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My Collective Introspective (1999–2006)

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It is unfair to compare classical music with so-called Jazz. One is about the unity of central control and the other is about unity celebrating diversity—many voices individual and collective simultaneously. In , I returned to my hometown, Los Angeles, freshly graduated from college after a year in Santa Cruz with my eldest son and a Latina ex-wife with a lot of African-centered self-education on the side. I compiled a collection of my poetry, The Adolescence of the Cool , to capture this time span. Within this seven-year period, in , the Los Angeles uprising occurred which was immediately followed by a riot. The uprising was characterized by brothers breaking open ATM machines and setting the money on fire. The riot part will be in whatever is in the historical footage provided to us by large corporations, starring Rodney King. To actually start to understand the historical context around the uprising part, watch The Bastards of the Party produced miraculously by Antoine Fuqua , Freeway: Crack in the System directed by Marc Levin and that famous John Singleton joint, Boyz n the Hood. It was this late 20 th -century, urban riot that sparked government- and corporate-sponsored arts organizations that specifically targeted South Los Angeles. This was not the only incidence of this kind of radiant shit and we can go back and research, say, the Harlem Renaissance for precedent beyond my pathetic personal experience. Also, I am not saying never join non-Black organizations—do both when one can: this is the hallmark of truth wealth and true diversity. Experiencing the productive, progressive, self-organization of Black people as a Black person is a mental health exercise that should not be avoided. I was not surprised that only an excerpt was published, by the way, as the embrace around my poetry north of Wilshire and west of La Cienega has been as warm as the reception for a Sekou Sundiata mural on Abbot Kinney. Events around Ms. Coleman led me to Merilene Murphy who organized several project-planning meetings with mostly Black, Latino and Asian artists in her apartment. BTW: she had a refrigerator-sized, blue, IBM computer in her flat like it was a big-game trophy from her corporate past. The Big Shoot, a family portrait of African American painters, dancers, sculptors, writers, actors, filmmakers, photographers, art administrators, creatives and activists, came to together to take a family portrait. I have no idea how I found out about the The Big Shoot. The other theory was that June Edmonds told me about this event. My personal journal entries are reminding me that I met June as early as Edmonds did not tell me about The Big Shoot. Should one ever wonder why Black women are the way they are. Should one ever wonder why some Black women carry themselves with the highest regard in the face of the lowest regard, then one has not spent any serious time with a sister like MonaLisa Whitaker. She represents the historical tradition of Black women organizing and agitating in a state of grace. From Rosa Parks to Wangari Maathai. She is the living embodiment of self organization. With Ms. When she credits Vida Brown , Kenneth Carnes, Roland McFarland and Bobbee Zeno as additional founding members of The Collective we are seeing her powers of observation and her supernatural power to be an inclusive executive. From my point of view, June Edmonds was the one of the first members of The Collective to be an artist in residence for an entire community with a formal open-door policy. I regard her years in St. MonaLisa puts it like this:. But the added benefit was having the other artists there so we frequently brainstormed together, worked on different projects and overall just checked in with each other. We spent countless hours talking about art, family, life. Remember that Jazz ensemble I was looking for in the first few paragraphs of this writ? I think MonaLisa found it at Warren Lane. Here is a short list of these Collective-member events:. Here are the results so far of this effort:. June Edmonds would disagree with what I am hearing but should I ever hear her say that she had the privilege of meeting David Hockey what I would hear instead is that David Hockey had the privilege of meeting her. And Hockney really did meet June Edmonds. There is a painting in the offices of State Senator Kamala Harris by June Edmonds that is an elegant, modular, data visualization of color. This is because June Edmonds is a master of color. Whenever I see some promo for a corporate-sponsored UX designer holding a talk about color theory in, say, Lisbon , I get a bit annoyed because I know June Edmonds should be giving a talk to the person giving the talk. There is another study in color by Ms. Edmonds that is at first glance a circular whirl. Then should one be standing next to June while looking at her work she may throw in a story about a Tuskegee Airman trainee committing suicide and one realizes that this whirl, this nautilus of cumulonimbus, is the last thing he might have seen. I have recounted this bit to too many people too many times: June Edmonds told me that a lot of painters become carpenters to reduce the cost of framing their work in traditional, institutional wooden frames. When I started my career as a software developer, I would dare to think of myself as that kind of carpenter. It is for words like these that I consider Ms. Edmonds my mentor—she, of course would disagree. Children in particular and young people in general have trouble understanding the value of elders. Cecil Fergerson , survived by his son, Kinte Fergerson , was one of those valuable elders who understood this and would just say things in a group setting for us young folks to take or leave. I found his behavior traditional and I felt privileged to be able to hear what he was saying. When photographer Darryl Allan Smith was an insider at CAAM, he brought me in to try to take over the software development enterprise and web presence of this institution which was really a play for a chunk of the State of California, starting with Natural History Museum of Los Angeles County. The things that he said prepared me for any unusually negative outcomes that might have resulted from working or not working with CAAM. I found Cecil Fergerson historiographically accurate as any professional curator would be. When a young Michael Massenburg was a DJ at The Five Torches nightclub on Crenshaw off Imperial, I imagine just a few hours earlier my mother was just down the street at South West College leaving classes and waiting with me, holding her hand, to get on the busses that would take her back to 70 th and Normandie. When we played football in the street, we often needed an older brother to come out and throw the football to kick off the game. This writing effort I am struggling with right now is happening because of the power of suggestion from Michael Massenburg. Thank you, Mr. When I trap myself in my self-imposed corporate-American mental prison, I would often fall into the self-criticism around my need to network. All of these inviting coworkers have been active in the arts:. The Collective has been a manifestation of the continuum humanity living outside of the fantasy of killer ape theory. I am privileged to have been a part of great happenings and me do look forward to more. My Collective Introspective — It is unfair to compare classical music with so-called Jazz. The Big Shoot The Big Shoot, a family portrait of African American painters, dancers, sculptors, writers, actors, filmmakers, photographers, art administrators, creatives and activists, came to together to take a family portrait. On Cecil Fergerson Children in particular and young people in general have trouble understanding the value of elders. On Michael Massenburg When a young Michael Massenburg was a DJ at The Five Torches nightclub on Crenshaw off Imperial, I imagine just a few hours earlier my mother was just down the street at South West College leaving classes and waiting with me, holding her hand, to get on the busses that would take her back to 70 th and Normandie. Not In Conclusion When I trap myself in my self-imposed corporate-American mental prison, I would often fall into the self-criticism around my need to network.

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