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Archive for the ‘John Lewis’ Category

SOUNDTRACK: ROKIA TRAORÉ-GlobalFEST Tiny Desk (Home) Concert #136 (January 14, 2021).

Rokia Traore.GlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The final artist of the fourth and final night is Malian singer Rokia Traoré.

Rokia Traoré performed at globalFEST in 2005, the music festival’s second year, and it’s a thrill to present her meditative performance as part of Tiny Desk meets globalFEST. Her work is rooted in the Malian musical tradition, but defies the confines of a single culture. Born in Mali to a diplomat father, Traoré had a nomadic upbringing that exposed her to a wide variety of international musical influences. She joins us from Blues Faso, a theater inside her Foundation Passerelle in Mali, which she created to support emerging, interdisciplinary artists, from music and the performing arts to visual arts and photography.

She plays three songs that more or less segue into each other.  I don’t know a lot about music from Mali, but the little I know I can recognize from the Ngoni played by Mamah Diabaté and the guitar played by Samba Diabaté, with lots of speedy runs.   In “Souba Lé” melody is played on the balafon by Massa Joël Diarra (although I wish they’d have shown us it up close).  Both this song and “Tiramakan” feature subtle bass from Aristide Nebout.  The final song “Fakoly” is a little louder and drummer Roméo Djibré is a bit more prominent.

But all of these songs are all about Rokia Traoré’s vocals which soar and ring out.

[READ: February 25, 2021] March Book 3

Each book has gotten longer.  Book one was 121 pages, Book 2 was 187 and Book 3 is 246.

This book begins right after the bombing of the Sixteenth Street Baptist church in Birmingham, Alabama in 1963.   You meet the victims before they were killed.  It continues through until the passing of the Voting Rights Act in 1965.  Holy cow was there a lot of violence in these two years and the amazing art by Nate Powell never shies away from showing it.

Eagle Scouts at Klan rallies who then go on to kill Black teenager’s, hicks in pickups celebrating the deaths of the girls in the church with anti-integration chants and, as we see more and more in this book, police killing innocent people and not getting in any trouble because of it.

This book has opened my eyes to what Black people have known all along about police forces.  That they are completely corrupt and need to be restructured from the ground up.  When you see that it was their job to be racist in 1963, is it any surprise that they are still racist in 2021?

Reading a book like this I can’t help but think that the best thing we could have done for our country would have been to let the south secede.  Bring all people of color north and let the racists fester in their own lack of diversity.  Because their racism poisons the whole country.  And yet that is exactly the opposite belief that this book is based upon.

I’m embarrassed at how naïve I am. (more…)

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SOUNDTRACKELISAPIE-GlobalFEST Tiny Desk (Home) Concert #136/156 (January 14, 2021).

ElisapieGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The second artist of the fourth and final night is First Nations singer Elisapie.

Elisapie returns to Tiny Desk for a show-stopping performance from Montreal, with the disco globe of our dreams helping to light her set. Elisapie, in both her songs and work, is a resounding advocate of First Nations culture in Canada. In her set, she harnesses an incredible energy with electrifying, emotive vocals.

I had really enjoyed Elisapie’s previous Tiny desk.  I found her to be a less extreme, but no less dramatic performer than Tanya Tagaq.  Her band is outstanding creating all kinds of textures to surround her voice.

The first song is “Qanniuguma.”  It starts quietly with a single ringing guitar note from Jean-Sébastien Williams and little taps of percussion from Robbie Kuster.  Joshua Toal adds some quiet bass as the guitar plays some higher notes.  After a minute Elisapie starts singing.  Another 30 seconds later the drums get louder and Jason Sharp start sprinkling in some raw bass saxophone.  As the song grows more intense, Elisapie adds some breathing and chanting–throat singing.  Things quiet down and then build again with the sax and the guitar soloing as the drums and bass keep things steady

Behind her you can see Mont Royal, which has a lot of history.

The second song “Wolves Don’t Live by the Rules” is “a small song” but very meaningful.  It starts in a similar way with ringing notes an thumping drums.  She sings this one in  English and it feels like a much more conventional sounding song.  It’s pretty quiet but the instrumental breaks adds huge guitar chords and the end is really loud.

Introducing the final song, “Arnaq” (which means Woman) she says women tend to forget that we have a lot of strength and we should celebrate it loud and clear.  This one opens with a loud raw sliding guitar like an early PJ Harvey song.  The song’s chorus builds with an “ah ya ya ya” as the instruments add chunky noises–scratches from the guitar and skronks from the sax and all kinds of precious.  It’s a cool noise fest, although the guitar could be a smidge louder.

I’d really like to see her live.

[READ: February 25, 2021] March Book 2

Book Two picks up John Lewis’ life.

Like the first, it starts with Lewis’ preparations for the inauguration of Barack Obama.

Then it flashes back.  Lewis was in college and had moved to Nashville where the growing student movement was gaining strength.

The visuals are even more striking in this book.  The panels of the white woman pouring water and then soap (or flour) on the quietly sitting Black diners and then hosing them down is really arresting.  As is the sequence (which is almost entirely black) of a room full of peaceful protestors being locked in a room when the fumigator was set off.

I couldn’t believe that a man couldn’t really left us there to die.  Were we not human to him?

Then next round of protesta was at the segregated movie theaters.  I love that they chose the Ten Commandments to protest (the irony was lost on the whites in Alabama).  The Black protesters would line up and would be refused seating.  Hundreds of people who would then get back on line and be refused seating again.  Whites would throw things at them and hurl abuse at them. (more…)

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SOUNDTRACKEDWIN PEREZ-GlobalFEST Tiny Desk (Home) Concert #136/155 (January 14, 2021).

Edwin PerezGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The first artist of the fourth and final night is Edwin Perez.

From the basement of the Bowery Electric in downtown Manhattan, composer and vocalist Edwin Perez and his 10-piece band come together to put on a show. With a strong backbeat and enough room to move around, Perez’s up-tempo energy brings the party and keeps it going. The theme of the night is salsa dura music, which originated in New York in the 1970s and gained acclaim thanks to acts like the Fania All-Stars and Spanish Harlem Orchestra.

This set is a lot of fun (even with the seriousness of the second song).  Cuban music is so full of percussion and horns it’s hard not to want to dance to it.  And this band has three percussionists: Nelson Mathew Gonzalez: bongo, cowbell (from Puerto Rico); Manuel Alejandro Carro: timbales (from Cuba); Oreste Abrantes: (from Puerto Rico).  The horn section is also pretty large: Leonardo Govin (from Cuba) and Michael Pallas (From Dominican Republic): trombone; Jonathan Powell (from USA) and Kalí Rodriguez (from Cuba): trumpet.

They play three songs. “La Salsa Que Me Crió” has lots of percussion and a great trumpet solo.  Perez even dances during the instrumental breaks.  And throughout, Jorge Bringas (from Cuba) keeps the bass steady.

After introducing the band, he says “Say her name Breonna Taylor.  Say his name Philando castile.  Say his name George Floyd.  End the abuse.”  This is the introduction to the quieter “No Puedo Respirar” (I Can’t Breathe).   Despite the subject, this song is not a dirge.  I don’t know what the words are but there is joy in the music as well.  There’s a jazzy keyboard solo from Ahmed Alom Vega (USA).

Yuniel Jimenez (From Cuba) opens the final song “Mi Tierra” with a fantastic introductory solo on the Cuban tres guitar.  The rest of the song brings back the Cuban horns and percussion. There’s even a drum solo (or two) in the middle.

[READ: February 25, 2021] March Book 1

I had heard amazing things about this trilogy of books.  I don’t know why it took me so long to get around to reading them.  Now that John Lewis is dead for almost a year, it was time to read them.

This is essentially a biography so it’s not easy to write about.  It’s also an incredible story of selflessness, fortitude and unbelievable courage.

The framing device is very well executed.  After a brief prologue that shows John and is marchers getting attacked by police, the book shows us Washington D.C. January 20, 2009, the day that Barack Obama is being inaugurated President.  Since John is (in 2009) in office he will be attending the ceremonies.

As he is preparing and getting ready to leave, a woman and her two children walk into his room hoping to look at Mr. Lewis’ office–a inspirational moment for her young boys.  But it happens that John (or Bob as he is called) is still in his office. They are embarrassed to interrupt, but he welcomes them warmly and shows them some of the things around his office.

Like photos of him meeting President Kennedy when Lewis was 23.  And from the March on Washington in 1963, where Dr King gave his “I have a dream” speech.

Then the boy asks him why he has so many chickens in his office.

The story then flashes back to young John (called Bob by his parents).  His father purchased 110 acres in Pike County, Alabama for $300. John was incharge of the chickens on the farm.  He also loved preaching.  He learned to read at 5 and began preaching to the chickens (they never said Amen or anything).

He also loved going to school.  He would even away from his house on the days his father insisted all the children work in the field because he didn’t want to fall behind.  (Even if it meant getting in trouble).

One of the first being moments in his life wa when his Uncle Otis drove him North.

Otis knew which places offered colored bathrooms and the ones where you would never get out of the car: “Alabama, Tennessee, Kentucky.  These were the states we had to be careful in as we made our way North.”

It wasn’t until they got to Ohio that his uncle relaxed.  They arrive in Buffalo 17 hours later and John was amazed to see white and black people living next door to each other. (more…)

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SOUNDTRACK: A moment of silence (July 30, 2020).

[READ: July 30, 2020] “Together, You Can Redeem the Soul of Our Nation”

Congressman John Lewis is one of the most important civil rights leaders of the 20th and 21st century. His graphic novels March are required reading.

Lewis died on July 17.  He had the presence of mind to write this essay shortly before his death and asked The New York Times to publish it on the day of his funeral.

I am presenting it here in full because it is so full of hope, so full of love and so meaningful, that everyone should read it.

~~~~

While my time here has now come to an end, I want you to know that in the last days and hours of my life you inspired me. You filled me with hope about the next chapter of the great American story when you used your power to make a difference in our society. Millions of people motivated simply by human compassion laid down the burdens of division. Around the country and the world you set aside race, class, age, language and nationality to demand respect for human dignity.

That is why I had to visit Black Lives Matter Plaza in Washington, though I was admitted to the hospital the following day. I just had to see and feel it for myself that, after many years of silent witness, the truth is still marching on.

Emmett Till was my George Floyd. He was my Rayshard Brooks, Sandra Bland and Breonna Taylor. He was 14 when he was killed, and I was only 15 years old at the time. I will never ever forget the moment when it became so clear that he could easily have been me. In those days, fear constrained us like an imaginary prison, and troubling thoughts of potential brutality committed for no understandable reason were the bars.

Though I was surrounded by two loving parents, plenty of brothers, sisters and cousins, their love could not protect me from the unholy oppression waiting just outside that family circle. Unchecked, unrestrained violence and government-sanctioned terror had the power to turn a simple stroll to the store for some Skittles or an innocent morning jog down a lonesome country road into a nightmare. If we are to survive as one unified nation, we must discover what so readily takes root in our hearts that could rob Mother Emanuel Church in South Carolina of her brightest and best, shoot unwitting concertgoers in Las Vegas and choke to death the hopes and dreams of a gifted violinist like Elijah McClain.

Like so many young people today, I was searching for a way out, or some might say a way in, and then I heard the voice of Dr. Martin Luther King Jr. on an old radio. He was talking about the philosophy and discipline of nonviolence. He said we are all complicit when we tolerate injustice. He said it is not enough to say it will get better by and by. He said each of us has a moral obligation to stand up, speak up and speak out. When you see something that is not right, you must say something. You must do something. Democracy is not a state. It is an act, and each generation must do its part to help build what we called the Beloved Community, a nation and world society at peace with itself.

Ordinary people with extraordinary vision can redeem the soul of America by getting in what I call good trouble, necessary trouble. Voting and participating in the democratic process are key. The vote is the most powerful nonviolent change agent you have in a democratic society. You must use it because it is not guaranteed. You can lose it.

You must also study and learn the lessons of history because humanity has been involved in this soul-wrenching, existential struggle for a very long time. People on every continent have stood in your shoes, through decades and centuries before you. The truth does not change, and that is why the answers worked out long ago can help you find solutions to the challenges of our time. Continue to build union between movements stretching across the globe because we must put away our willingness to profit from the exploitation of others.

Though I may not be here with you, I urge you to answer the highest calling of your heart and stand up for what you truly believe. In my life I have done all I can to demonstrate that the way of peace, the way of love and nonviolence is the more excellent way. Now it is your turn to let freedom ring.

When historians pick up their pens to write the story of the 21st century, let them say that it was your generation who laid down the heavy burdens of hate at last and that peace finally triumphed over violence, aggression and war. So I say to you, walk with the wind, brothers and sisters, and let the spirit of peace and the power of everlasting love be your guide.

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