><span style="color: red;">Nina Simone<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>My Sweet Lord / Today is a Killer</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Emergency Ward<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>RCA<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1972</span></b></div>
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<b><span style="color: red;">Jimi Hendrix<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Who Knows</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Band of Gypsys<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Capitol<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>January 1, 1970</span></b></div>
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AIRBREAK</div>
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<span style="color: #6aa84f;"><b>Art Ensemble of Chicago<i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Dreaming of the Master</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Nice Guys<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>ECM<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1979</b></span></div>
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<span style="color: #6aa84f;"><b>Ntozake Shange (Laurie Carlos)<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>sorry</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>for colored girls who have considered suicide / when the rainbow is enuf<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Buddha<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1976</b></span></div>
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<span style="color: #6aa84f;"><b>Esther Phillips<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>I'm Gettin' Long Alright</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Confessin' the Blues<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Atlantic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1976</b></span></div>
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<span style="color: #6aa84f;"><b>Esther Phillips<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>I Wonder</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Confessin' the Blues<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Atlantic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1976</b></span></div>
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<span style="color: #6aa84f;"><b>Jayne Cortez<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>You Know<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span></i>Unsubmissive Blues<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Bola Press<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1980</b></span></div>
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AIRBREAK</div>
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<b>Funkadelic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Music for My Mother</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Funkadelic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Westbound<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1970</b></div>
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<b>Richard Pryor<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Bicentennial Nigger</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Bicentennial Nigger<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Warner Brothers<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1976</b></div>
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<b>Jimi Hendrix<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>The Star-Spangled Banner</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Woodstock<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Cotillion<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>August 1969</b></div>
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<b>Sun Ra<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>The Truth About Planet Earth</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>The Space Age is Here to Stay<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Modern Harmonic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1978</b></div>
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<b>Sun Ra<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Nuclear War</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>The Space Age is Here to Stay<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Modern Harmonic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1983</b></div>
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<b>Sly and the Family Stone<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>If You Want Me to Stay<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span></i>Fresh<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Epic<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1973</b></div>
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AIRBREAK</div>
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<b><span style="color: #6aa84f;">Gil-Scott Heron<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Lady Day and John Coltrane</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>The Revolution Will Not Be Televised<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Flying Dutchman<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1974</span></b></div>
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<b><span style="color: #6aa84f;">Ron Carter<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Uptown Conversation</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Uptown Conversation<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Embryo<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>October 1969</span></b></div>
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<b><span style="color: #6aa84f;">Ron Carter<i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Ten Strings</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Uptown Conversation<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Embryo<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>October 1969</span></b></div>
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<b><span style="color: #6aa84f;">Ron Carter<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Half a Row</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Uptown Conversation<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Embryo<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>October 1969</span></b></div>
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AIRBREAK</div>
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<b>Herbie Hancock<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Jack Rabbit</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Inventions and Dimensions<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Blue Note<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>August 30, 1963</b></div>
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<b><span style="color: red;">Janice Lowe in Conversation with Justin Desmangles<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Janice Lowe in Conversation with Justin Desmangles<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Janice Lowe in Conversation with Justin Desmangles<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Janice Lowe in Conversation with Justin Desmangles<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Janice Lowe in Conversation with Justin Desmangles</span></b></div>
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<b>Abbey Lincoln<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>My Way</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Live In Misty<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Kiva (Japan)<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1973</b></div>
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<b>Abbey Lincoln<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Japanese Dream</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Live In Misty<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Kiva (Japan)<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1973</b></div>
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<b>Abbey Lincoln<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span><i>Rainbow</i><span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Live In Misty<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>Kiva (Japan)<span class="gmail-Apple-tab-span" style="white-space: pre;"> </span>c. 1973</b></div>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-31025662149411786062015-05-25T16:43:00.003-07:002015-05-25T16:43:38.927-07:00 Astra Taylor Discusses The People's Platform: Taking Back Power and Culture in the Digital Age.<br />
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;">Joining me this afternoon in the 5 o'clock hour, writer, director, Astra Taylor, discussing her most recent book, </span></span><span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;"><a href="http://us.macmillan.com/thepeoplesplatform/astrataylor" style="color: #ab0000; outline: none; text-decoration: none;" target="_blank"><em>The People's Platform: Taking Back Power and Culture in the Digital Age</em>.</a> </span></span><span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;">Ms. Taylor will be appearing at the </span></span><a href="http://www.oaklandbookfestival.org/festival/" style="color: #ab0000; outline: none; text-decoration: none;" target="_blank"><span style="font-weight: 700;"><span style="font-size: medium;">Oakland Book Festival</span></span></a><br /><span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;"> the following Sunday, May 31, in a panel discussion, Radical Lives, Radical Cities: Oakland and Beyond, with Elaine Brown and Frank B. Wilderson III. </span></span></div>
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<span style="font-size: large;">MISSED THE SHOW?</span></h3>
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<a href="http://kdvs.org/m3u.php?show_date=2015-05-24&show_id=3470&show_name=New+Day+Jazz&kbps=320" style="color: #ab0000; outline: none; text-decoration: none;"><span style="font-size: large;">MP3 Stream 320kbps, broadband</span></a></div>
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Sunday 5/24/2015 @ 3:00PM - 6:00PM</div>
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<a href="http://kdvs.org/past-playlists/3470" style="color: white; display: inline-block; outline: none; padding: 7px; text-decoration: none;">< < PAST PLAYLISTS</a><a class="fright" href="http://kdvs.org/upcoming-playlists/3470" style="color: white; display: inline-block; float: right; outline: none; padding: 7px; text-decoration: none;">UPCOMING PLAYLISTS > ></a></div>
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<table class="show-tracks-table" style="border-spacing: 0px 3px; width: 844px;"><thead>
<tr><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Artist</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Song</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Album</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Label</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Comments</th></tr>
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<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Kenny Dorham</td><td style="padding: 10px;">Afrodisia</td><td style="padding: 10px;">Afro-Cuban</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Horace Silver</td><td style="padding: 10px;">Pretty Eyes</td><td style="padding: 10px;">Cape Verdean Blues</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Art Blakey & The Jazz Messengers</td><td style="padding: 10px;">Pensativa</td><td style="padding: 10px;">Free for All</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Phineas Newborn, Jr.</td><td style="padding: 10px;">Manteca</td><td style="padding: 10px;">A World of Piano</td><td style="padding: 10px;">Contemporary</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Modern Jazz Quartet</td><td style="padding: 10px;">Django</td><td style="padding: 10px;">Django</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">John Lewis featuring Eric Dolphy</td><td style="padding: 10px;">Afternoon in Paris</td><td style="padding: 10px;">The Wonderful World of Jazz</td><td style="padding: 10px;">Atlantic</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Dakota Staton</td><td style="padding: 10px;">Summertime</td><td style="padding: 10px;">The Late, Late Show</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Dakota Staton</td><td style="padding: 10px;">Misty</td><td style="padding: 10px;">The Late, Late Show</td><td style="padding: 10px;">Capitol</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Teddy Edwards & Howard McGhee</td><td style="padding: 10px;">Misty</td><td style="padding: 10px;">Together Again!</td><td style="padding: 10px;">Contemporary</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Jimmy Heath</td><td style="padding: 10px;">Gemini</td><td style="padding: 10px;">Triple Threat</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Kenny Dorham</td><td style="padding: 10px;">Basheer's Dream</td><td style="padding: 10px;">Afro-Cuban</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Santana</td><td style="padding: 10px;">El Nicoya</td><td style="padding: 10px;">Abraxas</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Santana</td><td style="padding: 10px;">Se a Cabo</td><td style="padding: 10px;">Abraxas</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Horace Silver</td><td style="padding: 10px;">Nutville</td><td style="padding: 10px;">Cape Verdean Blues</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Eddie Jefferson</td><td style="padding: 10px;">Sister Sadie</td><td style="padding: 10px;">The Jazz Singer</td><td style="padding: 10px;">Inner City</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Eddie Jefferson</td><td style="padding: 10px;">So What</td><td style="padding: 10px;">The Jazz Singer</td><td style="padding: 10px;">Inner City</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Cecil Taylor</td><td style="padding: 10px;">Conquistador</td><td style="padding: 10px;">Conquistador!</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra & The Myth-Science Arkestra</td><td style="padding: 10px;">Love in Outer Space (excerpt)</td><td style="padding: 10px;">Planets of Life or Death</td><td style="padding: 10px;">Art Yard / Strut</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Interview with Astra Taylor By Justin Desmangles</td><td style="padding: 10px;">Interview with Astra Taylor By Justin Desmangles</td><td style="padding: 10px;">Interview with Astra Taylor By Justin Desmangles</td><td style="padding: 10px;">Interview with Astra Taylor By Justin Desmangles</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sun Ra & The Myth-Science Arkestra</td><td style="padding: 10px;">Love in Outer Space (excerpt)</td><td style="padding: 10px;">Planets of Life or Death</td><td style="padding: 10px;">Art Yard / Strut</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Herbie Hancock</td><td style="padding: 10px;">Round Midnight</td><td style="padding: 10px;">The Other Side of Round Midnight</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">John Lewis</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Two Degrees East, Three Degrees West</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">The Wonderful World of Jazz</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Atlantic</td></tr>
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Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-40393213049516363662015-05-18T09:20:00.000-07:002015-05-18T09:20:59.897-07:00Nathaniel Mackey Discusses Blue Fasa on New Day Jazz with Justin Desmangles<br />
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<span style="color: #222222; font-weight: 700;"><span style="font-size: large;"><a href="http://www.poetryfoundation.org/bio/nathaniel-mackey" style="color: #ab0000; outline: none; text-decoration: none;" target="_blank">Nathaniel Mackey</a> joins me this week in the 5 o'clock hour, discussing his most recent collection of poetry, <em>Blue Fasa</em>, out this month from New Directions.</span></span></div>
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<span style="font-size: small;">MISSED THE SHOW?</span></h3>
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<a href="http://kdvs.org/m3u.php?show_date=2015-05-17&show_id=3470&show_name=New+Day+Jazz&kbps=320" style="color: #ab0000; outline: none; text-decoration: none;"><span style="font-size: x-large;">MP3 Stream 320kbps, broadband</span></a></div>
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<a href="http://kdvs.org/past-playlists/3470" style="color: white; display: inline-block; outline: none; padding: 7px; text-decoration: none;">< < PAST PLAYLISTS</a><a class="fright" href="http://kdvs.org/upcoming-playlists/3470" style="color: white; display: inline-block; float: right; outline: none; padding: 7px; text-decoration: none;">UPCOMING PLAYLISTS > ></a></div>
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<table class="show-tracks-table" style="background-color: white; border-spacing: 0px 3px; color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; width: 844px;"><thead>
<tr><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Artist</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Song</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Album</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;">Label</th><th style="border-bottom-color: rgb(229, 228, 228); border-bottom-style: solid; border-bottom-width: 1px; font-size: 15px; font-weight: normal; padding: 20px 10px 10px;"><br /></th></tr>
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<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Abbey Lincoln</td><td style="padding: 10px;">How High the Moon (la lune est grise . . . mon coeur aussi)</td><td style="padding: 10px;">The World is Falling Down</td><td style="padding: 10px;">Verve (Germany)</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Tommy Flanagan</td><td style="padding: 10px;">Ugly Beauty</td><td style="padding: 10px;">Thelonica</td><td style="padding: 10px;">Enja</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Cecil McBee</td><td style="padding: 10px;">Undercurrent</td><td style="padding: 10px;">Compassion</td><td style="padding: 10px;">Enja</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">John Coltrane</td><td style="padding: 10px;">Syeeda's Song Flute</td><td style="padding: 10px;">Giant Steps</td><td style="padding: 10px;">Atlantic</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">John Coltrane</td><td style="padding: 10px;">Moment's Notice</td><td style="padding: 10px;">Blue Train</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Jackie McLean</td><td style="padding: 10px;">Appointment in Ghana</td><td style="padding: 10px;">Jackie's Bag</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Betty Carter</td><td style="padding: 10px;">30 Years</td><td style="padding: 10px;">Droppin' Things</td><td style="padding: 10px;">Bet-Car (Verve)</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Betty Carter</td><td style="padding: 10px;">Star Dust / Memories of You</td><td style="padding: 10px;">Droppin' Things</td><td style="padding: 10px;">Bet-Car (Verve)</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Stevie Wonder</td><td style="padding: 10px;">You Are the Sunshine of My Life</td><td style="padding: 10px;">Talking Book</td><td style="padding: 10px;">Motown</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Stevie Wonder</td><td style="padding: 10px;">You Got It Bad Girl</td><td style="padding: 10px;">Talking Book</td><td style="padding: 10px;">Motown</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sun Ra & His Myth-Science Arkestra</td><td style="padding: 10px;">Lights on a Satellite</td><td style="padding: 10px;">Fate in a Pleasant Mood</td><td style="padding: 10px;">Saturn Records</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Freddie Hubbard</td><td style="padding: 10px;">The Intrepid Fox</td><td style="padding: 10px;">Red Clay</td><td style="padding: 10px;">CTI</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Dave Holland</td><td style="padding: 10px;">Interception</td><td style="padding: 10px;">Conference of the Birds</td><td style="padding: 10px;">ECM</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Caetano Veloso</td><td style="padding: 10px;">Triste Bahia</td><td style="padding: 10px;">Transa</td><td style="padding: 10px;">Philips (Brazil)</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Jackie Mclean</td><td style="padding: 10px;">Isle of Java (excerpt)</td><td style="padding: 10px;">Jackie's Bag</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Interview with Nathaniel Mackey by Justin Desmangles</td><td style="padding: 10px;">Interview with Nathaniel Mackey by Justin Desmangles</td><td style="padding: 10px;">Interview with Nathaniel Mackey by Justin Desmangles</td><td style="padding: 10px;">Interview with Nathaniel Mackey by Justin Desmangles</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Joe Henderson</td><td style="padding: 10px;">Blue Bossa</td><td style="padding: 10px;">Page One</td><td style="padding: 10px;">Blue Note</td></tr>
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Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-51164424436136631772015-04-08T10:56:00.002-07:002015-04-08T10:56:53.633-07:00F.B. Eyes: How J. Edgar Hoover's Ghostreaders Framed African American Literature<br />
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<span style="font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;">Joining me this afternoon, in the 5 o'clock hour, William J. Maxwell, author of <em>F.B. Eyes: <span style="line-height: 18.2000007629395px;">How J. Edgar Hoover's </span><span style="line-height: 18.2000007629395px;">Ghostreaders</span></em><span style="line-height: 18.2000007629395px;"><em> Framed African American Literature</em>. Tune in for what promises to be a vital, provocative discussion of this immensely important new book. </span></span></span></div>
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; font-weight: 700;"><span style="font-size: medium;">"According to the Bureau's own declassified word, Hoover and many lesser FBI ghostreaders pored over scores of Afro-modernist poems, plays, stories, novels, essays, and reviews - some even before publication with the aid of bookish informers at magazines and publishing firms. Alarmingly, the files divulge that the FBI readied preventive arrests of the majority of the black authors shadowed in its archive. Twenty-seven of fifty-one were caught in the invisible dragnet of the Bureau's 'Custodial Detention' index and its successors, hot lists of precaptives 'whose presence at liberty in this country in time of war or national emergency,' Hoover resolved, 'would be dangerous to the public peace and the safety of the United States Government' (Hoover, Directive 409). By the time the Black Panthers and Black Power, Hoover's literary-critical G-men style of state minstrelsy bent to counterintelligence purposes of simulation, infiltration, and plausibly deniable manipulation. The early and creative intensity of the Bureau's watch on black literature has been unknowingly minimized, the files collectively suggest, both in literary studies and in recent historical exposes harnessing FOIA requests to uncover either the Bureau's 'war on words' or its 'secret file on black America,' parallel tracks that should acknowledge their parallel underground crossings. The backdating and thick description of FBI surveillance of legal dissent, a muckracking preoccupation since Hoover's passing, is thus due for extension into the field of African American literary history. And the Bureau's peculiar contributions to this history are due at least a moment of national self-reflection. Even now, when it takes massive NSA 'data mining' to excite resistance to the surveillance of daily life, it is not just an academic matter that U.S. state intelligence essentially arranged to jail the African American literary tradition at mid-century. Well before the labeling of the prison-industrial complex, the republic of black letters joined black urban communities as an exceptional zone of police supervision." ~ William J. Maxwell, <em>F.B. Eyes: How J. Edgar Hoover's Ghostreaders Framed African American Literature</em></span></span><em> </em></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">Few institutions seem more opposed than African American literature and J. Edgar Hoover’s white-bread Federal Bureau of Investigation. But behind the scenes the FBI’s hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI “ghostreaders” monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">Taking his title from Richard Wright’s poem “The FB Eye Blues,” Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">William J. Maxwell is associate professor of English and African American studies at Washington University in St. Louis. He is the author of New Negro, Old Left: African-American Writing and Communism between the Wars and the editor of Claude McKay’s Complete Poems.</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">"[An] immensely important story about the black authors that we thought we knew, from the 'notorious negro revolutionary' Claude McKay to the Black Arts poet Sonia Sanchez. . . . [A] welcome model for seeing state interference in culture as a two-way street."--Los Angeles Review of Books</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">"[A] bold, provocative study. . . . Maxwell's passion for the subject spills onto every page of his detailed, persuasive documentation that 'the FBI [was] an institution tightly knit (not consensually) to African-American literature.'"--Publishers Weekly (a Publishers Weekly pick of the week)</span></span></div>
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<span style="font-weight: 700;"><span style="font-size: medium;">"[S]tartling. . . . Much of what Maxwell has discovered . . . paints a sobering picture of state-sanctioned repression and harassment over decades. It's a tribute to the strength of the panoply of FBI-targeted writers, intellectuals and leaders that they, for the most part, toughed it out and remain with us today as a fundamental part of the fabric of American history and letters."--Repps Hudson, St. Louis Post-Dispatch</span></span></div>
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<span style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; font-weight: 700; line-height: 17.9400005340576px; white-space: pre-wrap;"><span style="font-size: medium;">"[T]his well-researched volume illustrates the paranoia and self-censorship that altered the course of African American literature for decades as a result of the bureau's surveillance. This scholarly work will appeal to academic readers with a particular interest in African American literature or the FBI."--Library Journal</span></span> </div>
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<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">John Coltrane</td><td style="padding: 10px;">Lush Life</td><td style="padding: 10px;">Lush Life</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Thelonious Monk</td><td style="padding: 10px;">Epistrophy</td><td style="padding: 10px;">Monk's Music</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Cheek to Cheek</td><td style="padding: 10px;">All or Nothing at All</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Love Me or Leave Me</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Too Marvelous for Words</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Nina Simone</td><td style="padding: 10px;">Lilac Wine</td><td style="padding: 10px;">Wild is the Wind</td><td style="padding: 10px;">Philips</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Charles Mingus</td><td style="padding: 10px;">West Coast Ghost</td><td style="padding: 10px;">East Coasting</td><td style="padding: 10px;">Bethlehem</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Bill Evans Trio</td><td style="padding: 10px;">When I Fall in Love</td><td style="padding: 10px;">Portrait in Jazz</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Michel Legrand featuring Miles Davis</td><td style="padding: 10px;">Wild Man Blues</td><td style="padding: 10px;">Legrand Jazz</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Michel Legrand featuring Miles Davis</td><td style="padding: 10px;">Django</td><td style="padding: 10px;">Legrand Jazz</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
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<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sonny Rollins</td><td style="padding: 10px;">Come, Gone</td><td style="padding: 10px;">Way Out West</td><td style="padding: 10px;">Contemporary</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Joe Henderson</td><td style="padding: 10px;">Blue Bossa</td><td style="padding: 10px;">Page One</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Hank Mobley</td><td style="padding: 10px;">Message from the Border</td><td style="padding: 10px;">Mobley's Second Message</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Thelonious Monk</td><td style="padding: 10px;">Liza (All the Clouds'll Roll Away)</td><td style="padding: 10px;">The Unique Thelonious Monk</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Roscoe Mitchell and the Sound Ensemble</td><td style="padding: 10px;">3 X 4 Eye</td><td style="padding: 10px;">3 X 4 Eye</td><td style="padding: 10px;">Black Saint</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Interview with William J. Maxwell by Justin Desmangles</td><td style="padding: 10px;">Interview with William J. Maxwell by Justin Desmangles</td><td style="padding: 10px;">Interview with William J. Maxwell by Justin Desmangles</td><td style="padding: 10px;">Interview with William J. Maxwell by Justin Desmangles</td><td style="padding: 10px;"></td></tr>
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Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-45666020894486828592015-04-06T09:21:00.002-07:002015-04-06T09:21:13.308-07:00Billie Holiday (April 7, 1915 – July 17, 1959) Know your history, know your culture. Your independence depends on your remembrance. Each one, teach one.<div class="separator" style="clear: both; text-align: center;">
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New Day Jazz</h2>
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Justin Desmangles</div>
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<span style="color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: x-small; font-weight: 700; line-height: 25.7600002288818px;"><span style="font-size: medium;">Billie Holiday (April 7, 1915 – July 17, 1959) Know your history, know your culture. Your independence depends on your remembrance. Each one, teach one.</span></span></div>
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<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Them There Eyes</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Now or Never</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Gimme a Pigfoot and a Bottle of Beer</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Do Your Duty</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Ntozake Shange (Laurie Carlos)</td><td style="padding: 10px;">Sorry</td><td style="padding: 10px;">For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf</td><td style="padding: 10px;">Buddha</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Ain't Nobodies Business If I Do</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Mal Waldron</td><td style="padding: 10px;">Blues for Lady Day</td><td style="padding: 10px;">Blues for Lady Day: A Tribute to Billie Holiday</td><td style="padding: 10px;">Arista</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Adrienne Rich</td><td style="padding: 10px;">Power</td><td style="padding: 10px;">A Sign / I Was Not Alone</td><td style="padding: 10px;">Out & Out Books</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Teddy Wilson & His Orchestra</td><td style="padding: 10px;">I Wished in the Moon</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 1</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Teddy Wilson & His Orchestra</td><td style="padding: 10px;">What A Little Moonlight Can Do</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 1</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Teddy Wilson & His Orchestra</td><td style="padding: 10px;">Miss Brown to You</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 1</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Margaret Walker</td><td style="padding: 10px;">Kissie Lee</td><td style="padding: 10px;">Anthology of Negro Poets</td><td style="padding: 10px;">Folkways</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">Billie's Blues</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 2</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Eric Dolphy</td><td style="padding: 10px;">God Bless the Child</td><td style="padding: 10px;">Status</td><td style="padding: 10px;">Prestige</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Langston Hughes (Ellen Holly)</td><td style="padding: 10px;">Mother to Son</td><td style="padding: 10px;">A Hand is on the Gate</td><td style="padding: 10px;">Verve-Folkways</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">God Bless the Child</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Sonny Rollins</td><td style="padding: 10px;">God Bless the Child</td><td style="padding: 10px;">The Bridge</td><td style="padding: 10px;">RCA</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Love is Here to Stay</td><td style="padding: 10px;">All or Nothing at All</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Teddy Wilson & His Orchestra</td><td style="padding: 10px;">This Year's Kisses</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 3</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">A Sailboat in the Moonlight</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 4</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">He's Funny That Way</td><td style="padding: 10px;">The Quintessential Billie Holiday Vol. 5</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Maya Angelou</td><td style="padding: 10px;">To a Man</td><td style="padding: 10px;">The Poetry of Maya Angelou</td><td style="padding: 10px;">Perception</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Maya Angelou</td><td style="padding: 10px;">Faces</td><td style="padding: 10px;">The Poetry of Maya Angelou</td><td style="padding: 10px;">Perception</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Lee Morgan</td><td style="padding: 10px;">The Lady</td><td style="padding: 10px;">The Rumproller</td><td style="padding: 10px;">Blue Note</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Herbie Nichols</td><td style="padding: 10px;">The Lady Sings the Blues</td><td style="padding: 10px;">The Third World</td><td style="padding: 10px;">Blue Note Re-issue Series</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Sterling Brown (Gloria Foster)</td><td style="padding: 10px;">An Old Woman Remembers</td><td style="padding: 10px;">A Hand is on the Gate</td><td style="padding: 10px;">Verve-Folkways</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Richard Wright (James Earl Jones)</td><td style="padding: 10px;">Between the World and Me</td><td style="padding: 10px;">A Hand is on the Gate</td><td style="padding: 10px;">Verve-Folkways</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Strange Fruit</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Mal Waldron</td><td style="padding: 10px;">Strange Fruit</td><td style="padding: 10px;">Blues for Lady Day: A Tribute to Billie Holiday</td><td style="padding: 10px;">Arista</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Ronald Stone</td><td style="padding: 10px;">Lady Day Spring-toned</td><td style="padding: 10px;">New Jazz Poets</td><td style="padding: 10px;">Broadside Records</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Archie Shepp</td><td style="padding: 10px;">The Lady Sings the Blues</td><td style="padding: 10px;">Live in San Francisco</td><td style="padding: 10px;">Impulse!</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Jayne Cortez & Richard Davis</td><td style="padding: 10px;">Essence of Rose Solitude</td><td style="padding: 10px;">Celebrations & Solitudes</td><td style="padding: 10px;">Strata-East</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">Solitude</td><td style="padding: 10px;">The Billie Holiday Story Vol. 3</td><td style="padding: 10px;">(Okeh) Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">I'm in a Low-down Groove</td><td style="padding: 10px;">The Billie Holiday Story Vol. 3</td><td style="padding: 10px;">(Okeh) Columbia</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">The Way You Look Tonight</td><td style="padding: 10px;">The Golden Years</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">That's All I Ask of You</td><td style="padding: 10px;">The Golden Years</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday & Her Orchestra</td><td style="padding: 10px;">Ghost of Yesterday</td><td style="padding: 10px;">The Golden Years</td><td style="padding: 10px;">Columbia</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">John Hicks</td><td style="padding: 10px;">Ghost of Yesterday</td><td style="padding: 10px;">Some Other Time</td><td style="padding: 10px;">Theresa</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">Crazy He Calls Me</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">That Old Devil Called Love</td><td style="padding: 10px;">The Billie Holiday Story</td><td style="padding: 10px;">Decca</td><td style="padding: 10px;"></td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="padding: 10px;">Johnny Griffin</td><td style="padding: 10px;">That Old Devil Called Love</td><td style="padding: 10px;">White Gardenia: A Tribute to Billie Holiday</td><td style="padding: 10px;">Riverside</td><td style="padding: 10px;"></td></tr>
<tr class="even-row" style="background-color: #f1f1f1;"><td style="padding: 10px;">Billie Holiday</td><td style="padding: 10px;">I Thought About You</td><td style="padding: 10px;">Lady Sings the Blues</td><td style="padding: 10px;">Verve</td><td style="padding: 10px;"></td></tr>
<tr><td class="airbreak" colspan="5" style="font-size: 14px; padding: 10px; text-align: center; text-transform: uppercase;">AIRBREAK</td></tr>
<tr class="odd-row" style="background-color: #e4e4e4;"><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Gil-Scott Heron</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Pieces of a Man</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Pieces of a Man</td><td style="color: #504b4b; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px; padding: 10px;">Flying Dutchman</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-68346850935059955622014-09-05T17:20:00.003-07:002014-09-05T17:20:40.314-07:00Ishmael Reed on "Bad Apples in Ferguson"
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Sunday 8/31/2014 @ 3:00PM - 6:00PM <strong style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: x-large;">Returning to New Day Jazz this Sunday in the 5 o'clock hour, poet, playwright, novelist, Ishmael Reed. </span></strong><br />
<span style="color: #222222; font-family: arial; font-size: x-small;"><span style="font-size: x-large;"><span style="font-size: small;">Photo of Mr. Reed by Lia Ching</span></span></span><strong style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: x-large;"> </span></strong><br />
<br />
<br />
<strong style="color: #222222; font-family: arial, sans-serif; font-size: 13px;"><span style="font-size: x-large;"><a href="https://www.google.com/url?rct=j&sa=t&url=http://www.counterpunch.org/2014/08/29/bad-apples-in-ferguson/%3F&ct=ga&cd=CAEYASoUMTIyNzQwNTc1NTc5NzU0MjkxMjkyGjk2YWNkODc0YTQxYTA5NGE6Y29tOmVuOlVT&usg=AFQjCNGF8KoUc7SpD_uAmb08XeXNdrIWDQ" target="_blank">Bad Apples in Ferguson</a> </span></strong><br />
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<strong><span style="font-size: medium;"><span style="color: #252525; font-family: Arial; line-height: 18px;">by </span><span style="color: #252525; font-family: Arial; line-height: 18px;">ISHMAEL REED, Aug. 29, 2914</span></span></strong></div>
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<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Sonny Clark</td>
<td>Be-Bop</td>
<td>Sonny Clark Trio</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>The Last Poets</td>
<td>On the Subway</td>
<td>The Last Poets</td>
<td>Douglas</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Phineas Newborn, Jr.</td>
<td>Dahoud</td>
<td>A World of Piano</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Phineas Newborn, Jr.</td>
<td>Cheryl</td>
<td>A World of Piano</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Teddy Edwards & Howard McGhee</td>
<td>Perhaps</td>
<td>Together Again!</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Teddy Edwards & Howard McGhee</td>
<td>Misty</td>
<td>Together Again!</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Thelonious Monk</td>
<td>Pannonica</td>
<td>Brilliant Corners</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Thelonious Monk</td>
<td>Liza</td>
<td>The Unique Thelonious Monk</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Gil Evans (Cecil Taylor)</td>
<td>Pots</td>
<td>Into the Hot</td>
<td>Impulse</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Eric Dolphy</td>
<td>Tenderly</td>
<td>Far Cry</td>
<td>New Jazz</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Gil Scott-Heron</td>
<td>Inner City Blues </td>
<td>Reflections</td>
<td>Arista</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Gil Scott-Heron</td>
<td>Is That Jazz?</td>
<td>Reflections</td>
<td>Arista</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Woody Shaw</td>
<td>Tapscott's Blues</td>
<td>The Moontrane</td>
<td>Muse</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Johnny Dyani </td>
<td>Heart with Minor's Face</td>
<td>Witchdoctor's Son</td>
<td>Steeplechase</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Johnny Hartman</td>
<td>I Just Dropped by to Say Hello</td>
<td>I Just Dropped by to Say Hello</td>
<td>Impulse</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Johnny Hartman</td>
<td>Stairway to the Stars</td>
<td>I Just Dropped by to Say Hello</td>
<td>Impulse</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Milt Jackson & Wes Montgomery</td>
<td>Stairway to the Stars</td>
<td>Bags Meets Wes</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Abbey Lincoln</td>
<td>Softly, As in a Morning Sunrise</td>
<td>Abbey Is Blue</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Sonny Clark</td>
<td>Softly, As in a Morning Sunrise</td>
<td>Sonny Clark Trio</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Ron Carter</td>
<td>Softly, As in a Morning Sunrise</td>
<td>Where?</td>
<td>New Jazz</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Dizzy Gillespie</td>
<td>The Manteca Suite (excerpt)</td>
<td>The Manteca Suite</td>
<td>Verve</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Interview with Ishmael Reed By Justin Desmangles</td>
<td>Interview with Ishmael Reed By Justin Desmangles</td>
<td>Interview with Ishmael Reed By Justin Desmangles</td>
<td>Interview with Ishmael Reed By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Dizzy Gillespie</td>
<td>The Manteca Suite (excerpt)</td>
<td>The Manteca Suite</td>
<td>Verve</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-24470218903598845902014-09-05T17:12:00.001-07:002014-09-05T17:12:34.798-07:00Armond White Returns
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Sunday 8/17/2014 @ 3:00PM - 6:00PM <strong style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: x-large;">Returning
to New Day Jazz this afternoon in the 5 o'clock hour, film and culture
critic, Armond White. Real jazz, real talk, where every month is Black
History Month. </span></strong><br />
<h3>
Genre</h3>
Classical, Jazz, Blues, Experimental, Poetry & Literature<br />
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</thead>
<tbody>
<tr class="odd-row">
<td>William Parker Orchestra</td>
<td>Caravan</td>
<td>Essence of Ellington: Live in Milano</td>
<td>Centering Records</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Roscoe Mitchell</td>
<td>Chant</td>
<td>Roscoe Mitchell: Duets with Tyshawn Sorey and Special Guest Hugh Ragin</td>
<td>Wide Hive</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Amir Mohammed</td>
<td>Gurdum Gurdum</td>
<td>Music in the World of Islam: The Human Voice</td>
<td>Topic</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Aqi Pishak</td>
<td>(Love Song)</td>
<td>Music in the World of Islam: The Human Voice</td>
<td>Topic</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Farmers By Nature</td>
<td>Love and Ghosts</td>
<td>Love and Ghosts</td>
<td>AUM-Fidelity</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Darius Jones & Matthew Shipp</td>
<td>Life Equation</td>
<td>Cosmic Lieder: The Darkseid Recital</td>
<td>AUM-Fidelity</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Darius Jones & Matthew Shipp</td>
<td>Sepulchre of Mandrakk</td>
<td>Cosmic Lieder: The Darkseid Recital</td>
<td>AUM-Fidelity</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Darius Jones & Matthew Shipp</td>
<td>Divine Engine</td>
<td>Cosmic Lieder: The Darkseid Recital</td>
<td>AUM-Fidelity</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Oscar Peterson - Ben Webster Quartet</td>
<td>Perdido</td>
<td>During This Time</td>
<td>Art of Groove</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Oscar Peterson - Ben Webster Quartet</td>
<td>Cotton Tail</td>
<td>During This Time</td>
<td>Art of Groove</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Steve Lacy</td>
<td>Johnny Come Lately</td>
<td>Avignon and After Vol. 2</td>
<td>Emanem</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Steve Lacy</td>
<td>Lush Life</td>
<td>Avignon and After Vol. 2</td>
<td>Emanem</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Steve Lacy</td>
<td>U.M.M.G.</td>
<td>Avignon and After Vol. 2</td>
<td>Emanem</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Charles Lloyd & Jason Moran</td>
<td>Star Crossed Lovers (Pretty Girl)</td>
<td>Hagar's Song</td>
<td>ECM</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Declared Enemy</td>
<td>Flowers</td>
<td>Salute to 100001 Stars: A Tribute to Jean Genet</td>
<td>RogueArt</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Declared Enemy</td>
<td>Alberto's Workshop</td>
<td>Salute to 100001 Stars: A Tribute to Jean Genet</td>
<td>RogueArt</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Eddie Harris</td>
<td>Listen Here (excerpt)</td>
<td>The Electrifying Eddie Harris</td>
<td>Atlantic</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Interview with Armond White By Justin Desmangles</td>
<td>Interview with Armond White By Justin Desmangles</td>
<td>Interview with Armond White By Justin Desmangles</td>
<td>Interview with Armond White By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Morrissey</td>
<td>World Peace is None of Your Business</td>
<td>World Peace is None of Your Business</td>
<td>Harvest</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-19364252020334410002014-09-05T17:05:00.003-07:002014-09-05T17:05:57.602-07:00Shailja Patel on Gaza
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Sunday 8/10/2014 @ 3:00PM - 6:00PM <strong style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: x-large;">Returning
to New Day Jazz this afternoon in the 5 o'clock hour, poet, playwright,
political activist, Shailja Patel, for further discussion on Gaza.</span></strong><br />
<br /><h3>
Missed the Show?</h3>
<span style="font-size: large;"><b><a href="http://kdvs.org/m3u.php?show_date=2014-08-10&show_id=3087&show_name=New+Day+Jazz&kbps=320">MP3 Stream 320kbps, broadband</a></b></span><br />
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<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Jayne Cortez</td>
<td>Festivals & Funerals</td>
<td>Celebrations & Solitudes</td>
<td>Strata-East</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Jayne Cortez</td>
<td>Solo</td>
<td>Celebrations & Solitudes</td>
<td>Strata-East</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Henry Threadgill</td>
<td>The Devil is on the Loose and Dancing with a Monkey</td>
<td>Rag, Bush and All</td>
<td>Novus</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Amiri Baraka</td>
<td>Strunza Med</td>
<td>New Music, New Poetry</td>
<td>India Navigation</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Charles Mingus</td>
<td>Los Mariachis (The Street Musicians)</td>
<td>Tijuana Moods</td>
<td>RCA</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Kenneth Patchen</td>
<td>The Lions of Fire</td>
<td>Selected Poems of Kenneth Patchen</td>
<td>Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Gil Evans </td>
<td>Sunken Treasure</td>
<td>Out of the Cool</td>
<td>Impulse</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Margaret Walker</td>
<td>For My People</td>
<td>Anthology of Negro Poets</td>
<td>Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Joe Henderson </td>
<td>A Shade of Jade</td>
<td>Mode for Joe</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Bobby Timmons</td>
<td>A Little Busy</td>
<td>Easy Does It</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Abbey Lincoln</td>
<td>Afro-Blue</td>
<td>Abbey Is Blue</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Abbey Lincoln</td>
<td>Long As You're Living</td>
<td>Abbey Is Blue</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sam Rivers</td>
<td>Involution</td>
<td>Dimensions & Extensions</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Andrew Hill</td>
<td>Poinsettia</td>
<td>One for One</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Hampton Hawes</td>
<td>Jordu</td>
<td>All Night Session Vol. 1</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Hampton Hawes</td>
<td>Blue 'N Boogie</td>
<td>All Night Session Vol. 2</td>
<td>Contemporary</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Hank Mobley</td>
<td>Snappin' Out</td>
<td>The Flip</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Billie Holiday</td>
<td>Lady Sings the Blues</td>
<td>Lady Sings the Blues</td>
<td>Verve</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Billie Holiday</td>
<td>God Bless the Child</td>
<td>Lady Sings the Blues</td>
<td>Verve</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Sonny Rollins</td>
<td>God Bless the Child</td>
<td>The Bridge</td>
<td>RCA</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Johnny Dyani</td>
<td>Year of the Child (excerpt)</td>
<td>Angolan Cry</td>
<td>Steeplechase</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Interview with Shailja Patel By Justin Desmangles</td>
<td>Interview with Shailja Patel By Justin Desmangles</td>
<td>Interview with Shailja Patel By Justin Desmangles</td>
<td>Interview with Shailja Patel By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Johnny Dyani</td>
<td>Year of the Child (excerpt)</td>
<td>Angolan Cry</td>
<td>Steeplechase</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Caetano Veloso</td>
<td>Neolithic Man</td>
<td>Transa</td>
<td>Phillips</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Caetano Veloso</td>
<td>Neolithic Man</td>
<td>Transa</td>
<td>Phillips</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Caetano Veloso</td>
<td>Neolithic Man</td>
<td>Transa</td>
<td>Phillips</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-17568953130268349762014-09-05T17:00:00.001-07:002014-09-05T17:01:11.716-07:00Quincy Troupe on James Baldwin<div class="container">
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<div class="grid_6">
Sunday 8/03/2014 @ 3:00PM - 6:00PM <br />
<b style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: x-large;"><span style="font-size: x-large;"><b>Returning
to New Day Jazz this afternoon in the 5 o'clock hour, writer and poet,
Quincy Troupe, for further discussion on the life and legacy of </b></span>James Baldwin (August 2, 1924 - December 1, 1987) </span></b><br />
<br />
<h3>
Missed the Show?</h3>
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</div>
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</div>
</div>
<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Ntozake Shange</td>
<td>No More Love Poems # 1</td>
<td>For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf</td>
<td>Buddha</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Howlin' Wolf</td>
<td>Killing Floor</td>
<td>The Real Folk Blues</td>
<td>Chess</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Ike Quebec</td>
<td>Aquitted</td>
<td>Heavy Soul</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Mildred Anderson</td>
<td>Old Devil Called Love</td>
<td>No More In Life</td>
<td>Bluesville</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Mile Davis</td>
<td>Sorcerer</td>
<td>Sorcerer</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Bud Powell</td>
<td>Marmalade</td>
<td>Time Waits</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Margaret Walker</td>
<td>Kissie Lee</td>
<td>Anthology of Negro Poetry</td>
<td>Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Ray Charles</td>
<td>But on the Other Hand, Baby</td>
<td>Gretest Hits</td>
<td>ABC-Paramount</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Miles Davis</td>
<td>Riot</td>
<td>Nefertiti</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Herbie Hancock</td>
<td>Riot</td>
<td>Speak Like A Child</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Norman Pritchard</td>
<td>Gyre's Galax</td>
<td>New Jazz Poets</td>
<td>Broadside Records</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sun Ra</td>
<td>Pan Afro</td>
<td>Discipline 27, Vol. 2</td>
<td>El Saturn Research</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Lee Konitz </td>
<td>Blues for Bird</td>
<td>Charlie Parker 10th Memorial Concert</td>
<td>Limelight</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Ernestine Anderson</td>
<td>Just A-Sittin' and A-Rockin'</td>
<td>The Fascinating Ernestine</td>
<td>Mercury</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Teri Thornton</td>
<td>Mood Indigo</td>
<td>Somewhere in the Night</td>
<td>Dauntless</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Claude McKay</td>
<td>St. Issac's Church, Leningrad</td>
<td>Anthology of Negro Poetry</td>
<td>Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Claude McKay</td>
<td>The Tropics in New York</td>
<td>Anthology of Negro Poetry</td>
<td>Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sonny Rollins</td>
<td>Will You Still Be Mine?</td>
<td>Freedom Suite</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Roscoe Mitchell</td>
<td>C</td>
<td>Roscoe Mitchell - Tony Marsh - John Edwards</td>
<td>Otoroku</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sun Ra </td>
<td>Enlightenment</td>
<td>Nuits de la Fondation Maeght, Vol. 1 </td>
<td>Shandar</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Don Cherry</td>
<td>Brown Rice</td>
<td>Brown Rice</td>
<td>EMI</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Sun Ra</td>
<td>Neptune</td>
<td>Discipline 27, Vol. 2</td>
<td>El Satrun Research</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Ray Charles</td>
<td>I Wonder</td>
<td>Gretest Hits</td>
<td>ABC - Paramount</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Miles Davis</td>
<td>Capricorn</td>
<td>Water Babies</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Miles Davis </td>
<td>Sweet Pea (excerpt)</td>
<td>Water Babies</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td>Interview with Quincy Troupe By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Miles Davis</td>
<td>Sweet Pea (excerpt)</td>
<td>Water Babies</td>
<td>Columbia</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-51197501121754941502014-09-05T16:53:00.000-07:002014-09-05T16:53:06.997-07:00Frank B. Wilderson, Jr. on Frantz Fanon
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<b> </b></div>
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<b>Sunday 7/27/2014 @ 3:00PM - 6:00PM </b><span style="font-size: x-large;"><strong>Returning to New Day Jazz this afternoon, in the 5 o'clock hour, Frank B. Wilderson, Jr., author of <a href="http://www.incognegro.org/" target="_blank"><em>Incognegro: A Memoir of Exile and Apartheid</em></a>, as well as <a href="https://www.dukeupress.edu/Red-White-and-Black/" target="_blank"><em>Red, White and Black: Cinema and the Structure of U.S. Antagonisms</em></a>. We will be continuing our discussion of Frantz Fanon and the relation of his pioneering work, <a href="http://www.amazon.com/The-Wretched-Earth-Frantz-Fanon/dp/0802141323" target="_blank"><em>The Wretched of the Earth</em></a>, to the contemporary world. </strong></span><br />
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<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Bill Evans</td>
<td>Solar</td>
<td>Sunday at the Village Vanguard</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Wayne Shorter</td>
<td>Wild Flower</td>
<td>Speak No Evil</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Julie London</td>
<td>At Long Last Love</td>
<td>All Through the Night</td>
<td>Liberty</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Blossom Dearie</td>
<td>The Best Is Yet to Come</td>
<td>May I Come In?</td>
<td>Capitol</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Elliot Lawrence</td>
<td>Elegy for Two Clarinets</td>
<td>Elliot Lawrence Plays Gerry Mulligan Arrangements</td>
<td>Fantasy</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Lee Konitz</td>
<td>These Foolish Things</td>
<td> Konitz Meets Mulligan</td>
<td>World Pacific</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Lee Konitz</td>
<td>I'll Remember April</td>
<td> Konitz Meets Mulligan</td>
<td>World Pacific</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Nat King Cole</td>
<td>Just One of Those Things</td>
<td>Just One of Those Things</td>
<td>Capitol</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Frank Sinatra</td>
<td>Baubles, Bangles & Beads</td>
<td>Come Dance with Me</td>
<td>Capitol</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Sonny Rollins</td>
<td>Wonderful! Wonderful!</td>
<td>Newk's Time</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Jackie McLean</td>
<td>I'll Take Romance</td>
<td>Swing Swang Swingin'</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Chris Connor</td>
<td>Everything I've Got</td>
<td>A Jazz Date with Chris Connor</td>
<td>Atlantic</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Bobby Short</td>
<td>Hottentot Potentate</td>
<td>Bobby Short</td>
<td>Atlantic</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Ahmad Jamal</td>
<td>Black Beauty</td>
<td>The Ahmad Jamal Trio</td>
<td>Epic</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>George Russell</td>
<td>The Lydiot</td>
<td>Jazz in the Space Age</td>
<td>Decca</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>The Quintet</td>
<td>A Night in Tunisia</td>
<td>Jazz at Massey Hall</td>
<td>Debut</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Dexter Gordon</td>
<td>I Can't Escape From You</td>
<td>Long Tall Dexter</td>
<td>Savoy</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Sonny Stitt</td>
<td>All God's Chillun Got Rhythm</td>
<td>Sonny Stitt with Bud Powell and J.J. Johnson</td>
<td>Prestige</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Carmen McRae</td>
<td>Invitation</td>
<td>Invitation</td>
<td>Official</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Andrew Hill </td>
<td>Invitation</td>
<td>Spiral</td>
<td>Arista</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Lee Konitz</td>
<td>You Go to My Head</td>
<td>Subconscious-Lee</td>
<td>Prestige</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Gil-Scott Heron</td>
<td>The Revolution Will Not Be Televised (excerpt)</td>
<td>The Revolution Will Not Be Televised </td>
<td>Flying Dutchman</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Interview With Frank B. Wilderson By Justin Desmangles </td>
<td>Interview With Frank B. Wilderson By Justin Desmangles </td>
<td>Interview With Frank B. Wilderson By Justin Desmangles </td>
<td>Interview With Frank B. Wilderson By Justin Desmangles </td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Gil-Scott Heron</td>
<td>No Knock (fragment)</td>
<td>The Revolution Will Not Be Televised </td>
<td>Flying Dutchman</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Gil-Scott Heron</td>
<td>Lady Day & John Coltrane</td>
<td>The Revolution Will Not Be Televised </td>
<td>Flying Dutchman</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Gil-Scott Heron</td>
<td>Pieces of a Man</td>
<td>The Revolution Will Not Be Televised </td>
<td>Flying Dutchman</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-38604144776239396522014-09-05T16:45:00.002-07:002014-09-05T16:45:52.504-07:00Elizabeth Nunez Discusses Not For Everyday Use<div class="clearfix show-info">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilhqYdl6K07pm_1v8Xy5_B7Bgeh_X_8U1-4VDmh6XMlJt93PW9_eTI3bXsGvRJ3BVhsKqFUbVSivLjP70F72dhQKrjgQNQuLsPHhIu2Db26QGL2JwBU-5UpoH93UBDnRZS88N9yqjJMoQ_/s1600/nunez_elizabeth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilhqYdl6K07pm_1v8Xy5_B7Bgeh_X_8U1-4VDmh6XMlJt93PW9_eTI3bXsGvRJ3BVhsKqFUbVSivLjP70F72dhQKrjgQNQuLsPHhIu2Db26QGL2JwBU-5UpoH93UBDnRZS88N9yqjJMoQ_/s1600/nunez_elizabeth.jpg" height="262" width="320" /></a></div>
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<b>Sunday 7/13/2014 @ 3:00PM - 6:00PM </b><strong style="color: #222222; font-family: arial; font-size: small;"><span style="font-size: medium;">Joining me this afternoon, in the 5 o'clock hour, author Elizabeth Nunez. We will be discussing her most recent book, <em>Not For Everyday Use</em>.</span></strong><br />
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<strong><br /></strong></div>
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<strong><span style="font-size: medium;">“Elizabeth
Nunez has written a book about love: love of family, love of place,
love of literature, and even the love of human flaws. <em>Not for Everyday Use</em>manages
to be a memoir rich with tenderness that doesn’t shy away from pain and
loss. Reading this book was like sitting with a dear friend for a long
conversation and only later realizing I’d been in the presence of a true
artist. It’s not easy to sound casual but attain the profound yet
somehow Nunez pulls it off, page after page.”<br />—Victor LaValle, author of <em>The Devil in Silver</em></span></strong></div>
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<strong><span style="font-size: medium;">“Elizabeth Nunez’s <em>Not for Everyday Use</em> is
that powerful and essential work which redefines our understanding of
the experience of emigration and its impact on families. It is, quite
simply, one of the most important books I’ve read about the intellectual
and emotional work we must do to understand our forebears’ lives in the
context of history and colonialism.”<br />—Louise DeSalvo, author of <em>Writing as a Way of Healing: How Telling Our Stories Transforms Our Lives</em></span></strong></div>
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<strong><span style="font-size: medium;">“Elizabeth Nunez is one of the finest and most necessary voices in contemporary American and Caribbean fiction.”<br />—Colum McCann, author of <em>Let the Great World Spin</em></span></strong></div>
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<strong><span style="font-size: medium;">“A new book by Elizabeth Nunez is always excellent news.”<br />—Edwidge Danticat</span></strong></div>
</div>
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Missed the Show?</h3>
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</div>
</div>
<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Charlie Haden </td>
<td>Song for Che</td>
<td>Liberation Music Orchestra</td>
<td>Impulse!</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Charlie Haden</td>
<td>War Orphans</td>
<td>Liberation Music Orchestra</td>
<td>Impulse!</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Ornette Coleman</td>
<td>Lonely Woman</td>
<td>The Shape of Jazz to Come</td>
<td>Atlantic</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>John Tchicai </td>
<td>Mothers</td>
<td>Timo's Message</td>
<td>BlackSaint</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>David Murray</td>
<td>Flowers for Albert</td>
<td>Conceptual Saxophone</td>
<td>Cadillac Records</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Charlie Haden & Hampton Hawes</td>
<td>Hello / Goodbye</td>
<td>As Long As There's Music</td>
<td>Artist's House</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Ornette Coleman & Charlie Haden</td>
<td>Human Being</td>
<td>Soapsuds, Soapsuds</td>
<td>Artist's House</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Charlie Haden & Don Cherry</td>
<td>Out of Focus</td>
<td>The Golden Number</td>
<td>Horizon</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Albert Ayler Quartet</td>
<td>[tune Q]</td>
<td>Holy Ghost</td>
<td>Revenant</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Albert Ayler Quintet</td>
<td>[untitled minor waltz]</td>
<td>Holy Ghost</td>
<td>Revenant</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Albert Ayler Quintet</td>
<td> Japan / Universal Indians</td>
<td>Holy Ghost</td>
<td>Revenant</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sidney Bechet</td>
<td>Blue Horizon</td>
<td>A Decade of Jazz: 1939 - 1949</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Air</td>
<td>G.v.E.</td>
<td>Air Time</td>
<td>Nessa</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Niels-Henning Orsted Pederson & Sam Jones</td>
<td>Little Train</td>
<td>Double Bass</td>
<td>Inner City</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Johnny Dyani</td>
<td>Magawaza (excerpt)</td>
<td>Witchdoctor's Son</td>
<td>SteepleChase</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Interview with Elizabeth Nunez By Justin Desmangles</td>
<td>Interview with Elizabeth Nunez By Justin Desmangles</td>
<td>Interview with Elizabeth Nunez By Justin Desmangles</td>
<td>Interview with Elizabeth Nunez By Justin Desmangles</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Johnny Dyani</td>
<td>Magawaza (excerpt)</td>
<td>Witchdoctor's Son</td>
<td>SteeplecChase</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Harold Budd </td>
<td>Let Us Go Into the House of the Lord</td>
<td>Pavilion of Dreams</td>
<td>Obscure</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Harold Budd </td>
<td>After the Rain (Sunday Butterfly)</td>
<td>Pavilion of Dreams</td>
<td>Obscure</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com0tag:blogger.com,1999:blog-4587518849127070948.post-22644068353582665252014-06-23T11:16:00.000-07:002014-08-02T12:17:13.535-07:00All Jazz All Poetry for Bloomsday<br />
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<table class="show-tracks-table"><thead>
<tr><th>Artist</th><th>Song</th><th>Album</th><th>Label</th><th><br /></th></tr>
</thead>
<tbody>
<tr class="odd-row">
<td>Miles Davis & Gil Evans</td>
<td>Springsville</td>
<td>Miles Ahead</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Miles Davis & Gil Evans</td>
<td>The Maids of Cadiz</td>
<td>Miles Ahead</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Miles Davis & Gil Evans</td>
<td>The Duke</td>
<td>Miles Ahead</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>World Saxophone Quartet</td>
<td>For Lester</td>
<td>Dances & Ballads</td>
<td>Nonesuch </td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Countee Cullen (James Earl Jones)</td>
<td>From the Dark Tower</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Langston Hughes (Ellen Holly)</td>
<td>The Negro Speaks of Rivers</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Robert Hayden (Moses Gunn)</td>
<td>Frederick Douglass</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Paul Laurence Dunbar (Cicely Tyson)</td>
<td>We Wear the Mask</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Nina Simone</td>
<td>Four Women</td>
<td>Wild is the Wind</td>
<td>Philips</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Nina Simone</td>
<td>Lilac Wine</td>
<td>Wild is the Wind</td>
<td>Philips</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Johnny Dyani</td>
<td>Radebe</td>
<td>Witchdoctor's Son</td>
<td>SteepleChase</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Johnny Dyani</td>
<td>Mbiza</td>
<td>Witchdoctor's Son</td>
<td>SteepleChase</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Ishmael Reed</td>
<td>Judas</td>
<td>Conjure</td>
<td>Pangea</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Woody Shaw</td>
<td>Tapscott's Blues</td>
<td>Moontrane</td>
<td>Muse</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Thelonious Monk</td>
<td>Liza (All the Clouds'll Roll Away)</td>
<td>The Unique Thelonious Monk</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Thelonious Monk</td>
<td>Memories of You</td>
<td>The Unique Thelonious Monk</td>
<td>Riverside</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Philip Whalen (Roy Glenn)</td>
<td>Big High Song for Somebody</td>
<td>Jazz Canto: Vol. One</td>
<td>World Pacific</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Billie Holiday</td>
<td>Love Me or Leave Me</td>
<td>Lady Sings the Blues</td>
<td>Verve</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Billie Holiday</td>
<td>Too Marvelous for Words</td>
<td>Lady Sings the Blues</td>
<td>Verve</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Jackie McLean</td>
<td>I'll Take Romance</td>
<td>Swing Swang Swingin'</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sterling Brown (James Earl Jones & Moses Gunn)</td>
<td>Ol' Lem</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Helene Johnson (Josephine Premice)</td>
<td>Sonnet to a Negro in Harlem</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Slim Harpo</td>
<td>Shake Your Hips</td>
<td>Shake Your Hips </td>
<td>Flyright</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>John Lee Hooker </td>
<td>Walkin' the Boogie</td>
<td>House of the Blues</td>
<td>Chess</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Muddy Waters</td>
<td>Mannish Boy</td>
<td>The Real Folk Blues</td>
<td>Chess</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Amiri Baraka</td>
<td>Class Struggle in Music, Part One</td>
<td>New Music - New Poetry</td>
<td>India Navigation</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Kenny Dorham</td>
<td>Lotus Blossom</td>
<td>Quiet Kenny</td>
<td>New Jazz</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sonny Rollins</td>
<td>Asiatic Raes</td>
<td>Newk's Time</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Kamau Brathwaite</td>
<td>Calypso</td>
<td>Rights of Passage</td>
<td>Argo (U.K.)</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Rahsaan Roland Kirk </td>
<td>Island Cry</td>
<td>Natural Black Inventions: Root Strata</td>
<td>Atlantic</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Myron O'Higgins (Gloria Foster)</td>
<td>To a Young Poet</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>James Vaughn (Roscoe Lee Browne)</td>
<td>from Four Questions</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Owen Dodson (Leon Bibb)</td>
<td>Counterpoint</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Wayne Shorter</td>
<td>Wild Flower</td>
<td>Speak No Evil</td>
<td>Blue Note</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Gwendolyn Brooks (Ellen Holly)</td>
<td>A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon</td>
<td>A Hand is on the Gate</td>
<td>Verve-Folkways</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Sarah Vaughn</td>
<td>Summertime</td>
<td>After Hours with Sarah Vaughn</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Kamau Brathwaite</td>
<td>The Emigrants</td>
<td>Rights of Passage</td>
<td>Argo (U.K.)</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Nina Simone</td>
<td>Wild is the Wind</td>
<td>Wild is the Wind</td>
<td>Philips</td>
<td><br /></td>
</tr>
<tr class="odd-row">
<td>Miles Davis & Gil Evans</td>
<td>My Ship</td>
<td>Miles Ahead</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr class="even-row">
<td>Miles Davis & Gil Evans</td>
<td>Miles Ahead</td>
<td>Miles Ahead</td>
<td>Columbia</td>
<td><br /></td>
</tr>
<tr>
<td class="airbreak" colspan="5">Airbreak</td>
</tr>
<tr class="odd-row">
<td>Billie Holiday</td>
<td>I Thought About You</td>
<td>Lady Sings the Blues</td>
<td>Verve</td></tr>
</tbody></table>
Justin Desmangleshttp://www.blogger.com/profile/01314613885704217275noreply@blogger.com2