Marvin X, the Black Arts Movement Business District co-founder and planner, suggests the BAMBD Billion Dollar Trust Fund would be allocated as follows:
$100 million for General Fund
$100 million for Five Year Plan
$200 million for mixed use rental housing (seniors, artists, workers, mentally disabled, recently incarcerated, single parents)
$100 million for mortgage loans, especially for purchase of modified SRO hotel rooms with life estate titles for the chronically homeless, thus ending homelessness overnight
$100 million for job training
$ 100 million for micro and macro loans to entrepreneurs
$100 million to establish the David Blackwell STEM Institute (Science, Technology, Engineering and Math)
$100 for land and real estate acquisition
$100 for reentry assistance to displaced former residents of Oakla
Notes on the Marvin X Tour of San Francisco on MLK, Jr. Holiday, 2017
After attending San Francisco's MLK, Jr. celebration at the Yebra Buena Arts Center, Marvin X gave a group of people a tour of San Francisco, beginning at Fisherman's Wharf. He noted that tourism is a multi-billion dollar industry in San Francisco, the most beautiful city in the world! Yet the only Black representation at Fisherman'se Wharf are brothers performing as robots covered in silver spray paint! "When I used to hustle here as a dope fiend in the 80s and 90s (true I used to make $400.00 per day selling the homeless paper at $20.00 per donation, and true the young brothers used to make $200.00 to $300.00 per day) but this doesn't compare to the billions other ethnic groups (Italian, Asian, Latino, et al.) make.
His tour then went to North Beach with its plethora of Italian restaurants. He recalled how he grew up in West Oakland with its plethora of Black owned businesses. He noted the history of the North Beach literary tradition with the Beatniks. He dropped his tour persons at City Lights Bookstore, after telling them it was the most important bookstore in the world. As per Black people, Marcus Books has that honor despite their Negrocities (Amiri Baraka term).
He informed his tourists they would be leaving North Beach to enter China town, noting Stockton Street is the main street. As he drove down Stockton Street, he told her passengers to look at the bustling economic activity with stores packed with customers even unto the street. One passenger noted a Walgreen's but Marvin told her, "Yes, it's a Walgreen's but it's a Chinese Walgreen's! Another passenger noted the banks such as Wells Fargo. Again, Marvin X said, yes, but it's a Chinese Wells Fargo.
He departed Chinatown through the Stockton Street tunnel to arrive at the apex of SF's commercial shopping center, Union Square. He informed the passengers he used to control street vendors in Union Square like Malcolm X used to control Harlem. "At one point I had fifty mostly white vendors working under my non-profit papers in Union Square, making thousands of dollars per day. When the SFPD would demand their papers and the officers saw they were my papers, the SFPD officers would turn beet red in disgust that a "Nigger" had this much power in Union Square, as they said about Malcolm controlling Harlem, "That's too much power for a Nigguh." So the SFPD busted me on a daily basis at my own stand at Market and Powell, at the Cable Car turnaround. They came daily to harass me under the color of law but no lawyer would take on the SFPD. Their attorney, Laeewrence Wilson, told us in the recess of a court hearing, "If you beat us in court, we will go to the Board of Supervisors and change the rules," which he did, then later was busted for selling drugs out of his house, yes, the chief attorney of the SFPD, then died of AIDES after doing time in Vacaville State Prison!
I told my riders as we made a one block departure from North Beach to Chinatown, we were now making a one block move from Union Square to the infamous Tenderloin, San Francisco's multi-cultural ghetto of workers, dope fiends, sexual deviants and mentally ill, along with dealers, prostitutes, pimps and ho's from throughout the Bay Area.
I drove them by my beloved Glide Church and showed them the 16 Story building Cecil Williams got in a benefits package for the adjacent construction of the Hilton Hotel.
In spite of the TL's derogation, it has been the most successful district in resisting gentrification. Why, because the TL's non-profit organizations are unified, unlike the Fillmore, Hunters Point and Lakeview!
As it was approaching darkness and my vision was failing, I told my tourists we would resume the tour at a later date.
Monday, January 16, 2017
Sunday, January 15, 2017
J. Douglas Allen-Taylor on Oakland's Black Arts District
A CounterPoints Column by J. Douglas Allen-Taylor
Suppose, just for the sake of discussion, that the City of
Oakland decided to end its “benign neglect” of its rapidly-diminishing Black
population and, instead, partnered with its Black citizens in an effort to help
rebuild the economic foundation of that population, to highlight Black Oaklanders'
history and many accomplishments within the city, and to give a needed boost to
Oakland’s image and finances.
And suppose, again for the sake of discussion, that the
population the city targeted in this speculative initiative included not only
Oakland’s African-Americans but also its Africans, Afro-Caribbeans,
Afro-Brazilians, and all other descendant populations from throughout the
African Diaspora, all of whom have played or are playing an important role in creating
the rich fabric of Oakland life.
What, do you imagine, might such an initiative look like?
Imagine for a moment that Oakland decided to set aside a
special district in its downtown area designated specifically to highlight and
promote African-American, African, and African-descendant arts, economics, and
entertainment, similar to how the popular and highly-successful Chinatown and
the Fruitvale district currently do for the city’s Chinese and Latino
residents, respectively.
Imagine, further, that rather than restricting itself to one
vision of Black life, the city allowed such a district to breathe such as what happens
in New Orleans’ famous French Quarter, where a large number of disparate
businesses and attractions and entertainments can all exist together and thrive
under the broad banner of New Orleans culture.
Imagine that such a Black arts, business, and entertainment
district became the location for a series of new and permanent public exhibits
highlighting Oakland’s Black past, present, and future: exhibit sites dedicated
to the Black Panther Party, for example, which attracted scores of residents
and new visitors to the various 50th anniversary celebration events recently
held in the city—to the Pullman porters and waiters, who formed the West Coast
headquarters of the nation’s first African-American labor union and helped
build Oakland’s Black middle class only a generation out of slavery—to Oakland’s
homegrown Black sports figures such as light heavyweight world champion boxer
John Henry Lewis, basketball legend Bill Russell, baseball star Frank Robinson,
baseball labor pioneer Curt Flood, and world champion sprinter Jim Hines down through
football great Marshawn Lynch and current boxing champion Andre Ward—to its incredibly
rich Black music history from gospel to the blues to rhythm and blues through rap
and hip hop—to its Black and African dance history and heritage from Ruth
Beckford and Malonga Casquelord and its tap and jitterbug heritage down through
current Afro-Caribbean-Brazilian groups such as SambaFunk! and African dance
groups such as Dimensions Dance Theater, Diamano Coura, Fua Dia Congo and its
ever-expanding collection of creative innovators such as turf dancers.
Imagine Black-themed murals throughout the downtown Oakland
area, and—instead of the eyesore of so many vacant storefront windows in that
area—filling those windows up with art, posters, and photographs highlighting
Oakland’s Black and African presence and heritage.
Imagine visitors walking through massive arches spanning 14th
street—similar to what we currently have in the Laurel District—set up over the
entrance gateways to such a Black arts, business, and entertainment district at
its western and eastern ends—the African-American Museum at Castro Street and
the Lake Merritt Park gateway, respectively—as well as directly over the heart
of both the city and the district at 14th and Broadway. Imagine such visitors walking
or driving or tour-busing down 14th or through the side streets of the
district, guided through the various points of interests by city-printed maps
and interactive, gps-guided smartphone apps, or by city- or organization-sponsored
tour guides.
Imagine a Black-themed downtown Oakland district becoming
the glue that finally pulls together several nearby but currently-divided
Oakland areas of public attraction: the newly-refurbished western end of Lake Merritt,
the restaurants and other amenities of the uptown district, Chinatown, old
Oakland, and Jack London Square.
Imagine downtown Oakland suddenly becoming a destination for
Oakland residents for shopping and entertainment throughout the daytime and
evening hours and the weekend, not simply to work in and then vacate at the 5
o’clock hour. Imagine retail businesses beginning to see downtown Oakland as a
preferred location because of the increasing foot traffic, instead of as a
pariah to be shunned. Imagine all of this coming about in large part because of
the creation and presence of a Black-themed downtown district.
Imagine a partnership between a downtown Oakland Black-oriented
historic district and the highly-successful, nationally-acclaimed Rosie The
Riveter National Park and Visitors Center, which has helped bring acclaim and positive
national attention to the City of Richmond, California, and which can certainly
help do the same for Oakland.
Imagine such a district becoming the catalyst for a major
round of Oakland festivals—music, dance, and literary—making the city one of
the national centers for such gatherings.
Imagine the number of Black organizational conventions such
a district would attract—the sororities and fraternities, the civil rights
organizations, the professional and business associations, the educational and
sports associations—because Oakland has long been considered one of the centers
of innovative Black life and can provide a Black experience that is impossible
to duplicate in most other areas of the country. All of these groups have money
to spend, and could most certainly be induced by the presence of a downtown-area
Black arts, business, and entertainment district to come and spend their
convention money in Oakland.
Imagine the jobs and the tax benefits to the city that would
accrue based upon the smart development of such a Black-themed downtown
district, the proverbial rising tide that lifts all of Oakland’s boats.
Imagine that the institutional foundation of such a
Black-themed arts, business, and entertainment district already exists within
Oakland’s downtown core, with the presence in that area of such public and
private institutions as Geoffrey’s Inner Circle, Joyce Gordon’s Gallery, the
Oakland Museum, the Oakland Main Library, the Malonga Casquelord Center, the
African-American Museum and Library, Laney College, and the soon-to-be-refurbished
Kaiser Convention Center, all of which—to one degree or another—have been
promoting Black and African culture in Oakland for years.
And now imagine, finally, that the Oakland City Council already
took the step to set up such a district months ago, with city officials now
working on the details, and that the State of California is ready to step in
with state funding and to help generate private funding for such an effort.
Well, you don’t have to imagine the last part because
actually, it’s already happened.
No. Seriously.
All that’s left is for us to fill in the details and get to
work implementing the vision.
I’ll tell you more about it, next time we talk, with some
ideas on how we—all of us—can help get this exciting proposed project from
being merely a grand vision to becoming a great reality.
Now Available for Black History Month: Marvin X, Living History in Your Midst
Sunday, January 15, 2017
Now Available for Black History Month: Marvin X, Living History in Your Midst
A live dog is better than a dead lion!
photo Standing Rock
Marvin X reading from his play Salaam, Huey Newton, Salaam.
He opened for Donald Lacy's play Color Struck
photo Alicia Mason
Marvin X in Laney College Theatre dressing room, October 1, 2016,
getting ready to go on stage. He taught drama at Laney College, 1981,
produced his play In the Name of Love.
photo Standing Rock
Nurjehan, friend and assistant to Marvin X
Marvin X at Oscar Grant Plaza, Oakland
photo Pendarvis Harshaw
Dr. Wade Nobles, former BPP Chairwoman, Elaine Brown, and Marvin X
Black Arts Movement Business District artists at Oscar Grant Plaza, Oakland
Left to right: Elaine Brown, Dr. Halifu Osumare, Judy Juanita, Portia Anderson,Kujigulia, Aries Jordan, standing Marvin X, producer of the Black Arts Movement 50th Anniversary Celebration at Laney College, Oakland
January 14,2017
Marvin X notes on Ayodele Nzinga's play Mama at Twilight, Death by Love
photo Standing Rock
Pappy and sons Kriss and Son
photo Standing Rock
Cat Brooks as Mama
photo Standing Rock
Cat Brooks as Mama and Julian Green as son Kris
photo Standing Rock
We must note the music of Sade as a liet motif or recurring musical comment on the theme. Sade's Soldier of a Love became a character and/or choral comment on the main action, constantly reinforcing the central theme of love. Nzinga grapples with love that approaches blindness and denial when the wife contracts HIV but never will admit she may have contracted it from her dope dealing, womanizing, convict husband. Her faith in him is so solid that she won't allow him to be tested. It is the daughter Tanya who finally confronts her dad with the possibility he may have contracted HIV from his frequent visits to prison. In this most poignant scene, son Chris acknowledges his gay identity and departs the household only to return after the transition of his mother. His return ends the play on a note of family unity, as in Shakespeare's All's Well that Ends Well! Or shall we go to Cheikh Anta Diop's theory of African tragi-comedy as the primary theme of African drama as opposed to tragedy as the major theme of Northern Cradle or European dramatic tradition. In the end, family love and unity puts Mama at Tw theilight, Death by Love in the African dramatic tradition.
As we know from her real life role as social activist against police terror, actress Cat Brooks has a powerful voice and her role as Mama revealed she can be sensitive and soft as the daughter Tanya described the feminine gender in her metaphoric delineation of male and female fruits, such as mangoes, pears, oranges, etc.
We have watched Pierre Scott perfect his acting skills in the ten-cycle plays of August Wilson that Dr. Ayodele Nzinga's Lower Bottom Playaz produced in chronological order. Alas, the Lower Bottom Playaz is the only theatre group in the world to do Wilson's plays in chronological order. He is a seasoned actor whose every move is measured and timed to reveal character.
Now actor Stanley Hunt was born into the theatre of his Mother, Dr. Nzinga, thus he has been in theatre since childhood and knows how to measure his language, verbal and body language to reveal character.
We find it most interesting that the three children are artists: Chris, writer, Son, photographer, and Tonya,dancer. Thus, this play deals with artistic love as well. Son wins a photography grant, though his sister Tonya scolds him for focusing his camera on the breasts and behinds of her fellow dancers. Tanya gives up her dancing to aid her mother. Kris reveals his writing and sexual identity transcends his family love until he returns home after the transition of his mother.
The set was dominated by Christian symbolism in sync with the Mama's Christian dominated religiosity that did indeed reach the pathological in her denial of her husband's possible infidelity that was challenged by Tonya as we noted above.
Noelle Guess as Tonya
photo Standing Rocki
Ayodele has written a powerful drama of North American African family life. I don't know how anyone in the Bay Area can avoid attending this drama at the Flight Deck Theatre, 1540 Broadway, downtown Oakland. The play runs from January 12 through 29, 2017.
www.lowerbottomplayaz.com
510-332-1319
Now Available for Black History Month: Marvin X, Living History in Your Midst
Sunday, January 15, 2017
Now Available for Black History Month: Marvin X, Living History in Your Midst
A live dog is better than a dead lion!
photo Standing Rock
Marvin X reading from his play Salaam, Huey Newton, Salaam.
He opened for Donald Lacy's play Color Struck
photo Alicia Mason
Marvin X in Laney College Theatre dressing room, October 1, 2016,
getting read to go on stage. He taught drama at Laney College, 1981,
produced his play In the Name of Love.
photo Standing Rock
Nurjehan, friend and assistant to Marvin X
Marvin X at Oscar Grant Plaza
photo Pendarvis Harshaw
Dr. Wade Nobles, former BPP Chairwoman, Elaine Brown, and Marvin X
Black Arts Movement Business District artists at Oscar Grant Plaza, Oakland
Left to right: Elaine Brown, Dr. Halifu Osumare, Judy Juanita, Portia Anderson,Kujigulia, Aries Jordan, standing Marvin X, producer of the Black Arts Movement 50th Anniversary Celebration at Laney College, Oakland
Marvin X notes on Ayodele Nzinga's play Mama at Twilight, Death by Love
photo Standing Rock
Pappy and sons Kriss and Son
photo Standing Rock
Cat Brooks as Mama
photo Standing Rock
Cat Brooks as Mama and Julian Green as son Kris
photo Standing Rock
We must note the music of Sade as a liet motif or recurring musical comment on the theme. Sade's Soldier of a Love became a character and/or choral comment on the main action, constantly reinforcing the central theme of love. Nzinga grapples with love that approaches blindness and denial when the wife contracts HIV but never will admit she may have contracted it from her dope dealing, womanizing, convict husband. Her faith in him is so solid that she won't allow him to be tested. It is the daughter Tanya who finally confronts her dad with the possibility he may have contracted HIV from his frequent visits to prison. In this most poignant scene, son Chris acknowledges his gay identity and departs the household only to return after the transition of his mother. His return ends the play on a note of family unity, as in Shakespeare's All's Well that Ends Well! Or shall we go to Cheikh Anta Diop's theory of African tragi-comedy as the primary theme of African drama as opposed to tragedy as the major theme of Northern Cradle or European dramatic tradition. In the end, family love and unity puts Mama at Tw theilight, Death by Love in the African dramatic tradition.
As we know from her real life role as social activist against police terror, actress Cat Brooks has a powerful voice and her role as Mama revealed she can be sensitive and soft as the daughter Tanya described the feminine gender in her metaphoric delineation of male and female fruits, such as mangoes, pears, oranges, etc.
We have watched Pierre Scott perfect his acting skills in the ten-cycle plays of August Wilson that Dr. Ayodele Nzinga's Lower Bottom Playaz produced in chronological order. Alas, the Lower Bottom Playaz is the only theatre group in the world to do Wilson's plays in chronological order. He is a seasoned actor whose every move is measured and timed to reveal character.
Now actor Stanley Hunt was born into the theatre of his Mother, Dr. Nzinga, thus he has been in theatre since childhood and knows how to measure his language, verbal and body language to reveal character.
We find it most interesting that the three children are artists: Chris, writer, Son, photographer, and Tonya,dancer. Thus, this play deals with artistic love as well. Son wins a photography grant, though his sister Tonya scolds him for focusing his camera on the breasts and behinds of her fellow dancers. Tanya gives up her dancing to aid her mother. Kris reveals his writing and sexual identity transcends his family love until he returns home after the transition of his mother.
The set was dominated by Christian symbolism in sync with the Mama's Christian dominated religiosity that did indeed reach the pathological in her denial of her husband's possible infidelity that was challenged by Tonya as we noted above.
Noelle Guess as Tonya
photo Standing Rocki
Ayodele has written a powerful drama of North American African family life. I don't know how anyone in the Bay Area can avoid attending this drama at the Flight Deck Theatre, 1540 Broadway, downtown Oakland. The play runs from January 12 through 29, 2017.
www.lowerbottomplayaz.com
510-332-1319
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