The year 2020 marks the tenth anniversary of an article series I wrote called 5 Notable Women of the Past and Present and which was first published by AXS Entertainment. Included in the series were profiles of: musician and actress Abbey Lincoln, comedienne Jackie “Moms” Mabley, author Octavia Butler, social justice advocate Dr. Abigail Jordan, and Ms. Simone. It is an honor to recognize Ms. Simone’s brilliant legacy and extraordinary life at this time with two new works of art––titled Ode to the Genius and Good Intentions of Nina Simone Numbers 1 and 2–– and republication my article about her ongoing influence on contemporary musical artists. That influence remains as true now as a decade ago. Lessons from Nina Simone on Love, Music, and Commitment part 1 starts now:
Getting to Know Ms. Simone
Many modern audiences first became familiar with the name Nina Simone in 2005 after Canadian singer Michael Buble’ recorded her 1965 hit song, “Feeling Good,” and which finalists on the popular American Idol television show sang before world audiences in 2007.
However, long before Buble’ or American Idol finalists sang “Feeling Good,” Nina Simone made a lasting name for herself on several continents as one of the great singers, composers, and performers of the twentieth century. The fact that at least a dozen books document her life and work illustrate just how great she was and how enduring her music remains. Princess Noire: The Tumultuous Reign of Nina Simone, by Nadine Cohodas, is one of the latest such titles just published in February 2010.
The singer herself published in 1991 (the first London edition) an autobiography titled I Put a Spell on You. Describing just how Simone went about working her musical magic, author and former Ebony Magazine music editor Phyl Garland wrote in her in her own book, The Sound of Soul, The Music and Its Meaning, that:
“She casts her spell with the fluid but frequently complex patterns of notes she etches on her piano and with the distinctive sound of her richly reedy voice.”
Another way to gauge the impact of Simone’s life and legacy is to look at it like this: whereas the great Aretha Franklin earned, and has worn with dignity, the title “Queen of Soul” for at least four decades, Nina Simone earned and wore for decades the title “High Priestess of Soul.”
North Carolina Beginnings
She was born Eunice Kathleen Waymon on February 21, 1933, in Tryon, North Carolina. Both her parents, John Divine Waymon and Mary Kate Waymon, were entertainers when they met but later settled into more stable professions to raise their eight children. Her mother became a devoted Methodist minister, which later prompted Eunice Waymon to adopt the name Nina Simone when she began performing in night clubs and bars.
Simone’s talents as a pianist were recognized early and her family supported her goal to become a world-class concert pianist. She was good enough to study for a time at the renowned Juilliard School of Music in New York but her application to attend the Curtis Institute of Music in Philadelphia was rejected. This rejection, she felt, was based more on her race than her abilities and it has often been cited as a major source of the political fury that characterized some of her music. The planned career in classical music took off instead in the direction of more popular genres. Recording her first album, Little Girl Blue, in 1957, she enjoyed a hit with the George Gershwin song, “I Loves You Porgy.”
While she was quickly labeled and marketed as a jazz performer, Simone had actually developed into a mistress of diverse musical forms that included not only jazz, but gospel, blues, Broadway show tunes, Black folk songs, and other styles in classic American modes. She could have easily carved out a successful career for herself in popular music and simply enjoyed the wealth and fame that comes with such success. But in addition to her musical sensibilities, she also possessed a social/political consciousness that was magnified by friendships with individuals like the playwright Lorraine Hansberry, author James Baldwin, and author Langston Hughes, all of whom at various times lent their artistry to the struggle for racial equality.
It was Hughes who said, “Nina Simone is as different from other singers as beer is from champagne.” While he contributed liner notes to at least one of her albums, she in turn wrote with him the hit song “Backlash Blues.”
Commitment and Consequences
The singer once stated that as far as she was concerned, the job of a creative artist was to address the pressing issues of her times. Towards that end, she wrote and recorded a number of songs that addressed individual moral responsibility as well as the civil rights and women’s rights movements of the 1960s. Following two events in particular––the 1963 murder of NAACP field secretary Medgar Evers in Mississippi and that of four Black girls in a Birmingham church–– she recorded the now classic “Mississippi Goddamn.”
The composition is in part satire, part social criticism, and part political outrage, which, given the real-world apartheid conditions and context of the times, makes a great deal of sense. She introduced the song by emphasizing its title and pointing out that she meant every word of it, then sang with fierce courage and intelligence: “Alabama's gotten me so upset/ Tennessee made me lose my rest/ And everybody knows about Mississippi Goddam…”
Aside from expressing outrage, the singer also implored:
“Can't you see it
While many championed Simone for her courageous outspokenness at a time when passive endurance was considered the key to civil rights success for African Americans, others vilified her for it. Many radio stations banned the song and the impact upon her career would prove a lasting negative one. Other powerful protest songs, notably music legends Sam Cooke’s “A Change Is Gonna Come,” and Bob Dylan’s “Blowing in the Wind,” were also released during this period but apparently considered less confrontational or threatening than “Mississippi Goddamn.”
NEXT: Lessons from Nina Simone on Love, Music, and Commitment part 2
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of Harlem Renaissance
Harlem Renaissance Centennial 1919-2029
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
Anyone on June 27, 2019, attending the opening of the Suzanne Jackson Five Decades retrospective at the Telfair Museums' Jepson Center for the Arts in Savannah, Georgia (USA), or involved in its production prior to that historic evening, could tell something exceptional was happening. In addition to the mesmerizing kind of vibrant textiles and stunning canvases one might expect to discover at such an opening for a contemporary artist, there were seven vitrines (display cases) filled with family photographs, vintage 1960s flyers advertising a "Revolutionary Art Exhibit," sketchbooks, program notes, letters, photographs, and other revealing archival materials from different chapters of Jackson's, and America's, life stories.
The items made available went beyond career highlights to illuminating an artist's considerable immersion in a significant historical moment: the 1960s-1970s Black Arts Movement as it rooted and flowered in Los Angeles and San Francisco, California. For those observers of African-American history who contend America's West Coast contributed much less to the Harlem Renaissance than other regions because it lacked, during the 1920s-1940s, a heavy representation of the traditions and institutions then associated with Black culture in the South, the 1960s may be considered the bridge which connected history and geography.
Ideas of how and why that might be the case, within the context of Five Decades, first struck me as apparent while listening to the on-stage conversation between Jackson, fellow artist Alonzo Davis, and Telfair Museums curator Rachel Reese. Jackson's and Davis's stories of establishing art galleries in downtown Los Angeles, building a sustainable cultural arts community, and balancing commitments to careers and political struggle with commitments to family life were not completely unlike what we find in the life stories of East Coast predecessors like Lois Mailou Jones and Augusta Fells Savage.
This observation does not contradict the contexts of ecowomanism and black feminist ethics contexts in which the brilliant essays by Reese, julia elizabeth neal, Melanee C. Harvey, and Tiffany E. Barber place Jackson's work in the forthcoming Five Decades catalog. It simply acknowledges one more powerful aspect of the place she now occupies as an influential contemporary artist of historical importance. In her foreword to the catalog, artist Betye Saar alludes to the significance of Jackson's role as someone whose art and advocacy have bridged gaps:
"In the 1960s, black artists in Los Angeles were struggling to be recognized. Some public venues had integrated exhibitions, but generally speaking black artists were ignored... Suzanne made a concrete imprint when she opened Gallery 32 on Lafayette Park Place..." (Appropriately enough, work by the 93-year-old Saar herself is currently undergoing a kind of revival with forthcoming solo shows at the Los Angeles County Museum of Art and the Museum of Modern Art in New York City.)
After Jackson's, Davis's, and Reese's dynamic conversation, the feeling when walking among the dozens of artworks hung with dazzling appeal in the Steward North and Kane Galleries, absorbing the full impact of the actual exhibit, was like glimpsing a long-hidden priceless American treasure. Those who have yet to treat themselves to the experience still have until October 13, 2019, to do so at the Jepson. Just as importantly, the exhibition catalog is due out September 25 and orders for it are being accepted now.
Continental Crossings & Fortuitous Connections
My journey toward the almost magical evening of June 27 actually began on August 28, 2004, when Ms. Jackson attended my "Harlem Renaissance in Savannah" lecture and book signing at the Carnegie Branch Library in Savannah. Since relocating to the city eight years earlier, she had been surprised to discover the African-American cultural arts scene was as vibrant as it was and included someone who had co-authored (with the late Sandra L. West) the groundbreaking Encyclopedia of the Harlem Renaissance.
I was surprised and impressed to learn she had lived on the West Coast--just as I had in San Francisco--and now taught at the Savannah College of Art & Design (SCAD). If I'd had the slightest prophetic clue of the visual marvels that would be revealed 15 years later, I would have been flat-out amazed.
Mounted wall screen showing video images from life and career of artist and educator Suzanne Jackson. The video was part of the opening for Jackson's Five Decades Retrospective at the Telfair Museums Jepson Center for the Art in Savannah, Georgia, on June 27, 2019. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)
That early meeting was genuinely fortuitous because in those days my responsibilities as a caregiver had already started to limit participation in public events. I nevertheless did make it out occasionally and during the years which followed the lecture our paths crossed enough for an acquaintance to become a friendship. As it turned out, we had more than the cultural arts and California in common. We had both also spent time in Fairbanks, Alaska--she as a child growing up there and me some years later as a U.S. military journalist.
We came to know many of the same creatives and shared enthusiasm over their triumphs. Grief, too, demanded acknowledgement when experiencing the loss of such individuals as painter Allen M. Fireall (1954-2014), his fellow artist and friend Luther E. Vann (1937-2016), and author-educator Ja A. Jahannes (1942-2015). More personal, more blood-connected losses inserted themselves into the stories of our individual lives as well, both stalling and fueling painted poems and poemized visions that would manifest in coming years.
NEXT: A Hidden American Treasure Comes to Revelatory Light (part 2): Jazz, Art, & Partying
author of Dreams of the Immortal City Savannah
and Songs from the Black Skylark zPed Music Player
Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination
That Elemental, the Power of Illuminated Love, would prove a challenge to get published had always been known. Potential traditional publishers had no problems admiring its bold creativity and uninhibited spiritual intensity. What most could not accept was something traditionally troublesome when it comes to artists and the marketplace: the financial risks involved.
With all respect to healthy doubts and sensible reservations, so far as Luther and I were concerned the years of energy, labor, and determination already invested in Elemental by the time 2006 rolled around equated to something more than a calculated transactional value. From the perspectives of our deepest meditations and intentions, the completion of Elemental meant contributing to the cultural legacies established by creative artists like those who made possible such movements as Impressionism, Cubism, Surrealism, and the Harlem Renaissance. This last, especially, was one which had already stamped our destinies as Luther had studied with artists of the Harlem Renaissance and I had already co-authored Encyclopedia of the Harlem Renaissance.
The center image for this art graphic features the first two stanzas of a poem by Aberjhani from ELEMENTAL (p. 22) titled "Past, Present & Future Are One" based on a Luther E. Vann painting of the same title. The third-eye illustration seen above was drawn by Jason Maurer when the poem was published in the former SCAD newspaper The Georgia Guardian in 1993, 15 years prior to the publication of ELEMENTAL. The combined creative synergy demonstrates how ELEMENTAL has helped to inspire and empower others from the beginning.
But once creative passion and committed partners empowered us to finally produce a physical book, we reached two important conclusions. First: we recognized the need to articulate, both for potential buyers and booksellers, as definitively as we could, the goals and values inherent in Elemental. Secondly: it seemed obvious the work could be adapted for different mediums. These considerations resulted in the following statements:
When envisioning Elemental as a staged musical or as a video production, I described it thus:
...An exploration and documentation of the way human beings occupy public spaces in interpretative contrast to how they experience inner spaces... It illustrates the way collective intention makes communal interaction possible while individual need and impulse maintain the integrity of a person's separate being.
For example, the Luther E. Vann painting "Christ Listening to Stereo" (p. 27) is of a youth on a bus in New York City (please see image below). The image reveals how the youth is at once physically part of a larger setting while remaining, via his personal stereo, completely apart from it. Immersed in his music, he claims a connection to the artist who made the music and who allows him to not only share in the expressed creative passion, but to utilize the same as a kind of soundtrack for his own anticipations, memories, desires, needs, or fears of the moment. Very similar and yet very different scenes are enacted in such public spaces as parks, malls, back yards, office buildings, clubs, and street corners. They all make the individual part of a larger whole even while many individuals continue to exist primarily as isolated fragments of that whole.
Contemporary award-winning American author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.