An unidentified Black Man stands outside a tent in Tulsa’s previously-affluent Greenwood District. Following the 1921 riot many African American survivors were forced to live for months in tents and other makeshift accommodations. (photograph courtesy of the Black Holocaust Society) Most of us have seen a filmed interview or 2 where an African-American veteran of World War I or World War II talks about how they had to fight one war overseas and then returned home to fight a different kind of war—for equal civil rights—here in America. What many of us may not know is how truly war-like some of the confrontations at home could become. It is because of what happened in Tulsa, Oklahoma, from May 30-June 1, 1921, and past those dates that many people’s thoughts turn to a different kind of commemoration when observing Memorial Day every year. I was unaware of the event that has become known as the Black Wall Street Riots until conducting research to write Encyclopedia  of the Ha

News about homegrown and foreign terrorism receives a lot of broadcast media airtime and focused attention online. It has become a pervasive theme in the developing story of our 21st century lives. Still, it is not something with which most us can ever afford to become so comfortable that we take it for granted in the same way that we take doing the laundry or drinking a cup of coffee for granted. Nor should we. I almost refused to allow myself to believe the reports about the shooting Wednesday (June 17, 2015) at the Emanuel African Methodist Episcopal Church in Charleston, SC. Six women and three men shot dead by one Dylann Storm Roof. I almost succeeded in believing the massacre had not occurred so close to where I grew up in Savannah, Georgia. Then I reminded myself that denial of evident truth is also something we cannot afford to indulge in today's socially and politically tumultuous climate. Please click the link to read the full essay : Shifting Points of View and

( Detailed section of "Bettin' On Herself" artwork by Luther E. Vann from the book ELEMENTAL, The Power of Illuminated Love )  Success for the creatively-inclined individual can be defined in many ways. Certainly there are those who necessarily measure their triumphs in terms of monetary gains. There are others for whom success means the refinement of a process, participation in a unique endeavor, the achievement of a level of personal mastery, or the realization of a rare kind of vision. For some, it is all of the above. Upon agreeing to work with the artist Luther E. Vann on a book showcasing contemporary art, ekphrastic poems, and short essays in 1991, there was little reason to believe it would ever see publication much less gain recognition as a “success.” It was not the kind of work on which publishers preferred to take chances. Neither the artist nor this author at the time commanded such compelling presences in the marketplace as to make a vic

Classic portrait of Langston Hughes by the German artist Winold Reiss (Credit: Smithsonian Magazine) “We know we are beautiful. And ugly too. The tom-tom cries and the tom-tom laughs.”––Langston Hughes Among the superstars who recently joined late-night television talk show host Arsenio Hall on the set of his newly-revived program was hip-hop pioneer and mogul Russell Simmons. In addition to expressing enthusiasm over sharing meditation with his children and exploring new film opportunities in Hollywood, Simmons spoke briefly and somewhat reservedly about a recent controversy involving artistic freedom versus social responsibility. Without going into details about the scandal-plagued “Harriet Tubman Sex Tape” video that he posted on, and then quickly removed from, his All Def Digital YouTube channel, Simmons admitted the backlash it created prompted the only instance where he felt compelled––after being pressured by different civil rights organizations––to withdraw artis

Martin Luther King Jr. waves at crowd during 1963 March on Washington. (Associated Press file photo) “When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness.” ––Martin Luther King, Jr., I Have a Dream I n its essence, “ I Have a Dream ” is one citizen’s soul-searing plea with his countrymen––Whites and Blacks––to recognize that racial disparities fueled by unwarranted bigotry were crippling America’s ability to shine as a true beacon of democracy in a world filled with people groping their way through suffocating shadows of political turmoil , economic oppression, military mayhem, starvation, and disease. The speech is particularly remarkable for the way it balances a militant rejection of racial and politica

                   The ever-popular LL Cool J on the March 2013 cover of ESSENCE Magazine . “What I’m sowing today, I be reaping tomorrow So here’s some joyful bars, to replace your sorrow.” --LL Cool J (from Old School New School ) It was very difficult not to laugh when reading Robbie Ettelson’s satirical rant, “Being Positive is for Chumps,” in last week’s online Acclaim Magazine , against celebrity rappers for their inspiration-oriented tweets. In fact, I’ll admit it. Even though the sarcastic tirade was based in large part on a quote from The River of Winged Dreams , the subtitle of the piece almost sent me rolling on the floor: “If Robbie of Unkut comes across one more inspirational tweet from a rapper he's going to vomit rainbows.” At the same time, I smiled at the realization that the quotes which apparently have threatened to turn Robbie’s tummy inside out were often, for the rappers who shared them, not just quotes at all. They were testimonials to w

“We each have lessons to learn and to teach, and healing is something we all do together.”—David Bedrick ( Talking Back to Dr. Phil ) Black History Month is a time I usually reserve for purchasing and reading books by and about African Americans to help add functional substance to the month’s cultural and educational value .  It therefore was unlikely that I would read David Bedrick’s Talking Back to Dr. Phil ––after receiving a copy as a gift––any time soon.  This is what happened to change my mind: Just as I was preparing to place the book halfway between a stack of titles waiting for my attention, I took a quick look inside at the acknowledgments page and read this opening sentence: “About twenty-five years ago, I had the privilege of hearing the music and poetry of Etheridge Knight, a freedom-loving black poet living in Boston.” Since Knight was one of my all-time favorite tortured-soul scarred-radical-genius explosively-complex literary heroes, I knew well

Though up and live, the website has been adding new content at a moderate pace as students, authors, teachers, historians, researchers and other interested visitors familiarize themselves with it and utilize the unique content to their advantage. The following is an abbreviated table of contents: 100 th Anniversary of the Harlem Renaissance   Home Page The Harlem Renaissance the Year 2020 The Approaching 100th Anniversary of the Harlem Renaissance In Celebration of Literary Cultural Migrations W.E.B. Du Bois and a Lesson from the Master Teacher Known as History Call for 100th Anniversary of the Harlem Renaissance Papers Bright Skylark Literary Productions 100th Anniversary of the Harlem Renaissance Website Launches - Bright Skylark Literary Productions

Website logo for 100th Anniversary of the Harlem Renaissance The exact start of the Harlem Renaissance cannot be easily identified––nor, for that matter, can its end. There are in fact those who maintain that the Harlem Renaissance has never come to full head-on conclusion. It has instead adapted, evolved, and shifted forms like a chameleon of cultural consciousness and moved with steady unimpeded grace from one decade to the next and from one century to the next. As for when it started: the physical migration of African Americans out of rural areas of the South, from the Caribbean and elsewhere into the New York City neighborhood of Harlem during the 1910s, certainly set the stage for the dazzling explosion of creative genius that would come to be known as the Harlem Renaissance . The people of African descent who made their way to Harlem “on the first thing smoking,” as Zora Neale Hurston put it, not only became captivating subjects of paintings, plays, novels, poetry,

Montage of African Americans and Abraham Lincoln illustrating significance of the Emancipation Proclamation . ( Image courtesy of Library of Congress Public Domain ) Welcome to the first of this special 3-part article series presented in honor of the 150th Anniversary of the Emancipation Proclamation : The fact that an African American sits in the White House at the helm of government in the United States of America on this 150th anniversary of Abraham Lincoln’s Emancipation Proclamation represents both phenomenal political symbolism and a victory of faith in democracy that should not be lost on any American. Thoughts of the Emancipation Proclamation or the text of the Thirteenth Amendment to the U.S.  Constitution generally evoke images of American Blacks departing fields and kitchens to lend their own interpretation to the country’s great experiment in western democracy. But the end of legalized slavery did more than provide liberation for the bodies of

                                President Barack Obama on the cover of TIME Magazine . “Beneath the armor of skin/and/bone/and/mind most of our colors are amazingly the same.” --from ELEMENTAL, The Power of Illuminated Love (Aberjhani) Despite the Associated Press’s recent gloomy poll on racial attitudes in the United States, most Americans would probably agree that race should not have played as powerful a role as it did in the 2012 presidential election campaign resulting in the ultimate re-election of Barack Obama . But there are at least two good reasons that it did. First, consider the approximately one million African-American men and women currently either imprisoned, on parole, or rushing blindly down a path likely to lead to prison. Too many of them grew up, during any given decade of the last half century, believing they were either destined to go to prison as some form of rites of passage, or they should expect to die ––as Trayvon Martin and my brother

                               ( Photo of late actor Michael Clarke Duncan by Ethan Miller for WireImage ) Since his emergence during the 1980s and 1990s as a master of horror and suspense, author Stephen King has enjoyed popularity among a racially diverse reading audience. His popularity among African Africans likely ticked up a notch when his novel The Green Mile was made into a movie in 1999 and the late Michael Clarke Duncan brilliantly brought King’s character, John Coffey, to awe-inspiring life. Duncan, who died September 3, 2012, at the age of 54 from complications following a heart attack suffered in July, received an Academy Award nomination for the role. Moreover, he actually won the Saturn Award, Black Reel Award, Broadcast Film Critics Association Critics’ Choice Award, and Southeastern Film Critics Association Award for his performance. The accolades that rained upon Duncan and the fact that he earned himself a spot among Hollywood A-listers di

Image still from the video-poem Notes for an Elegy in the Key of Michael . “It’s very important to keep the historical context in mind as you contemplate the nature of love and service required in the 21st century.” –Cornel West, Hope on a Tightrope To what extent might the phenomenal entertainer and humanitarian Michael Joseph Jackson have been the target of an extended guerrilla decontextualization campaign throughout the second half of his life? Hardcore devotees to Jackson’s music and altruistic humanitarian vision would say there can be no question that he was targeted in such a manner. Hardcore doubters might say maybe he was the one doing the guerrilla decontextualizing through the evolving manipulations of his public profile as a performance artist. They point to his chameleon-like shift from a distinctly afrocentric appearance in one decade to androgynously multi-ethnic in the next, and in his final years to an almost ethereal projection––a figure solidly in

                         C lassic silhouette of "King of Pop" Michael Jackson . (public domain) Assistant program director “Lady Grace" at Savannah State University’s WHCJ radio station (90.3 FM) pointed out during one of her shows at the beginning of June that June and August represented the station’s “Michael Jackson time.” By that, she meant listeners could expect to hear during these months an occasional extended broadcast of music by the late enduringly great Mr. Jackson . She then launched into an uninterrupted set that lasted for longer than I could stay tuned in to listen. The music spanned every period of the creative genius’s exceptionally prolific career and included a variety of samplers from innovative mixes by diverse musicians and producers. In contrast: I recalled a fellow author informing me that she was “burned out” on Michael Jackson and didn’t see the point of different people’s continued expressed devotion to him or his work.  I u

                                                  Rev. Jeremiah Wright (press release photo) “…Y ou are looking at the miracles and missing the meaning behind the miracles.” --Rev. Jeremiah A. Wright Guerrilla decontextualization is a somewhat ungainly term that falls more out of line than in line with similar coined phrases such as: guerrilla marketing, guerrilla filmmaking, or guerrilla street artist. These comparable terms have in common ideas of creative expansion or independent expressiveness. Guerrilla decontextualization on the other hand belongs on the more sinister lexicon family branch of the term guerrilla warfare. It can be defined as the practice of extracting such elements of media technology as video clips, sound bites, and manipulated images for largely two purposes.  One would be to intentionally misrepresent an individual’s character or intentions in order to decrease any measure of influence or authority they might possess in either public or

Cover of the forthcoming Visions of a Skyalrk Dressed in Black eBook . The story behind the annual Juneteenth celebration is now fairly well known. The event commemorates June 19, 1865, the day slaves in Galveston, Texas, and other parts of the state learned for the first time they had actually been freed via the Emancipation Proclamation two years earlier. There is not much with which to compare such an event to in the year 2012 . But try this: imagine how a group of prisoners might feel if they learned their innocence had been proven years ago and orders for their release signed but left forgotten in someone’s desk drawer. At this point in time, just three years before the 150th anniversary of Juneteenth, the holiday has come to represent a great deal more than recognition of delayed freedom. A statement from the Juneteenth Worldwide Celebration website founded by Clifford Robinson put it as follows: "Juneteenth is a day of reflection, a day of renewal, a p

Historian Carter G. Woodson, who during the Harlem Renaissance founded Black History Week––later to become Black History Month––was a powerful visionary able to resist the constant denigration of his people’s humanity as represented by institutional racism and counter it with more positive affirmations made with groundbreaking research and publications. While twentieth century organizations such as the American Eugenics Society and the Ku Klux Klan devoted their resources to asserting the inferiority of African Americans, Woodson valiantly identified among his people examples of genius and innovation that revealed a very different story. For the full article by Aberjhani please click this link: Notebook on Black History Month 2012 (Part 1): Carter G. Woodson and Company - National African-American Art | Examiner.com

President Barack Obama greeting military personnel at Pensacola base in 2010 . (White House photo) Prior to leaving Washington D.C. on December 23 to join his family on Christmas vacation in Hawaii, President Barack Obama spent the week advocating for passage of the Payroll Tax Cut Extension, finally achieving a last-minute victory in the kind of intense political tug of war that characterized much his presidency in 2011. His endurance in his third year as the “leader of the free world” and the often-debated advances he has achieved on behalf of the U.S. in the face of economic and political upheavals that shook the world place him at number 2 in the current countdown . To read more of the article by Aberjhani please click this link : Countdown of 10 amazing moments from the year 2011: No. 2 President Obama - National African-American Art | Examiner.com

Artist Lei Yixin with model of Martin Luther King Jr. memorial monument . (photo courtesy of the MLK Foundation) The opening of the Martin Luther King Jr. Memorial on the National Mall in Washington, D.C., to the public on October 16, 2011, both confirmed Dr. King’s place in world history and marked the triumphant implementation of a plan established by the Alpha Phi Alpha Fraternity in 1984. King is only the fourth American citizen who was not a president to receive such an honor and the first African American to do so. To continue reading please click this link : Countdown of 10 amazing moments from the year 2011: No. 4 the MLK Jr. Memorial - National African-American Art | Examiner.com

Poet Nikky Finney and novelist Jesmyn Ward.(photo courtesy of National Book Foundation) It is not uncommon in modern times for African-American women to win major literary awards but it is rare, if not unprecedented, for two such women to win the same major award in separate categories in the same year. That is precisely what happened on November 16, 2011, when Jesmyn Ward won the National Book Award for fiction and Nikky Finney accepted the award for poetry. “We begin with history” Finney, a professor of English and creative writing at the University of Kentucky, won the award for Head Off & Split, her fourth volume of poetry. Her previous titles include: The World Is Round (2003); Rice (1995); and On Wings Made of Gauze (1985). She is also author of the short story collection, Heartwood (1998). Upon accepting her National Book Award, Finney may have summed up just how triumphant the events of the evening turned out to be when she noted the following at the beginning her speech: P