A shortage of compelling topics to address via books, blog essays, podcasts, fine art, photography, electronic gaming, and other creative media has not been among the traumatizing events unleashed upon humanity in the year 2020. Painful history-altering occurrences have, however, included the following: a very stubborn and deadly COVID-19 pandemic, the resulting economic crisis, further evidence of climate change in the form of murderous fires in California, riots in cities across America in response to #2ManyLivesGone2Soon, and political unease in the face of an uncertain future.
Incorporating reports on important public happenings into ongoing projects has long been among the better practices at Bright Skylark Literary Productions. It goes back at least as far to the days of my former AXS National African-American Cultural Arts column when I created art graphics for my news stories. Articles sometimes included original poetry to enhance editorial impact. Where the year 2020 is concerned, the following steps have been taken:
Although taking the above steps did not erase the different social, political, and environmental ills currently dogging the world, I like to think they contributed to the process of helping move things in a better healthier direction.
This is a continuation of the classic 2010 article excerpted from "5 Notable Women of the Past and Present" first published by AXS Entertainment:
Simone’s composition, "To Be Young, Gifted and Black," written for her friend Lorraine Hansberry, became one of the major anthems of the civil rights struggle and the title of Hansberry’s autobiography. Her “Four Women” is a marvel of minimalist art in which she deftly dramatizes the impact of racism upon the lives of four different women. In all, Nina Simone composed more than 500 songs and recorded more than fifty albums throughout her prolific career.
[If you missed part 1 of this classic article you can click here to check it out.]
The singer’s achievements were celebrated with, among others, awards like the 1966 Jazz at Home Club’s “Woman of the Year,” and the 1967 “Female Jazz Singer of the Year.” As if to help make up for the anguish in her tortured genius soul, the committee for Human Kindness Day in Washington, D.C., selected her as the day’s honoree in 1974.
None of these, however, proved sufficient enough to compensate for the wounds inflicted by racism or the grief experienced over the death of peers who understood her best. Like Josephine Baker, Abbey Lincoln and others before her, she left the United States in 1978 in search of greater artistic and political freedom. Her journey over the next seven years took her to Barbados, Liberia, England, Switzerland, and France, where she eventually settled. Relocation, however, did not solve all of her problems and she sometimes engaged in widely-reported public battles with stress and depression.
She returned to her homeland in 1985 to perform and record for six years before going to the Netherlands, then moving back to South of France.
The great performer revealed in her 1991 autobiography that she once attempted suicide. Since the publication of I Put a Spell on You, at least two biographers have explored the theory that she suffered from a bipolar disorder and depression. Some have taken this as the reason she sometimes appeared combative towards unruly audiences or certain critics and described it as the cause of her “downward spiral.” Others have interpreted the possibility as one of the sources of her phenomenal talent. Moreover, that fact that she evidently won battle after battle against the illness to produce the triumphant award-winning works that she did, make her in the eyes of many that much more heroic.
Before her death in Carry-le-Rouet , France, on April 21, 2003, Nina Simone enjoyed the satisfaction of receiving honorary degrees from the Julliard School and The Curtis Institute (the very school that had previously denied her application) and honorary doctorates from the University of Massachusetts and Malcolm X University. Consequently, she is often referred to as Dr. Simone.
The Legacy from 2010–2020
One of the greatest confirmations of the value of a musician’s work is the passion with which peers and following generations embrace it. From 2010–2020, Nina Simone has become one of the most covered, remixed, frequently rediscovered, reinterpreted, and generally honored musicians in music history. The sheer diversity of artists––ranging from hip hop and rock stars to Broadway and jazz divas–– who have either “sampled” her work or recorded versions of it, prove her contention that she was an accomplished artist of multiple genres. Among those who have linked their creative visions to that of Simone’s are: hip hop artists Common, Lil Wayne, Timbaland, and Kanye West; the groups Faithless , Walkabouts, and the Animals; and European cabaret singer Barb Jungr as well as American jazz diva Randy Crawford, in addition to many more.
The music icon was also a favored subject of photographers while she lived and is a treasured focus of fine artists now. Sculptor Zenos Frudakis worked with the Eunice Waymon-Nina Simone Memorial Project to create a life-sized bronze statue of the singer. A dedication ceremony was held for it February 21, 2010, in Simone’s hometown of Tryon.
This Mother’s Daughter
Nina Simone was married to her manager and business partner Andy Stroud when she gave birth to her daughter and only child, Lisa Celeste Stroud in 1962. Like her mother, Stroud also developed into an exceptional entertainer. Known simply as Simone, she has starred in such major Broadway productions as Rent and Aida. She made her recording debut in 2008 with Simone on Simone, a CD of covers of her mother’s music. A second album reportedly is set for release in spring 2010.
Following Nina Simone’s death, Simone the Second (more recently listed under credits as Lisa Simone Kelly) established the Nina Simone Foundation (NSF) as s a non-profit organization dedicated both to preserving the performer/composer’s legacy and to spearheading initiatives to establish various education opportunities and cultural resources. From April 16-25 in Atlanta, Georgia, the Foundation will present The Nina Simone Experience. In addition to performances and a fashion show, the event will feature a fine arts exhibition of works depicting images of Nina Simone and visual interpretations of her music.
In an interview with Jet Magazine in 2008, Simone pointed out, “I am keeping my mother’s name out there in a positive light, which she deserves because she sacrificed a lot and she stood for a lot. She deserves to be recognized and honored for that.” She accomplished that mission to critical acclaim as executive producer of the 2015 Netflix biopic on her mother titled: What Happened, Miss Simone?
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of the Harlem Renaissance
Harlem Renaissance Centennial 1919-2029
In my exchanges with the Dalai Lama on Twitter, we sometimes address the importance of cultivating such practices as exercising compassion and expressing gratitude. My stance regarding compassion has long known per numerous blogs on the subject at Charter for Compassion and elsewhere. I hope my belief in the value of acknowledging thankfulness is also evident not just because Thanksgiving is upon us but because it has long been a fundamental component of my basic approach to daily living.
Gratitude makes an excellent kind of aesthetic and spiritual technology because it refines perspective and sharpens focus on everything from relationships and communications to products and operational results. In other words, it increases individual capacity for reflecting on actions and outcomes. That's pretty much what end-of-year assessments are all about. But in this case, as we head into 2020 we are also talking about the end of an entire decade and the beginning of another.
Goals Identified and Achieved
After surviving back-to-back hurricanes and a severe winter freeze, simply living to see the year 2019 was a phenomenal triumph in itself. The challenges, of course, did not end just because a new year got underway but neither did opportunities for continued growth and exploration.
In the new Bright Skylark Google business portal, I pointed out 3 primary professional objectives going into the year 2019. Those were:
The 100 percent success rate in regard to the above goals was the result of long-term planning, unwavering values, and carefully-applied strategies. Additional unexpected success, however, came from sticking to proven effective practices and maintaining strong relationships with different organizations who share similar values.
The additional unexpected successes came in the form of: a) the publication of a new edition of the novel Songs from the Black Skylark zPed Music Player (ISBN 197703747X); b) inclusion of the Suzanne Jackson Five Decades catalog, which features the poem “Suzannian Algorithm Finger-Painted on an Abstract Wall,” in the industry-leading Artbook/DAP catalog; and c) greater than estimated production for the third quarter of 2019.
The above achievements have positioned Bright Skylark Literary Productions for a strong first-quarter showing for the second consecutive year. That means a good launch for the Decade of the Harlem Renaissance Centennial, with which many Bright Skylark catalog materials are already solidly aligned.
More than a decade after our first meeting, one afternoon I turned the radio on to catch some jazz music on WHCJ 90.3 FM, Savannah State University's celebrated multi-platform multicultural station. To my surprise, I heard Jackson discussing music with the station's legendary former director of programming, and Jazz Festival Hall of Fame member, Theron "Ike" Carter. Their voices were soon joined by that of the great sculptor and Indigo Sky art gallery founder, Jerome Meadows, and those of two more commentators with whom I was not familiar.
Ike Carter's famously-raspy attention-grabbing voice informed listeners this version of his various broadcasts was called LISTEN HEAR and featured a round-table discussion on different music selections brought in by members of the group. Listening to the show in the weeks that followed, it was a kind of revelation to hear Jackson in concert with the others sharing unbridled enthusiasm for classic jazz musicians like: Ella Fitzgerald, Charlie Parker, Billie Holiday, Thelonious Monk, Sarah Vaughn, Duke Ellington, Yusef Lateef, Miles Davis, and numerous others. Her deep appreciation for jazz--often referred to by Carter as African-American classical music--provided hints regarding how the stories, aesthetics, and energy behind the music might, to some degree, influence her own artistry.
Visiting with Carter, Jackson, and various guests through the low-tech efficiency of FM radio waves became a regular pleasure. The easy simpatico between the sensibilities of the commentators and the brilliance of the music they shared made me feel a little proud to have written the article on jazz for the encyclopedia. It was deeply moving to hear them dedicate the April 12, 2016, program to the memory of Luther E. Vann, who had just passed on April 6. During that broadcast, Jackson spoke of first meeting her fellow artist years before at an exhibition in New York City and referred to him as "one of the best painters in Savannah." Carter would later pay similar tribute on Listen Here to Sandra L. West.
Invitation to a Party
Then time passed as time does and another unexpected development occurred: I received an invitation to a launch party to be held on June 30, 2018, for a forthcoming exhibit of the artist's work.
What!? Really!? This was fantastic news indeed.
The idea of an exhibit of her art excited me because I had only glimpsed samples on the internet and knew the general categorization of her as an abstract artist made Jackson something unique (so far as I could tell anyway). What I knew about Black Women artists came primarily from my work on the encyclopedia and from my adoration for Barbara Chase-Riboud, whom I greatly admired because she also wrote some amazing novels.
It had been a very long time since I'd attended a party of any kind at all. My empathic nature has been known to overload in such situations and get the better of me. I set this thought aside as I walked up the steps of the artist's home and saw in the window a sign which read: HATE HAS NO HOME HERE.
The sign's proclamation bore out as in every room of the house, upstairs, downstairs, on the back porch, in the back yard, and in the adjoining studio, I encountered friends and acquaintances (far too many to name) I had not seen for years. In addition, I met for the first time curator and editor Rachel Reese, along with members of the team who were already playing such an important role putting together the retrospective.
Taking on a Creative Challenge
The suggestion that I consider writing something for the planned Five Decades catalog caught me by surprise. At the time, I was focused on completing and publishing my nonfiction book Dreams of the Immortal City Savannah. It seemed highly unlikely I would be able to conjure enough additional creative energy to write a poem worthy of inclusion in the catalog. Yet the notion of doing so was such a beautiful one it could not be dismissed and I recalled with some small amount of guilt Maya Angelou's statement that the more one used one's creativity the more it increased.
True, the entire volume of ELEMENTAL, the Power of Illuminated Love contained ekphrastic verse derived mostly from meditations on paintings by Vann. But a large number of the poems I'd written since then were elegies acknowledging and mourning the passing of beloved friends or famous individuals. Here gleaming before me at the Five Decades launch party was an opportunity, to paraphrase Martin Luther King Jr.'s famous statement on jazz: to let poetry speak to life by commemorating the ongoing achievements of a largely-unsung s/hero who combined within her person multiple artistic gifts and persuasive passion disciplined enough to infuse those gifts with history-altering purpose.
I therefore promised to consider writing something--most likely an essay but possibly a poem--for the catalog and said I would provide a more concrete yes-or-no answer in a month or so. That was what I said. The almighty multiverse apparently had something else in mind.
NEXT: A Hidden American Treasure Comes to Revelatory Light (part 3 of 3)
Please CLICK HERE to read: Part 1 of A Hidden American Treasure Comes to Revelatory Light.
author of The Wisdom of W.E.B. Du Bois
and Dreams of the Immortal City Savannah
Some of the publications at Issuu, like CONNECT Savannah, are simply digital editions of magazines for which I've written feature stories or poetry. Others employing my writings are new to me. What probably amazes me more than anything else is the scope of their ideological --from politics and social justice issues to spirituality and the creative arts--application of the works.
More often than not, their assessments of certain situations align with mine. Although we have not formally partnered to include my voice in various photo spreads, feature articles, or special sections, the sense of balanced perspectives sometimes creates the feeling we have.
It has been just as revealing to learn how much international territory the different publications cover as it has been to check out their aesthetic strategies. For example, both the Daily Times (April 2019) in Lagos, Nigeria, and African-American News & Issues (March 2019) have based themes of entire editorials on concepts expressed in a single quote which serves as the lead statement or primary point of discussion. One addresses political freedoms and responsibilities in a democratic society while the other focuses more specifically on the Black Lives Matter movement.
The AssiégéEs Citadel des Resistance (June 2015), based in France, employed my Guerrilla Decontextualization philosophy to enhance a penetrating (some might say crushing) ideological critique. Going in a completely different direction, popular writings from different books were also presented in publications like One Curvy Boutique (Feb 2018) in Florida, USA, with images celebrating healthy self-esteem in women:
The September 11 edition of OPUS 2016 features a well-known maxim from ELEMENTAL, The Power of Illuminated Love, alongside the photographic artistry (referred to as "Burtography") of Brazil's (by way of New York) Burt Sun. Mr. Sun's incorporation of the text is particularly intriguing due to the fine art photographer's skillful juxtaposition of nude figure with apocalyptic environments. His work forces us to challenge definitions of obscenity and question the honesty of declaring the nude human form as indecent while granting license for the destruction of communities in the name of political, military, or monetary gain. In short, his images provoke the kind of reflections I generally hope my pen does.
This fine art photograph by Burt Sun, as indicated by the text on the left side, is titled Syrian Kitchen. The quote beneath the title, "This world’s anguish is no different from the love we insist on holding back," is from the poem "The Homeless, Psalm 85:10," published in ELEMENTAL, The Power of Illuminated Love.
These observations might strike some as stretching small events to make big statements. They are in fact much more than that. It means, and suggests, a great deal when an editor of Pakistan Today (June 2019) in Karachi, Pakistan, the fifth largest city in the world (est. population 14.91 million), employs an author's literary voice to launch a powerful examination of “The Politics of Megalomania.”
There are, however, certain kinds of enchantment which may rightfully be described as small because they likely mean more to me than anyone else. Such an instance occurred upon discovering the popular quotation, 'Hearts rebuilt from hope resurrect dreams killed by hate,' had been published in Revista Medalhão Persa (January 2019) as part of a somewhat lyrical celebration of the city of Tabriz. Fans of the poetry of Jalal al-Din Muhammad Rumi will forever recognize Tabriz as a place associated with Rumi's great spiritual companion: Shams. But according to the publication, Tabriz "for some scholars was also the site of no less than the Garden of Eden.”
Familiar Touchstones of Cultural Awareness
The simple point of all this is not only to further highlight for podcast and film producers the advantages of adapting for their platforms materials from the Bright Skylark Literary Productions catalog. It is to confirm the demonstrated appeal of a catalog of contemporary works to populations across the globe.
While I welcome the prospects of adaptation different works to podcasts and/or film, one of my primary goals as a writer has always been to help foster dialogues which strengthen humanity's capacity for world-sustaining co-existence. Years of producing unique literary compositions which evolved into familiar touchstones of cultural awareness have created an exciting momentum from which many can benefit. That would be a good thing to keep going as we approach the final quarter of 2019 and prepare to accomplish a potentially much stronger surge forward in the year 2020.
If you missed part 1 of this post please check it out by clicking right here. Below is the promised image gallery of some of the publications at Issuu featuring my work.
Harlem Renaissance Centennial
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.