Geographically, the killing of Ahmaud Arbery was closer than that of Elijah McClain because it occurred only an hour’s drive from where I grew up and where people who mean a great deal to me have family members. But for some reason McClain’s death, although it occurred all of 1,600 miles away in Aurora, Colorado, felt closer. I did not understand why until recalling two poems written more than a decade ago. The memory of both forced me to sit down and wonder how it was something written so far in the past was having such a powerful impact on my life in 2020.
The first composition is a song lyric titled “ELI-JAH” originally published in the first edition of the novel Songs from the Black Skylark zPed Music Player (sung by a character named Ruzahn), and later in the poetry collection titled Visions of a Skylark Dressed in Black. It is about a man who refuses to accept reports his brother has been killed so he keeps singing his name, Eli-Jah, to let him know he’s committed to finding him. The complete lyric is too lengthy for the purposes of this post but these are the last 2 verses:
The second text which surprised me with an unexpected emotional connection to McClain is 2 lines at the end of the poem “Vampire Song: The Last Bloodfeast,” also from Visions of a Skylark Dressed in Black. I recalled when writing the lines that they sounded strange and I changed them several times but always switched back because somehow they felt honest. Reading them, now, I’m stunned at how close they come to an image combination frequently associated with Elijah McClain: the violin and kittens, for his compassionate practice of playing for them on his lunch breaks. This is the quote from “Vampire Song”:
“Soft upon my right thigh, an oddly-colored kitten
There is a possibility I’m making more of these parallels than I should and some might even argue I am forcing them where there are none. They would have a right to that belief.
Before identifying the subconscious links stirring within me such a strong response to the shooting death of McClain, I considered writing a blog titled Music for a Black Skylark in Mourning to express the lingering grief. So I looked for a music video with the words “Black Skylark” in the title and found two. Either one, I felt, could serve as a worthy tribute to McClain and believe he would have appreciated either. The one with which I’ve chosen to close is from volume 5 of the China Meditation Ethno Music Project and titled “A Black Skylark.”
Author of Dreams of the Immortal City Savannah and co-author of Encyclopedia of the Harlem Renaissance.
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
The original subject scheduled for this post was the 100th anniversary of the "Harlem Hellfighter's" celebratory parade through New York City in February, 1919, following the United States' and allies' successful campaign to end World War I in Europe. For the African Americans who comprised the unit, participation had meant another step toward gaining racial equality and ending unwarranted violence against them at home. With Black History Month only a couple of weeks away and commemorations of the Harlem Renaissance Centennial now kicking off around the globe, the subject would have been timely and appropriate.
However: just as humanity had to address the impact of various forms of violence--such as war, lynching, and race riots--during the Jazz Age Harlem Renaissance, we find ourselves doing the same in 2019, an entire century later. Too often, the casualties you might anticipate hearing about are not the military personnel or police officers who confront danger as part of their profession. They tend to be children in school classrooms, at parties, attending concerts, playing in front yards, immigrating from one oppressive situation to another, or just nestled at home among family members assumed to be dedicated to their safety and wellness.
The beauty of all they were or may have become is gone in the flash of one horrific moment. Rather than revisit yet again the question of why so many of us exercise so little compassion toward children and disregard the potential inherent in every child, I launched the Kaleidoscope Moons Art Series as one way to reclaim with compassion the beauty of lives lost too soon.
A New Perspective on an Old Wound
How to survive and cope with grief over the loss of an offspring is a dilemma I began exploring as a writer through poems in my first book, I Made My Boy Out of Poetry, and then later in essays in The American Poet Who Went Home Again. As the year 2019 slowly gains momentum, I am viewing the subject through a distinctly 21st century lens and re-engaging it as a visual artist via the Kaleidoscope Moons series. Why at this precise time? Largely because of what I expressed in these notes on the series:
STORY BEHIND THE SERIES
The American media has proclaimed the heroics of 13-year-old Jayme Closs for managing after three months to escape her kidnapper. However, she lost her parents to the abductor's shotgun blasts and in that instant experienced the destruction of her childhood. Clearly the concept of compassion held no meaning for him and a civilized society is obligated to reflect on possible reasons why.
What roles, for example, might the glamorization of hatred and sustained monetization of war play in Closs's abductor's choice to ignore the excruciating pain he would cause a child and her family? How did institutionalized practices which place the well-being of children toward the lower end of any list of priorities possibly intensify his nihilism? When reflecting on likely answers, this much becomes clear: the degree to which any given individual might be held accountable for helping maintain a culture of indifference and, by doing so, contribute to the malevolent destruction of human life is a consideration which can no longer be avoided.
NEXT: Kaleidoscope Moons Reclaim with Compassion the Beauty of Lives Lost Too Soon Part 2
Founder of the 100th Anniversary of the Harlem Renaissance Initiative and creator of the Silk-Featherbrush Art Style, Aberjhani's work as both an author & an artist have been acclaimed by critics, readers, and cultural arts supporters around the world.
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.