Bibliography of Marvin X

Bibliography of Marvin X

Books

Sudan Rajuli Samia (Fresno: Al Kitab Sudan Publishing, 1967)
Black Dialectics (Fresno: Al Kitab Sudan, 1967)
Fly To Allah: Poems (Fresno: Al Kitab Sudan, 1969)
Son of Man: Proverbs (Fresno: Al Kitab Sudan, 1969)
Black Man Listen: Poems and Proverbs (Detroit: Broadside Press, 1969)
Woman-Man's Best Friend (San Francisco: Al Kitab Sudan, 1973)
Selected Poems (San Francisco: Al Kitab Sudan, 1979)
Confession of A Wife Beater and Other Poems (Fresno: Al Kitab Sudan, 1981)
Liberation Poems for North American Africans (Fresno: Al Kitab Sudan, 1982)
Love and War: Poems ( Castro Valley: Black Bird Press, 1995)
Somethin Proper: Autobiography (Castro Valley: Black Bird Press, 1998)
In The Crazy House Called America: Essays (Castro Valley: Black Bird Press, 2002)
Wish I Could Tell You The Truth: Essays (Cherokee: Black Bird Press, 2005)
Land of My Daughters: Poems (Cherokee: Black Bird Press, 2005)

Beyond Religion, toward Spirituality, BBP, 2007
How to Recover from the Addiction to White Supremacy, a Pan African 12 Step Model, BBP, Berkeley, 2008

Eldridge Cleaver: My friend the Devil, a memoir, BBP, 2009.

Mythology of Love, toward healthy psychosexuality, BBP, 2009

The Wisdom of Plato Negro, parable/fables, BBP, 2010

Hustler's Guide to the Game Called Life, (Vol. II, The Wisdom of Plato Negro), BBP, 2010

Pull Yo Pants Up fada Black Prez and Yo Self, essays on Obama Drama, BBP, 2010

Notes on the Wisdom of Action or How to Jump Out of the Box, essays, BBP, 2010

I AM OSCAR GRANT, essays on Oakland, BBP, 2010

Soulful Musings on the Unity of North American Africans, BBP, 2010

Guest Editor, Journal of Pan African Studies Poetry Issue, BBP, 2010

Works In Progress

Sweet Tea/Dirty Rice, poems, BBP, 2012

In Sha Allah, A History of Black Muslims in the San Francisco Bay Area, 1954-2004 (Cherokee: Black Bird Press, 2012).

Seven Years in the House of Elijah, A Woman's Search for Love and Spirituality by Nisa Islam as told to Marvin X, 2012.

Play Scripts and/or Productions

Flowers for the Trashman, San Francisco: San Francisco State University Drama Department, 1965.

Flowers for the Trashman, San Francisco: Black Arts West/Theatre, 1966.

Take Care of Business, musical version of Flowers with music by Sun Ra, choreography by Raymond Sawyer and Ellendar Barnes: Your Black Educational Theatre, San Francisco, 1972.

Come Next Summer, San Francisco: Black Arts/West, 1966.

The Trial, New York, Afro-American Studio for Acting and Speech, 1970.

Resurrection of the Dead, San Francisco, choreography by Raymond Sawyer, music by Juju and Sun Ra, Your Black Educational Theatre, 1972.

Woman-Man's Best Friend, musical, Oakland, Mills College, 1973.

How I Met Isa, Masters thesis, San Francisco State University, 1975.

In The Name of Love, Oakland, Laney College Theatre, 1981.

One Day In The Life, Oakland, Alice Arts Theatre, 1996.
One Day In The Life, Brooklyn, NY, Sistah's Place, 1997.
One Day In The Life, Manhattan, Brecht Forum, 1997.
One Day In The Life, Newark, NJ, Kimako's Blues, 1997.
One Day In The Life, Oakland, Uhuru House, 1998.
One Day In The Life, San Francisco, Bannam Place Theatre, North Beach, 1998.
One Day In The Lifee, San Francisco, Lorraine Hansberry Theatre, 1999.
One Day In the Life, Marin City, Marin City Rec Center, 1999
One Day In the Life, Richmond, Unity Church, 2000.
One Day In the Life, San Jose, San Jose State University, 2000.
One Day In the Life, Berkeley, Berkeley Repertory Theatre, 2000.
One Day In the Life, Sacramento, New Colonial Theatre, 2000.

Sergeant Santa, San Francisco, Recovery Theatre script, 2002.

Other

Delicate Child, a short story, Oakland, Merritt College Student Magazine contest winner, 1963.

Delicate Child, a short story, Oakland, SoulBook Magazine, 1964.

Flowers for the Trashman: A One Act Drama, San Francisco, Black Dialogue Magazine, 1965.

Flowers for the Trashman, Black Fire, An Anthology of Afro-American Writing, edited by Amiri Baraka and Larry Neal, (New York: Morrow, 1968).

Take Care of Business: A One Act Drama, aka Flowers, (New York: The Drama Review, NYU,1968)

The Black Bird (Al Tair Aswad): A One-Act Play, New Plays from the Black Theatre, edited by Ed Bullins with introduction (interview of Ed Bullins) by Marivn X, (New York: Bantam, 1969)

"Islam and Black Art: An Interview with Amiri Baraka" and foreword by Askia Muhammad Toure, afterword by Marivn X, in Black Arts: An Anthology of Black Creations, edited by Ahmed Alhamisi and Haroun Kofi Wangara (Harold G. Lawrence) (Detroit: Black Arts Publications, 1969).

"Everything's Cool: An Interview with Amiri Barka, aka, LeRoi Jones", Black Theatre Magazine, New Lafayette Theatre, Harlem, NY, 1968.

Resurrection of the Dead, a ritual/myth dance drama, Black Theatre Magazine, New Lafayette Theatre, Harlem, 1969.

Manifesto of the Black Educational Theatre of San Francisco, Black Theatre, 1972.

The Black Bird, A Parable by Marvin X, illustrated by Karen Johnson ( San Francisco: Al Kitab Sudan and Julian Richardson and Associates Publishers, 1972).

"Black Justice Must Be Done," Vietnam and Black America: An Anthology of Protest and Resistance, edited by Clyde Taylor (Garden City: Double-day/Anchor, 1973)

"Palestine," a poem, Black Scholar magazine, 1978.

Journal of Black Poetry, guest editor, 1968.

"The Meaning of African Liberation Day," by Dr. Walter Rodney, a speech in San Francisco, transcribed and edited by Marvin X, Journal of Black Poetry, 1972.

Muhammad Speaks, foreign editor, 1970. (Note: a few months later, Marvin X was selected to be editor of Muhammad Speaks until it was decided he was too militant. Askia Muhammad (Charles 37X) was selected instead.)

A Conversation with Prime Minister Forbes Burnham of Guyana, Black Scholar, 1973.

VIDEOGRAPHY

Proceedings of the Melvin Black Human Rights Conference, Oakland, 1979, produced by Marvin X, featuring Angela Davis, Minister Farakhan, Eldridge Cleaver, Paul Cobb, Dezzie Woods-Jones, Jo Nina-Abran, Mansha Nitoto, Khalid Abdullah Tarik Al Mansur, Dr. Yusef Bey, Dr. Oba T-Shaka, and Marvin X.

Proceedings of the First Black Men's Conference, Oakland, 1980, John Douimbia, founder, Marvin X, chief planner, Dr. Nathan Hare, Dr. Wade Nobles, Dr. Yusef Bey, Dr. Oba T'Shaka,Norman Brown, Kermit Scott, Minister Ronald Muhammad, Louis Freeman, Michael Lange, Betty King, Dezzie Woods-Jones, et al.

Forum on Drugs, Art and Revolution, Sista's Place, Brooklyn, New York, 1997, featuring Amiri and Amina Baraka, Sonia Sanchez, Sam Anderson, Elombe Brath and Marvin X.

Eldridge Cleaver Memorial Service, produced by Marvin X, Oakland, 1998, participants included Kathleen and Joju Cleaver, Emory Douglas, Dr. Yusef Bey, Minister Keith Muhammad, Imam Al Amin, Dr. Nathan Hare, Tarika Lewis, Richard Aoki, Reginald Major, Majidah Rahman and Marvin X.

One Day in the Life, a docudrama of addiction and recovery, filmed by Ptah Allah-El, produced, written, directed and staring Marvin X, edited by Marvin X, San Francisco: Recovery Theatre, 1999.

Marvin X Interviews Bobby Seale, co-founder of the Black Panther Party, former actor in Marvin X's Black Theatre: Berkeley, La Pena Cultural Center, 1999.

"Abstract for An Elders Council," lecture/discussion, Tupac Amaru Shakur One Nation Conference, Oakland: McClymonds High School, 1999.

Marvin X at Dead Prez Concert, San Francisco, 2000.

Kings and Queens of Black Consciousness, produced by Marvin X at San Francisco State University, 2001, featuring Dr. Cornel West, Amiri Baraka, Amina Baraka, Dr. Julia Hare, Dr. Nathan Hare, Rev. Cecil Williams, Destiny, Phavia, Tarika Lewis, Askia Toure, Kalamu Ya Salaam, Rudi Wongozi, Ishmael Reed, Dr. Theophile Obenga, Marvin X, et al.

Live In Philly At Warm Daddies, a reading accompanied by Elliot Bey, Marshall Allen, Danny Thompson, Ancestor Goldsky, Rufus Harley, Alexander El, 2002.

Marvin X Live in Detroit, a documentary by Abu Ibn, 2002.

In the Crazy House Called America, concert with Marvin X and Destiny, San Francisco: Buriel Clay Theatre, 2003.

Marvin X in Concert (accompanied by harpist Destiny, violinist Tarika Lewis and percussionists Tacuma and Kele Nitoto, dancer Raynetta Rayzetta), Amiri and Amina Baraka, filmed by Kwame and Joe, Berkeley: Black Repertory Group Theatre, 2003.

Marvin X Speaks at the Third Eye Conference, Dallas, Texas, 2003.

Marvin X and the Last Poets, San Francisco: Recovery Theatre, 2004.

Proceedings of the San Francisco Black Radical Book Fair, produced by Marvin X, filmed by Mindseed Productions, San Francisco, Recovery Theatre, 2004, participants include: Sonia Sanchez, Davey D, Amiri Baraka, Sam Hamod, Fillmore Slim, Askia Toure, Akhbar Muhammad, Sam Anderson, Al Young, Devorah Major, Opal Palmer Adisa, Tarika Lewis, Amina Baraka, Julia and Nathan Hare, Charlie Walker, Jamie Walker, Reginald Lockett, Everett Hoagland, Sam Greenlee, Ayodelle Nzinga, Suzzette Celeste, Tarika Lewis, Raynetta Rayzetta, Deborah Day, James Robinson, Ptah Allah-El, Kalamu Ya Salaam, Marvin X, et al. (Note: let me please acknowledge some of the historic personages in the audience: Gansta Alonzao Batin (mentor of the Bay Area BAM, made his transition shortly after the conference), Willie Williams of Broadside Press, Detroit, Gansta Brown, Gansta Mikey Moore (now Rev.), Arthur Sheridan, founder of Black Dialogue magazine, also co-founders Aubrey and Gerald LaBrie, Reginald Major, author of Panther Is A Black Cat. Thank you all for making this event historic, ed. MX)

Get Yo Mind Right, Marvin X Barbershop Talk, #4, a documentary film by Pam Pam and Marvin X, Oakland: 2005.

Marvin X Live in the Fillmore at Rass'elas Jazz Club, A Nisa Islam production, filmed by Ken Johnson, San Francisco, 2005.

Marvin X in the Malcolm X Room, McClymonds High School, accompanied by Tacuma (dijembe and percussion, dancer/choreographer Raynetta Rayzetta, actor Salat Townsend, filmed by Eddie Abrams, Oakland, 2005.

AUDIOGRAPHY

In Sha Allah, interview with Nisa Islam, Cherokee, 2004.
In Sha Allah, interview with Nadar Ali, Fresno, 2004.
In Sha Allah, interview with Manuel Rashid, Fresno, 2004.
In Sha Allah, interview with John Douimbia, Grand Ayatollah of the Bay, San Francisco, 2004.
In Sha Allah, interview with Minister Rabb Muhammad, Oakland, 2004.
In Sha Allah, interview with Antar Bey, CEO, Your Black Muslim Bakery, Oakland, 2004.
In Sha Allah, interview with Norman Brown, Oakland, Oakland, 2004.
In Sha Allah, interview with Kareem Muhammad (Brother Edward), Oakland, 2004.
Love and War, poems, Oakland, 1995.
One Day In The Life, docudrama, Oakland, 1999.
Jesus and Liquor Stores, Marvin X and Askari X, Oakland, 2002
Wake Up, Detroit, Marvin X interviewed by Lawrence X, Detroit, 2002..
Wish I, interview with Pam Pam, San Francisco, KPOO Radio, 2005.
Wish I, interview with Terry Collins, San Francisco, KPOO Radio, 2005.
Marvin X and the Black Arts Movement, interview with Professor James Smethurst of UMASS, Oakland, 2003.

The archives of Marvin X are at the Bancroft Library, University of California, Berkeley.

China Denounces USA Treatment of Blacks

China Denounces America’s Treatment of Afro-Descendants
china-denounces

China Denounces America’s Treatment of Afro-descendants (African Americans)

By Editor Raushana Karriem

In a scathing report issued by China’s Information Office of the State Council, China condemned America’s treatment of its Afro-descendants and other minorities and cited America’s numerous human rights violations against its minorities.



“The State Department of the United States released its Country Reports on Human Rights Practices for 2010 on April 8, 2011. As in previous years, the reports are full of distortions and accusations of the human rights situation in more than 190 countries and regions including China. However, the United States turned a blind eye to its own terrible human rights situation and seldom mentioned it. The Human Rights Record of the United States in 2010 is prepared to urge the United States to face up to its own human rights issues, “ states the report.

The report cites that Afro-descendants make up 50% of the homeless in Los Angeles, California and have a 32% unemployment rate nationwide.

According to a report of the Working Group of Experts on people of African descent to the Human Rights Council of the United Nations in August 2010, unemployment was a very serious issue for the Afro-descendant community in the United States, with levels of unemployment being, proportionately, four times higher among this population than in the white community. Reference was made to a case where the New York City Fire Department was found to have discriminated against people of African descent who had applied for employment as firemen. Of the 11,000 firemen employed by the New York City Fire Department, only about 300 were of African descent, despite their being about 27 percent of the population of New York (UN document A/HRC/15/18). Nearly one-sixth of black residents in the city were unemployed in the third quarter of 2010. About 140,000 of the city’s 384,000 unemployed residents, or 36 percent, were black (The New York Times, Oct 28, 2010).

Poverty proportion for minorities is also high in the United States. The US Census Bureau announced in Sept, 2010 that the poverty proportion of the black was 25.8 percent in 2009, and those of Hispanic origin and Asian were 25.3 percent and 12.5 percent respectively, much higher than that of the non-Hispanic white at 9.4 percent. The median household income for the black, Hispanic origin and non-Hispanic white were $32,584, $38,039 and $54,461 respectively (The USA Today, September 17, 2010). A survey released by the America Association of Retired Persons on February 23, 2010 found that over the previous 12 months, a third (33 percent) of African-Americans age 45+ had problems paying rent or mortgage, 44 percent had problems paying for essential items, such as food and utilities, almost one in four (23 percent) lost their employer-sponsored health insurance, more than three in 10 (31 percent) had cut back on their medications, and a quarter (26 percent) prematurely withdrew funds from their retirement nest eggs to pay for living expenses. Even in the tough employment environment, 12 percent of African-Americans age 65+ returned to the workforce from retirement, while nearly 20 percent of African-Americans age 45 to 64 increased the number of hours worked and 12 percent took a second job (The Los Angeles Times, Feb 23, 2010). In 2009, there were more than 30,000 black children living in poverty in the nation’s capital, almost 7,000 more than two years before. Among black children in the city, childhood poverty shot up to 43 percent, from 36 percent in 2008. In contrast, the poverty rate for Hispanic children was 13 percent, and the rate for white children was 3 percent (The Washington Post, Sept 29, 2010).

The USA Today on Oct 14, 2010 reported that African-American boys who were suspended at double and triple the rates of their white male peers. At the Christina School District in Delaware, 71 percent of black male students were suspended in a recent school year, compared to 22 percent of their white male counterparts. African-American students without disabilities were more than three times as likely to be expelled as their white peers. African-American students with disabilities were over twice as likely to be expelled or suspended as their white counterparts (USA Today, March 8, 2010).

The health care for African-American people is worrisome. Studies showed that nearly a third of ethnic minority families in the United States did not have health insurance. Life expectancy was lower and infant mortality higher than average (BBC, the social and economic position of minorities). Mortality of African-American children was two to three times higher than that of their white counterparts. African-American children represented 71 percent of all pediatric HIV/AIDS cases. African-American women and men were 17 times and 7 times, respectively, more likely to contract HIV/AIDS than white people, and twice more likely to develop cancer.

Racial discrimination is evident in the law enforcement and judicial systems. The New York Times reported on May 13, 2010, that in 2009, African-Americans and Latinos were 9 times more likely to be stopped by the police to receive stop-and-frisk searches than white people. Overall, 41 percent of the prison population was estimated to be African-American. The rate of African-Americans serving a life sentence was more than 10 times higher than that of whites. Males of African descent who dropped out of school had a 66 percent chance of ending up in jail or being processed by the criminal justice system (UN document A/HRC/15/18). A report said 85 percent of the people stopped in New York to receive stop-and-frisk searches over the past six years had been black or Latino (The Washington Post, November 4, 2010). According to a report of the Law School of the Michigan State University, among the 159 death row inmates in North Carolina, 86 were black, 61 were white and 12 were from other ethnic groups. During the trial process of the 159 capital cases, the number of black members taken out from the jury by prosecutors more than doubled that of non-black members. According to statistics from the Chicago Police Department, the proportion of black people being the criminals and the victims of all murder cases is the highest, reaching 76.3 and 77.6 percent respectively .



In conclusion, The People’s Republic of China demands that America stop using, their cry of Human Rights Violations against other sovereign nations in order to declare war on them to steal their resources when America flagrantly violates the Human Rights of Afro-descendants and other minorities within its own country.

--from Muhammad Speaks

Marvin X at Yoshi's San Francisco Part II

2 - A Day in the Life - Marvin X and Discussion

1 - A Day in the Life - Marvin X and Discussion

One Day in the Life, Marvin X's docudrama of his addiction and recovery from Crack, the longest running African American play in Northern California history, 1996-2002. Ishmael Reed says, "It's the most powerful drama I've seen." It was shown throughout the Bay Area to thousands and thousands of addicts in recovery and the general community, produced by Marvin X's Recovery Theatre. The play was performed nationwide.

One of the venues was Sista's Place in Brooklyn, New York. One evening following the performance was a discussion entitled Drugs, Art and Revolution. Panelists included Omawale Clay, Sam Anderson, Sonia Sanchez, Amina Baraka, Amiri Baraka and Elombe Brath. 5/27/97

On Manning's Reinvention of Malcolm X

Look at the back cover of the book, its "endorsers" and you can predict! AB

AmiriBarakaBooks.com

Sent: Wed, April 20, 2011 6:12:23 AM
Subject: Re malcolm x

From: blackbanjotony@hotmail.com

Though long awaiting this work and having had brief exchanges with Manning on
this subject over the past 35 years, the coming out of this book caught me so
deep into banjos that I didnt realize it was out until a DC journalist
Facebooked me about the rejected _Root_ review.

Several things impress me, or rather unimpress me, about the debate on it. The
first is that little of the debate in the linked pages and other things searches
on it bring up are about Malcolm X and his role in African American liberation,
although many purport to do so. Most seem to dance about one non-political
aspect of the life of Malcolm X in a period when he led a completely different
life and identity, a period when Malcolm wrote he had a mentality that he
considered a degenerate reflection of the oppression of Black folk. None of the
commentary focuses on Malcolm as a political person in a way that for better or
worse Manning no doubt centered.

What seems required is for folk to seriously read this book and forget the minor
and personal controversy and think about how the book faithfully or unfaithfully
serves the truth of Malcolm X. An abundance of books in which Malcolm expresses
his ideas clearly, particularly in the last years of his life are available for
reference and reflection. New evidence based explanations of the realities of
the last years of his life are also available in Taylor Branch's work and in the
release of his FBI files.

Manning is not the first to criticize Haley's role in "The Autobiography of
Malcolm X." What he says is just the tip of the iceberg. That book is accepted
as gospel by many people, but during his last months Malcolm made quite clear
to people around him that he wanted to change the direction of the whole project
and disagreed with Haley, particularly about how the Nation of Islam was
treated. Initially, he had felt that he needed to make no or few criticisms of
the Nation, but to set his own way, even though he knew even before he left the
Nation that his differences were irreconcilable and that the Nation's leadership
was organizing his murder. However, he came to realize that this was a mistake
and that for his own protection both physically and politically, he needed to
expose the corruption, political conservatism, and moral depravity that
characterized the Nation. Manning's assertion that Malcolm wanted that book
to be much more political in the sense that he became much more political and
radical matches what Malcolm was telling people about it in the period just
before his murder. This stuff is documented--as opposed to my memory of
talking to various people in NY about this in the late 1960s--in George
Breitman's book on Malcolm X, Evolution of a Revolutionary. It can also be seen
in the set of speeches and interviews from Malcolm's last year exposing the
Nation and its crimes and corruption available from Pathfinder.

Returning to our debate and not trying to enter it, let me beg for a seriousness
about it. It is also necessary to provide Malcolm and history with the
respect due a real fallable person who is the product, not of divine
revelation, but our gritty human life. Malcolm has become a saint, now distant
enough in actual memory of most folk for people to demand anything but
perfection and to see his life as anything but hagiography

One respect is owed Cornel West. He has written clearly about how his reformist
political perspective and the revolutionary ideas of Malcolm X are in conflict
and why he believes Malcolm was wrong. Few people attempt to do that,
disrespecting Malcolm and in turn disrespecting themselves. Instead,
discussion of Malcolm X even by scholars often ends up folk trying to prove
that Malcolm believed and stood for whatever the scholar believes.

I Rather than the plaster saint he has since been depicted as, people I have
met who knew Malcolm and interacted with him in the mid 1960s in New York,
Africa, and Europe remember him as an extremely humble, self critical person
with a sense of humor, and a longing to relax and enjoy himself when removed
from the spotlight, a person always open to learning from struggles going on
around the world, and fromt he hard school of real life, a person whose
responsibility and seriousness in big things came from a sense of obligation by
what he believed he had done wrong in the past, and a person with nostalgia and
some interest in reclaiming some of the joys he had left behind.

If whatever great school that produced his character made him such a person, let
us show his memory and ourselves the kindness to discuss him as that imperfect
human that he was, and not try to pound the sainthood that some seem to need
into him.

I hope that discussion takes place after thoroughly and critically reading his
book, after consulting Malcolm's own speeches and writings, and in a spirit of
science and objectivity, rather than of demonology or hero worship.

Why the Chauncey Bailey Project and the Black Chauncey Bailey Project

Martin Reynolds,
Editor, Oakland
Tribune















Oakland Post Publisher Paul Cobb suggested
the Chauncey Bailey Project and later the
Black Chauncey Bailey Project.

















Why the Chauncey Bailey Project and the Black Chauncey Bailey Project?
















Oakland Post writer Marvin X
holds award presented to the
Oakland Post by the Chauncey
Bailey Project. Marvin is organizer
of the Black Chauncey Bailey and editor
of the forthcoming anthology on Bailey.



photo Gene Hazzard







At lunch today, Oakland Tribune Editor Martin Reynolds asked Marvin X why the Black Chauncey Bailey Project? After all, the Chauncey Bailey Project is a consortium of journalists from many ethnic and gender groups. So why do you attack the Chauncey Bailey Project so vociferiously? You also attack the Oakland Police for conspiring to kill Chauncey Bailey, and yet you seem to excuse the Bakery boys for the cold blooded murder of Chauncey.



Marvin X replied that the entire matter was very emotional for him, after all, his friends are charged with murdering another friend, thus it is a case of being caught between the devil and the deep blue sea.

And yet, as I sat in the courtroom looking at the defendents, it was clear to me these are children, similar to the children in the serious crimes unit at Alameda Country Juvenile Hall he visited recently; similar to the baby faced killers he addressed at New York's Riker's Island Juvenile Prison.


But the suspects were mentored by a member of the Oakland Police Department, so why wouldn't I also focus on the OPD's possible role in the assassination? There is no doubt Officer Longmire had a profound influence on the young men accused of murdering Chauncey, to the degree they believed they could get away with murder.

Editor Reynolds said he knows Officer Longmire, has met members of his family and thinks he is a fine gentleman. Marvin X wondered to himself whether it was possible the Chauncey Bailey Project was not pursuing the police connection because of its friendship with the OPD.


After all, it was Oakland Post Publisher Paul Cobb who called for the Chauncey Bailey Project after the funeral of his editor. But he said at a meeting with journalists forming the project, they resisted his notion of police involvement, especially OPD embedded writer Harry Harris. Paul Cobb suspects Harris is simply a plant in the CBP representing the OPD. It was at this point Paul distanced himself from the CBP. He is now calling for an accounting of all funds garnered by the CBP, i.e., advertising dollars, grants, fellowships, etc.


He found it ironic that he was presented with a plaque for contributing to the Chauncey Bailey Project. (Marvin X holds the plaque in the above photo by Gene Hazzard) For sure the CBP has been reluctant to pursue the role of police in the murder of Cobb's editor. Although Tribune Editor Renyolds said Chauncey was no Bob Woodward, Marvin X says Chauncey was indeed acting on information that the OPD was shaking down drug dealers, planting false evidence, money laundering and possible homicides under the color of law.

Mothers at Allen Temple Baptist Church called Chauncey to help them intervene with the OPD to stop shaking down their drug dealing children then releasing them, causing them to face the wrath of dope dealers who would not believe their children were relieved of their money, dope and jewelry, then let go.


Martin Reynolds assured Marvin X if presented evidence, the Oakland Tribune would aggressively pursue the lead, but he doesn't have the community contacts it takes to gather the necessary information. He faulted himself for not having a community writer similar to Chauncey Bailey.


Marvin told Martin he would be surprised at the things people tell him at his Academy of da Corner, 14th and Broadway, the crossroads of Oakland. But he questioned the Tribune editor on why the CBP has been hesitant to go down the road to truth Chauncey was on.

Is it lack of evidence, community contacts or simple fear, and yet Chauncey gave his life because of his fearlessness in pursuit of truth. Herein may lie the real and only difference between the Chauncey Bailey Project and the Black Chauncey Bailey Project.
--Marvin X

4/20/11