Art

Emil Guillermo: The Historical Indictment Party in New York City and the 1st Presidential Mugshot

I’m still in Manhattan, performing in Oakland resident Ishmael Reed’s off-Broadway play now at Theater for the New City. I’m not a New York tourist, I’m more like a working resident. Acting like a New Yorker. That’s not to say I’m brash or rude, but when it comes to whether or not there’s protests over the possibility of an impending Trump indictment, most New Yorkers seem more concerned with when the cold weather is going away, not when Trump is going away, or with any repeat of Jan. 6.

Published

2 years ago

March 27, 2023

Oakland Post

Impending Trump indictment

I’m still in Manhattan, performing in Oakland resident Ishmael Reed’s off-Broadway play now at Theater for the New City.

I’m not a New York tourist, I’m more like a working resident. Acting like a New Yorker.

That’s not to say I’m brash or rude, but when it comes to whether or not there’s protests over the possibility of an impending Trump indictment, most New Yorkers seem more concerned with when the cold weather is going away, not when Trump is going away, or with any repeat of Jan. 6.

And if anyone wants to “take back the government” in the name of Donald Trump, I’d like to see them take on the NYPD.

I’m actually still quite immersed as an actor in Ishmael Reed’s “The Conductor.” In Reed’s play, a fictional Indian despot’s actions impact Indian Americans who face a wave of xenophobia and are forced to flee to Canada on an “underground railroad.”

Hence, the need for a “conductor.”

Turns out everyone who is feeling some heat may need to flee the U.S.

“The Conductor” runs through March 26. Get tickets so see in person or live-streamed here:

https://theaterforthenewcity.net/shows/the-conductor-2023/

Reed wasn’t so prescient to include the possibility of a Trump indictment (or four) in a storyline but I now wonder if the twice-impeached former president of the United States will soon need a “conductor.”

To get to Canada? After all that he’s said about Justin Trudeau?

I was thinking out loud on this issue with Asian American Studies Professor Daniel Phil Gonzales on www.amok.com (Episode 489/481).

We go straight to wondering if Trump will get convicted for any of the cases that are brewing. From minor to major, they include the hush money/Stormy Daniels/falsifying of documents case in New York; the voter fraud and possible racketeering case in Georgia; the Mar-a-Lago stolen presidential documents case; and possible federal charges connected to the Jan. 6 insurrection.

If Trump is ensnared in any or all of them, would he even have the courage of a Martha Stewart to don a matching orange jumpsuit? Or does he just flat out leave the country?

Gonzales says he leaves. But to where?

I think Trump has his Putin parachute ready under his left arm. And under his right arm, there’s his North Korean parachute fashioned together with love letters from Kim Jong Un.

Ah, a former president in exile because he dared to be president again?

That’s the narrative the Republicans are drumming up, as if all this is simply a political “witch hunt.” We won’t know till we see any official charges.

Republicans can opine about the legal process, but it’s another thing to intimidate the New York DA with threats of congressional investigations.

What’s worse is that law-and-order Republicans can’t see their blind spot when it comes to the respect for the rule of law when their own fearful leader is the possible perp.

Trump’s reaction was simply to go off half-cocked, not even knowing what the charges are. But most appalling is his “go to”—the call for violence.

“Protest, protest, protest,” Trump wrote in his social media posts over the weekend, prompting calls for “civil war” among his base. Trump respects the law so much, his best response to a possible indictment in New York is to throw a dictator’s tantrum.

This is a man who doesn’t understand American democracy and didn’t deserve to be president even once.

And it’s not just the GOP leaders under Trump’s spell, but even some in our communities still supporting the twice-impeached former pres.

When it comes to Asian Americans running for president, Nikki Haley is still mum. But there’s one presidential hopeful Vivek Ramaswamy, the anti-woke Indian American rushing to Trump’s defense.

“This will mark a dark moment in American history and will undermine public trust in our electoral system itself,” Ramaswamy said, undermining a standing criminal investigation by Manhattan District Attorney Alvin Bragg.

We should all be rooting for Bragg, a Harvard College and Harvard Law graduate who grew up in Harlem and knows what it’s like to be stopped by police for no good reason other than one’s race. Bragg has said his prosecutors will not be intimidated.

If Bragg’s indictment comes down this week or next, Trump will be treated both like a former president, and a common criminal. No man is above some kind of perp walk, right?

That’s never happened before in history. Will it make him more popular? That’s Chris Rock’s spin. But no democracy-loving American I know would ever vote for an indicted outlaw for president.

And once Bragg lights the wick, it should clear the way for Fulton County, Georgia DA Fani Willis, another African American with a keen sense of justice, to explode on the scene.

House Speaker Kevin McCarthy (R-CA) has decried all the politics and said he just wants to see equal justice for all. What a hoot.

We all do, especially those of us in the BIPOC community, where equal justice is too often hard to come by. Ask Tyre Nichols’ family in Memphis.

Me? I can’t wait to see the first presidential mug shot.

NOTE: I will talk about this column and other matters on “Emil Amok’s Takeout,” my micro-talk show. Occasionally Live @2p Pacific. Livestream on Facebook; my YouTube channel; and Twitter. Catch the recordings on www.amok.com.

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Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees

When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.

Published

3 weeks ago

November 4, 2024

Oakland Post

Tony Cokes. Photo courtesy of the John D. and Catherine T. MacArthur Foundation

Special to The Post

Tony Cokes

Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.

Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.

According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.^[^5]

His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.

Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.

In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.

He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).

Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”

Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.

The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.

More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.

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A Prolific Painter: Artist and Advocate Lois Mailou Jones

Lois Mailou Jones was a prominent African American artist whose career spanned more than seven decades, from the Harlem Renaissance to the modern art movement. She was not only a prolific painter but also an influential educator, bridging cultural gaps and challenging stereotypes through her vibrant and diverse works.

Published

4 weeks ago

October 29, 2024

Oakland Post

Courtesy of National Archives, Washington, D.C.

By Tamara Shiloh

Her unique journey of self-expression, dedication to art, and advocacy for African American and African themes made her a crucial figure in the evolution of American art.

Jones was born on Nov. 3, 1905, in Boston. Raised in an intellectual and supportive family, she demonstrated an early interest in art, encouraged by her mother, who believed in the importance of creativity. Lois studied at the School of the Museum of Fine Arts, Boston, where she faced racial challenges but persisted in pursuing her passion.

Her pursuit of higher education led her to the prestigious Design Art School, where she perfected her skills in textile design. Later, Jones attended Harvard University and received further training at the Académie Julian in Paris. This European experience greatly influenced her style and broadened her perspective on art.

Jones’s career began in textile design, creating works that were used by leading textile companies. However, her true passion was painting. During the Harlem Renaissance, she moved away from textile design to focus on fine art, exploring themes that reflected her heritage and the African diaspora.

Her early works were influenced by European Post-Impressionism, featuring landscapes and still life, but Jones’s style evolved over time. After spending time in Haiti, she was deeply inspired by Caribbean culture, and her palette became more vivid, her subject matter more symbolic. The influence of African and Caribbean culture is evident in her later works, where she used bright colors and geometric patterns to convey the spirit and stories of the people she encountered.

Her contributions to African American art were significant during a time when Black artists struggled for recognition. She often focused on themes of African heritage, pride, and unity, blending African illustrations and portraits with Western artistic techniques to create a unique visual language that celebrated Black culture.

She was also a dedicated educator. She began her teaching career at Palmer Memorial Institute in North Carolina and later became a professor at Howard University in Washington, D.C., where she taught for almost 50 years. Through her teaching, she influenced generations of young Black artists, encouraging them to explore and express their cultural heritage through art.

In the 1930s and 1940s, she worked to exhibit her work alongside other Black artists, helping to create a platform for voices that had long been excluded from mainstream galleries.

Recognition and Legacy

Jones achieved significant recognition throughout her lifetime, both in the United States and internationally. She exhibited her work across the globe, including in Paris, Africa, and the Caribbean.

Jones continued painting until her death in 1998, leaving behind a rich legacy of artistic achievements and contributions to art education. She broke boundaries by celebrating Black identity and heritage at a time when these themes were often marginalized.

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At Oakland Symphony’s 2024-25 Season Opening, Music Director Kedrick Armstrong Will Make History

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland. Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Published

1 month ago

October 22, 2024

Oakland Post

Music Director Kedrick Armstrong. Photo by Scott Chernis.

By Oakland Post Staff

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland.

Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Armstrong, 30, is not a new face to Oakland as he has been an active partner with the Oakland Symphony over the last few years both on and off-the-stage.

From 2022-24, Armstrong led three Oakland Symphony programs and guest-conducted the orchestra, showcasing his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.

On his Oakland Symphony subscription debut on Feb. 16, Kedrick led the World Premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

On April 16, 2023, Armstrong conducted the Oakland Symphony’s Family Hype concert, presented in partnership with Ronald McDonald House Charities of the Bay Area. Armstrong first led the orchestra for a free “Summerstage at City Hall” concert at Oakland City Hall on Aug. 4, 2022.

The music program “Kedrick Armstrong Inaugural Inextinguishable Oakland!” will include commissioned works from master drummer Allison Miller and Bay Area artists – Ethiopian artist Meklit and Latin percussionist John Santos – in celebration of Living Jazz’s 40th anniversary.

Oct. 18 musical program:

Julia Perry: A Short Piece for Orchestra

Celebrate the 40-Year Anniversary of Living Jazz with three jazz-rooted compositions.

“Valley of the Giants” (for Eddie Marshall); Allison Miller, composer; arranged and orchestrated by Todd Sickafoose. Featured artist: Allison Miller, Drum Set; guest artist: Dayna Stephens, Saxophone.

Medley: “Ethio Blue, My Gold, Stars in a Wide Field”

Songs and Lyrics by Meklit; arrangement and orchestration by Sam Bevan. Featured artist: Meklit, Vocals; guest artists: Sam Bevan, Bass, Colin Douglas, Drumkit, Marco Peris Coppola, Tupan/Percussion.

“Un Levantamiento (An Uprising)”

Composer, percussion: John Santos; arrangers: Saul Sierra and John Santos. Featured artist: John Santos, güícharo, bongo; guest artists: Pedro Pastrana, Puerto Rican cuatro; Maria Cora, spoken word.

Carl Nielsen: Symphony No. 4, “The Inextinguishable”

Pre-concert talk by John Kendall Bailey begins at 7:05pm.

For tickets, go to: https://oaklandsymphony.my.salesforce-sites.com/ticket/#/events/a0SUu0000001rYXMAY