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The BMX-NY  Gatekeepers  e-NewsletterMARCH  25th, 2011
Black Men's Xchange-National

 
In This Week's Gatekeepers Issue
BMX National News: BMX Annual National Leadership Summit & Retreat
This Friday's Topic:
On-Line Dating, or Sex Connects?
Friday Forum Recap (03|11|11): DIVA WORSHIP: How Might Idolatry of Beyonce, Rihanna, Janet, (et al.) Impact Our Manhood As SGL Men?
Upcoming Topics: BMX- NY 2011 Spring Calendar
BMX: A Historical Flashback
Community Corner Announcements
SGL Black Heroes:
Luckey Roberts
The Bawabisi SGL Symbol
About BMX- NY...
BMX Mission Statement
Black Men's Xchange-New York Gatekeepers e-Newsletter Archive Homepage

 

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Welcome To The Black Men's Xchange-New York (BMX-NY) Gatekeepers e-Newsletter. This e-newsletter is for the gathering on Friday, March 25th, 2011.

 
 



Brothers, please if you would take the time and tell us about your experience at a BMX-NY meeting. This is a confidential Survey with no names required. We appreciate your time and comments as we continue to try and make your experience at BMX-NY one of true community. 
     

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BROTHERS! Although not required, BRINGING A POTLUCK DISH AND/OR BEVERAGE of your choosing would be a generous offering for the repast after the group discussion! Your offering defrays a cost to the organization.  Also, end of gathering DONATIONS are also greatly appreciated, too. THANK YOU!

ACHE!

BMX-NY Steering Commitee

BMXNY.org 

   

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BMX  National  News        


BMX Annual National Leadership Summit & Retreat: "Healing, Strategic Intelligence,

Self-Love & Discovery"

 

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Friday, May 6th - Monday, May 9th, 2011

@ West Sonoma Inn & Spa Center

In Guerneville, California

 

Courtyard Room 

 

 

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CLICK ANY OF THE ABOVE PICTURES

TO BE RE-DIRECTED TO THE  

BMX NATIONAL E-FLYER WEBSITE

TO VIEW ALL RETREAT INFORMATION!

 

 

 

 

 

 

Topic  For  This  Friday,  March  25th,  2011       

 

On-Line Dating, or Sex Connect?

 

Are you in the market for a meaningful relationship with another man?

 


Have dating sites influenced your outlook on dating?

 


Have you ever used A4A or Men for Now to find relationship prospects?

 


Have you ever used an on-line match-making service to find potential partners?  If so, what happened?

 


When using a dating site, as opposed to a sex site, what do you look for in a man?

 


How, if at all, might your criteria for a sex hook-up differ from your criteria for a mate?

 


Might the availability of on-line sex connections have dampened your appetite or enthusiasm about seeking relationships?

 


Are there drawbacks to on-line dating?

 


Have sex hook-up sites replaced bars, parks and other 'illicit' spaces as the primary place for hook-ups? 

 


In light of the fact that almost every identifies as negative, might on-line sex-connecting impact the likelihood of promiscuity and/or unsafe sex practices?

 


Is it possible to find love on the internet?

 

 

 


 

     

 

Friday  Forum  Recap
(Topic  Hi-lites  From  Friday,  March  11th,  2011)  
      
  

DIVA  WORSHIP:

How  Might  Idolatry  of  Beyonce,  Rihanna,  Janet, (et al.)

Impact  Our  Manhood  As  SGL  Men?

 

Facilitated  by  Anthony  Truly 

Janet Jackson - Discipline (cover)

Friday, BMX-NY Brothers looked at our pop culture-based identification with the female of the species through the following lenses:

 

 Dominique Deveraux 1 (Actor Diahann Carroll)

 

Growing up, who were your idols? And, why?

 

"Diana Ross. She's the first woman I ever loved." {Facilitator asks, "You didn't love your mother?"}  "I didn't know my mother...When I saw Diana on the Ed Sullivan show singing "Where Did Our Love Go," she was clearly the leader...out front...She was the first Black woman I saw doing what White women do...There was no Black man anywhere on TV that was doing that for me...By the time she [did] The Wiz, she was acting, and mastering that too...They stole the Academy Award from her...Liza Minelli didn't deserve it over Diana...[She was] doing things that were superb in my mind...[They] made me want to do things like them too...It also feminized my manner...I didn't have male role models...I was raised by women...When you're in Tampa Florida, in the absence of male role models...[That's bound to happen]..." 

 

"Whoopi, Ella, Lauren Bacall, Rosalind Russell, Samantha Stevens [the lead character on the "Bewitched" sit-com,] Oprah...They were not defined by the man they were with...They walked in the room and commanded attention...[On the flip side, there were] Johnnie Gill and Ralph Tresvant, the pop music stars who [I idolized, but] who seemed a little devoid of emotion where I was filled with emotion...The other week when we talked about myths and fairytales, I talked about having identified with the princess in the fairytales...I wanted to be rescued [by a prince]...I remember being a little boy in the second grade and having a crush on another little boy and wanting him to rescue me..."

 

"Diana had nothing in terms of star power compared to Jackie Wilson, Otis Redding and Clyde Mc Phatter!... or in terms of record sales..."

 

"There's no question that Jackie Wilson and Otis Redding were spectacular performers...but, Clyde Mc Phatter?...In fact, during the sixties, Diana Ross & the Supremes were second in American popularity, only to Elvis, who white people thought of as god...and the only other act in the world who eclipsed them in record sales was the Beatles..."

 

"I loved the small white girl from [the] "Small Wonder" TV show...I wanted the fantasy of the white family [in that show]...I remember thinking how, if I was a girl, it would be so much easier...I could identify with Diana [Ross's] daughter [as] Joan Clayton [on "Girlfriends"]...I identified with Tootie on "Facts of Life"...And, [for identifying with those characters,] as I grew up and started dating, I started wanting men to take me out, and bring me flowers...and not being able to understand why I was upset if they didn't bring me flowers...[And, I] was not tuned in to my masculinity for a very long time..."

 

"Elizabeth Montgomery [as Samantha Stevens in "Bewitched"]...That was about power, or the idea of power...[But] I was fascinated by Lionel Ritchie...even before he started getting his facial surgery...I thought he was amazing...and Gregory Hines..."

 

"I had a lot of male crushes...[But my idols were] Diana [Ross]...the beauty of Raquel Welch...I lusted after [TV actor and film director] Robert Hooks, Jim Kelly, Fred Williamson...The only musical icon I idolized was Stevie Wonder because of his social consciousness...When I fell in love with Jim Kelly, I was fifteen and it was a defining moment for me... I knew there were men I appreciated...But, I didn't have the space to say that... I didn't feel as if I could put a poster of a man [I was in love with] up on my wall...As a young man it was easier to say, 'Oh, she's beautiful' and put up a picture of a woman..."

 

"I wasn't really aware I was gay...But there was something about Tevin Campbell that always made me pause...and Wesley Snipes...One day, I had a female date over and she went through my cd collection and she said, "You're gay"..."

 

{Facilitator says, "I was Erica Kane!...I came to New York and took it by storm...In work, and in relationships with White people, I learned early on [my identification with white women] was perfectly encouraged... I worked in drag... and I didn't know at the time it made White people feel comfortable..They didn't have to deal with me...with a Black man...I made a lot of money in drag...When I began to develop some Black consciousness, that changed...BMX founder Cleo Manago talks about what he calls the Kato Calen syndrome [the White house guest who O. J. Simpson housed rent-free on his estate]...where, many of us operate with a white man living in our brains rent-free, taking up space...I still latch onto [White] female characters [if I'm not mindful]...Carrie Bradshaw...I didn't come into my malehood until the late nineties...I gauged my importance by the number of White people I had in my life..."}

 

 

Whitney Houston 2 

 

 

Might our preoccupation with Divas curb our connection to our manhood?

 

"I never idolized any Black women...I always idolized Black men...My brother idolized Diana [Ross] and used to put on a wig and pretend to be her...I thought he was strange..."

 

"I think [this is] an important conversation because so much behavior among same gender loving Black men carries with it a certain kind of entitlement [that borders on arrogance]...Divas, to me, are something negative...These women who want more than they're entitled to...More than they deserve...Who are condescending  and who behave badly..."

 

 

In navigating adversities in the workplace is 'bitchy diva,' or 'angry Black man' the more effective tack?

 

"Diva or angry Black man?...Neither...Passive-aggressive works for me...I feel like there's a time and place for everything...On the street sometimes an angry Black man has come out..."

 

{Facilitator says, "When I deal with clients, they see me as a gay man...When I deal with management, they see me as a Black man...Since I'm not getting [paid] money from healthy Black people, I make a conscious choice [about which persona I project]..."}

 

"When I was working in a Black and Latino school in Brooklyn and the kids were not having it...not hearing me...I yelled... ...I guess it was my father...my voice dropped [into bass range]...I said, 'Sit down!...Somebody told me, White people only understand sarcasm...In a restaurant, this White gay manager [kept sniping at me]...I had to pull him aside at one point and ask him, 'Is there a problem?'...It turned out, he was just being a bitchy diva...So, do I use bitchy diva sometimes?...Maybe..."

 

"At work, I use [the angry Black man] with White people..I decided a long time ago, I was not going home wondering, 'Did he [have the nerve to] say that?'...They would go home saying, 'Did he say that?'...I'm very entitled...Someone called me narcissistic...And, I'm not sure they might not be right...[But] I don't know if I liked females enough to want to model myself after them...And I do give you the angry Black man...But, I'm not angry...I may blow up at someone who's being disrespectful...But, then, the next moment, I'm fine...I give myself full right to act a fool and get angry, because I'm not angry, but I'm in touch with all my emotions...Today, I'm no longer a victim...I'm very entitled...But, I don't consider that bitchy..."

 

{Facilitator says, "I don't play with managers...I use assertive communication...And I don't engage in witty banter with them...I think we've all been socialized to take care of White people...and then, when we don't, they don't know how to deal with it..."}

 

"I absolutely detest narcissistic white women...They have hurt me in the past...When they don't get what they want, they lie...I try to stay away from Black men who act like narcissistic White women...I've gotten fired from many jobs...I'm coming back from an interview now for a job I turned down before because there are so many narcissistic White women there...They believe they're supposed to be featured..."

 

 

 Beyonce 1

 

 

Might one of the side-effects of idolizing women be to make us docile?

 

"I've learned from this group, when I identify with Blackness, I'm able to identify the elephant in the room [and hold people to account for] some of those issues...[including] male supremacy, and hegemony..."

 

"A brother came into the hospital [with] a fever of 103...newly diagnosed with HIV...I don't know how many times I've seen White women come in entitled to be treated, and I treated him like that...And, it was as if I had stepped over a line...They said, 'Well, Doctor, you've seen him a long time'...It was only a few minutes...They wanted me to throw him out...But, They see you as a buffoon [when you behave like a bitchy diva]...You are not a White woman...They will not see you as one...treat you as one...All that other stuff...You need to tone that down and be more direct..."

 

{Facilitator says, "Somewhere early on, we internalized [that model]...In large part, [taking on femaleness] is a way of apologizing for being Black...One of the reasons I do this [work] is because I'm concerned about the next generation of same gender loving youth...As soon as we come out of the womb, we're seen as criminals...[There are] many factors...The lack of daddies...Seeing Mama doing everything...The media...They got Shawn Hannity, Bill O'Reilley telling lies...Tell me one Black man who has that power...Expressing his opinions in prime time..."}

 

 

RuPaul 1 

 

 

Can obsessing over Divas render us caricatures of ourselves?

 

"The other side of that coin is when we become those diva stereotypes...We're not doing the Black community any good...I just got fed up with a group of guys who thought they were [the] Sex in the City [women]...You can't get them to talk about anything serious...When these situations came my way, I got very angry...Right now we live in a pop culture world, and there is currency in that posturing...I saw a girl in the projects with a weave down to here, and a little dog under her arm like Paris Hilton..."

 

"I don't know if the strategies are ones we adapt or are cast in...If I'm sarcastic as a Black gay man, then I'm seen as bitchy...If I'm angry, I'm an angry Black man..."

 

"I wonder if this culture of diva-ish-ness among Black men isn't a symptom of our hatred of women...I also wonder if we can't have a conversation without White people being a part of it..."

 

{Facilitator says, "Acknowledging where problems come from is different than obsessing about, or beating up on white people..."}

 

"I personally acknowledge the transgender community...It's important that we not demonize Brothers who identify with femaleness...That energy...We don't even acknowledge transgenders as part of the community..."

 

"We are constructing Black manhood...Because there is no template...slavery erased it...We are so many centuries away from the original template from Africa...No one wants to be a Black man...When I see the wannabe Trans...There are the psychological Trans who experience themselves as women living in men's bodies...But, there are others who so don't want to be a Black man...When you see the image of white women being cherished, being wanted, being [respected]...That says to them, I will give you an identity...[and] things...I don't know how to be brown and walk around under this sun...There are times when we hate ourselves so much that racism is sub-contracted to us...They don't even have to do it any more...We have so assimilated to being Black as a contrast to being White that we don't know what it is to be...I get off the train at 157th Street...A Latino neighborhood...And there are all these White women on magazine covers at the news stand...[And Latino] People [are] talking about, 'Is Jenifer Aniston having a baby?!'...Who gives a fuck?!...Turn off the TV!...We eat the poison and then we're pissed that we're sick..."

   

 

Might we sub-consciously take on female posturing as a means of being less threatening to White people?

 

"[We've been talking about] dissociating from being a Black man...The answer is love...What is it like to love myself...How does it feel to deal with that racist White person following me in the store as I love myself as a Black man?...But, I can't like you or love you or be down with you if I don't love me...If I am going to really be self-determining, then I can't be embarrassed by anything anybody else does...Or demonize them for not being as I am..."

 

"We don't always determine the things that we do...Do I sometimes take care of White people in my office?...And, the answer may be yes...But, that's after I've kicked their ass...That's why it's important to have Black books and art...When I heard Cleo say that we might want to ascend out of Blackness into gayness, it took me two days to process that, because as a child, I grew up knowing Langston Hughes [poetry by heart, among a myriad of other instances of Black brilliance]...So, the idea of attempting to ascend out of Blackness [took me a minute]..."

 

"[It's weird when I'm in a group of Black men and] nobody is identifying as Trans, but every other word is 'She'...'Let her be her'...We need to take this conversation outside the room...Unless we're looking on each other sexually, we don't talk to each other...We make each other invisible...A lot of [the reason] why some homosexual men regard each other as 'she' is because it's [too] painful being a Black man..."

 

 

Rihanna 

 

 

"It happened to me the other day...A friend took me to a matinee of a show, and during intermission I was walking across the lobby and this big, imposing Brother stood near the door and as I came near, he averted his eyes...And, I said, 'How we doin'?'...And, he beamed at me and said 'Hi!'...In fact, he wanted to speak, but he was so used to not seeing and connecting to what he wants to see and connect with, that [his disconnect] was unconscious..."

 

"We have to remember that to be a Black man means to be lynched, to be whipped, to be castrated...Homosexual men operate out of a '5-F' construct...Fight, Fuck, Flee, Flirt or Friend...Some of us resent Black women because she can have his baby...get property...move his legacy along...And they are seen as competition...There's a reason why I can idolize Beyonce, who can get on the stage for a couple of hours and so easily have the things I can't seem to...I can put her back in a box...Or, I can play at [being] her to the point of buffoonery in acting out my resentment of her..."

 

 

As same gender loving men, can we honor our female and male energies equally?

 

"All of us are given that charge as Gatekeepers [the West African shamanic role]...I don't hate women...I am grateful to women...It is because of them that we were created..."  

 

Chakras 

 

 

 

 


Upcoming  Topics:  BMX-NY  2011  Spring  Calendar          

(PLEASE NOTE THAT TOPICS ARE SUBJECT TO CHANGE;
WEEKLY E-NEWSLETTERS WILL REFLECT ANY NEW CHANGES)

        

    

Friday, XXX XXth, 2011

TO BE ANNOUNCED

 

 

 

 



 

 

 

 

 

 

BMX: A  Historical  Flashback  
         
BMX NY Facil Training Seminar - Andy Expressing A Point 2

BMX-NY Leadership Training Seminar In Harlem

(SUNDAY, MAY 8th, 2005)

 

 

 

   

 

 

Community  Corner  Announcements 

 


Mooz-Lum

A Film by Q

Running Time: 95 Minutes 

 

Mooz-Lum Movie Poster 

 MoozlumTheMovie.com




Find us on Facebook 

 

"MOOZ-lum" The Movie Is On Facebook  

 

 

 

Synopsis:

Pulled between his strict Muslim upbringing by his father and the normal social life he's never had, Tariq Mahdi enters college in a state of confusion. New relationships with Muslims and non-Muslims alike challenge his already shaken ideals, and the estrangement with his mother and sister troubles him. With the help of new friends, family and mentors, he begins to find himself and open up to an Islam he hasn't been exposed to. But when the attacks of 9/11 happen without warning, he is forced to face his past and make the biggest decisions of his life.

 

 

 

Opened In Theaters  

Friday, February 11th, 2011  In The Following 10 Cities:

 

ATLANTA  ●  CHICAGO  ●   DALLAS  ●  DETROIT

HOUSTON  ●  LOS ANGELES    NEW YORK

PHILLY  ●  SAN FRANCISCO    WASHINGTON, DC  

 

 

And Now Mooz-Lum Has Opened

In 5 More Cities February 18th, 2011:

 

COLUMBUS, OH  ●  ELIZABETH, NJ
MINNEAPOLIS, MN  ●  PHOENIX, AZ  ●  SEATTLE, WA 

   

 

Purchase your tickets now:

http://bit.ly/moozlum-tickets

 


     

THEATER INFO FOR NEW YORKERS:

 

AMC Empire 25

234 West 42nd Street

(between 7th & 8th Avenues)

New York City 10036  

AMC Empire 25 Webpage

 

GOOGLE MAPS

 

 

CHECK HERE FOR ALL OTHER CITIES:

- Purchase your tickets now -

http://bit.ly/moozlum-tickets

 

 

 

Mooz-Lum (Evan Ross & Roger Guenveur Smith) 

Actor Roger Guenveur Smith (pictured right)

 

 

 

Mooz-Lum 2 (Nia Long)

Actor Nia Long  

 

 

 

Mooz-Lum 

 

 

PLEASE SUPPORT

INDEPENDENT AFRICENTRIC FILMS!!!!! 

 

 

 

 


25th  Annual  ADODI  Summer  Retreat

Wednesday  July  20th  -  Sunday,  July  24th,  2011

White Eagle Conference Center

Hamilton, New York 


ADODI Summer Retreat (2011) - African Masks

Official ADODI Website:  ADODIonline.com




Greetings from The Brotherhood of ADODI

 

We invite all same-gender loving men of African heritage to join us in the gathering for our 25th annual summer retreat:

 

The ADODI Promise:

Claiming the Legacy, Living The Legend

 

If, as Joseph Beam postulated in 1986, "Black men loving Black men is the revolutionary act..:" then the ADODI Brotherhood is surely revolutionary. It lies with each of us to ensure that this life affirming movement does not become simply an historical moment.

 

We gather together in July 2011 to conjure the legendary qualities of the ADODI Brotherhood. We journey forth to hold one another and affirm the fearless vision and life-saving, life-giving mission of black men loving black men. We congregate to appreciate the lives - both past and present - that define our tribe of caring, compassionate community among same-gender-loving (SGL) men of African descent. This summer we join together and share our commitment, knowledge, skill, passion and evolving aspirations of freedom, so that our beloved tribe may thrive 25 years more!

 

For this special 25th summer gathering we invoke the idea of

"legends" to honor the values, traditions, ancestors and historical significance of the ADODI Brotherhood. We call forth the notion of "legacy" to center our spirits on the seemingly modest gifts turned into grand treasures - our inheritance of loving intent and beloved community called ADODI. As trustees and beneficiaries of this legacy, we have our own bequests to the future to consider. This year's Retreat is dedicated to celebrating that legacy, and envisioning the future. As we benefit from the fruits grown by those who have gone before us, so the future of the brotherhood rests on our shoulders.

    

ADODI Summer Retreat (2011) - White Eagle Collage

ADODI Summer Retreat (2011) Registration Form (PDF)

  

Registration for the 25th Annual ADODI Summer Retreat is now available online, too!!!

 

Visit www.ADODIonline.com and click on The Adodi Annual

Summer Retreat on the banner to be taken to the Retreat info.

page.

 

You will need to create a login to ADODInline.com to register for the Retreat. Above the Retreat information tabs is where you click to create your free account to access the ADODIonline community.

 

You may register online now and mail your payment(s) in later, or you can register and using a credit card via PayPal. (if you pay using a credit card, a $15.00 service fee is added onto your registration price).

  
Registration Fee Information 

If paid in full by April 30, '11........... $630.00

If paid in full by May 31, '11 ............ $700.00

After May 31, '11............................... $800.00

 

 

Round trip coach bus transportation will be provided from the  

Adam Clayton Powell Jr State Office Building 

163 West 125th Street

(between Lenox Avenue/Malcolm X Blvd and Adam Clayton Powell Jr. Blvd)

Harlem, New York City 10027

 

GOOGLE MAP

 

 

 
  

New BlackFest, The (logo)Official Website: TheNewBlackfest.org

 

 

   

THE NEW BLACK FEST is A THEATER FESTIVAL.

 

THE NEW BLACK FEST  

with guest curators Judy Tate and Godfrey Simmons  

in association with  

651 ARTS

 

presents

 

 

THE AMERICAN SLAVERY PROJECT

 

In recognition of the Sesquicentennial of the Civil War (now through 2015), The New Black Fest with Guest Curators Judy Tate and Godfrey Simmons, launch the American Slavery Project Series, a monthly reading series that celebrates the work of African American playwrights who boldly and refreshingly explore slavery and/or the Civil War. The purpose behind the American Slavery Project is to initiate new conversations around theater's role in counteracting the increasing revisionism in our political/social discourse about the Civil War and slavery. More importantly, the American Slavery Project aims to promote a generation of African-American voices who are telling the diverse and rich stories from an era that most adversely affected us. The series runs from mid-March through Juneteenth.

 

Schedule of Events

 

Monday, March 7, 2011 at 7 p.m.

 

Fast Blood by Judy Tate

 

It's 1845.  Ham and Effie, an enslaved couple, stumble across the body of a hanging man who's miraculously still alive.  It is their connection to this mysterious and seductive stranger that tests their faith, love and ultimately, their own notions of slavery.

 

Location:  CAP 21 - 18 W. 18th Street, 6th Floor, NYC

 

Post Show Conversation:  The Human Face of Slavery

 

Kick-Off Wine and Cheese Reception will follow.

 

Co-presented by CAP 21

 

 

 

Monday, April 4, 2011 at 7 p.m.

 

Sweet Maladies by Zakiyyah Alexander

 

It's been two years since slavery was abolished and three recently freed slavegirls, stuck in 'the big house', play the only game they know: history.  But what happens when the game turns sticky sweet and deadly?

 

Location:  Mark Morris Dance Center - 3 Lafayette Avenue, Fort Greene, Brooklyn

 

Post Show Conversation:  Tiny Rebellions

 

 

 

Monday, May 2, 2011 at 7 p.m.

 

Living in the Wind by Michael Bradford

 

Georgia. 1876. Isaiah, a former plantation stud, steps into Sarah's front yard after a twelve-year absence. Married as slaves and separated by their owner on the night of their marriage, Sarah and Isaiah attempt to salvage a relationship.  However, difficulties arise as new lovers, past conquests, and the deadly reminder of slavery stand before them.

 

Location:  The Drilling Company - 236 W. 78th Street, NYC

 

Post Show Conversation:  Slavery's Impact on Male Sexual Identity

 

Co-presented by The Drilling Company

 

 

 

Monday, June 6, 2011 at 7 p.m.

 

Voices from Harpers Ferry by Dominic Taylor

 

In 1859, twenty-one men, including five free Black men, attacked the arsenal at Harpers Ferry along with the legendary John Brown.  This exciting new play probes into the lives of the five Black men who fought alongside Brown, and more importantly, Osborne P. Anderson, the only Black man who survived to tell the tale of Harpers Ferry.

 

Location:  Audubon Ballroom - 3940 Broadway, btw 165th & 166th Streets, NYC 

 

Post Show Conversation:  John Brown and Civil War Uprisings

 

Co-Presented by The Classical Theatre of Harlem

 

 

 

Wednesday, June 15, 2011 at 7 p.m.

 

Safe House by Keith Josef Adkins

 

1843.  Kentucky.  Addison Pedigrew is a free man of color who has big dreams of opening a shoe business.  His family also secretly helps fugitives flee to Liberia.  When a young woman knocks on his door seeking refuge, Addison's loyalty to race and family finally clashes with his unrelenting desire for success.

 

Location:  Audubon Ballroom - 3940 Broadway, btw 165th & 166th Streets, NYC 

 

Post Show Conversation:  Free People of Color and the Trek to Liberia

 

Co-Presented by The Classical Theatre of Harlem

 

 

 

Please check back for updates:  TheNewBlackfest.org

 

THE NEW BLACK FEST is URGENT.

 

The New Black Fest is a movement. It's a call to action inspired by the state of Black theater in the 21st century. It is a bold step motivated by a growing need within the Black theater community for serious change and boundless opportunity.

 

THE NEW BLACK FEST is A COMMUNITY.

 

The New Black Fest is a gathering of artists, thinkers, activists and audiences who are dedicated to stretching, interrogating and uplifting the Black aesthetic.

 

THE NEW BLACK FEST is VISIONARY.

 

The New Black Fest is a commitment to celebrate, advocate and showcase diverse and provocative work in a festival of Black theater artists from throughout the Diaspora.  It is a convening of visionaries who are determined to reintroduce the way black theater is perceived, who are ready to chart out resolutions and promote action through panel discussions, workshops, and putting both artists and community members on the hot seat.

 

THE NEW BLACK FEST is FOR EVERYONE.

 

The New Black Fest is for everyone and anyone who supports elevating and celebrating Black theater around the world, in a fresh way.

 

THE NEW BLACK IS NOW.

 

WE ARE THE NEW BLACK.

 

For reservations, e-mail reservations@thenewblackfest.org

The New Black Fest couldn't do this work without your support! A donation of any size will help! You can make your tax-deductible donation here
 
  

The New Black Fest  

is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of The New Black Fest must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.


The New Black Fest

Keith Josef Adkins & J. Holtham

Co-Artistic Directors







  
 
SGL  Black  Heroes 


Luckey  Roberts  (1887  -  1968) 
  

 

Luckey Roberts 1

Luckey Roberts  - stride pianist, composer.

 

He was Harlem's original piano powerhouse, the king of the New York Fast Shout pianists, the grandfather of stride piano. The name Luckey Roberts has become little more than a footnote in the pages of jazz history books. The names of his students are better known today than the master whom they worshipped. And what a list of disciples it is. These musicians include such luminaries as Duke Ellington, Earl Hines , James P Johnson, Eubie Blake , Willie "The Lion" Smith and last but not least George Gershwin .

 

Luckey Roberts was born on August 7, 1887 in Philadelphia, Pennsylvania. After working in vaudeville as a child, Roberts moved to New York where he established a minor reputation as a composer and a major one as a performer of "Rags" and later "Stride" piano.

 

Luckey was the first of the Harlem pianists to record, for Columbia in 1916. But it would be more than half a century before recording engineers would have the ability to record such explosive music and the records were never released and are today lost. During the 1920s, he accompanied several vocalists and also provided background piano on some of the famous "Two Black Crows" recordings. Luckey recorded next in the '40's for Circle records. In the '50's he made a "Honky Tonk" album and finally after surviving a car accident in which his hands were shattered and several strokes, he was finally captured in stereo for the "Good Time Jazz" label.

 

Luckey Roberts 2In the years between World War One and World War Two, Roberts' composing talents were recognized more and several of his musical shows were produced Roberts was the first Harlem pianist to be published, the composer of over a dozen musical comedies, the composer of several big band era hits, as well as composer of Symphonic works that premiered at both Carnegie Hall in 1939 and Town Hall in 1941.

 

Although Luckey did not become that successful as a Broadway show writer, he struck gold in the world of society. As a society bandleader, Roberts saw his income rise from six dollars a week to one thousand dollars a night. His orchestras could be heard playing on Park Avenue, on Long Island, Nantucket, Newport, and Palm Beach. He was a favorite of royalty and of the family of President Franklin D. Roosevelt.

 

Luckey opened his own place in 1940 at 773 St. Nicholas Ave. calling it "Luckey's Rendezvous," which featured singing and dancing waiters, waitresses, and cloakroom attendants. In this period, Luckey began concentrating on serious music and concert performances. The Carnegie Hall concert occurred on August 30, 1939, and included his work for piano and orchestra "Spanish Suite." On May 28,1941, the orchestra performed at Town Hall. In his home town of Philadelphia, at Robin Hood Hall, he premiered his syncopated rhapsody for piano and orchestra "Whistlin' Pete." In 1941, Luckey scored two successes on the Hit Parade with "Moon Light Cocktail" and "Massachusetts."

 

Luckey continued to run The Rendezvous until 1954 when it closed because, according to The Lion, he would always be too generous with free drinks for his friends and clientele. After spending over 72 years in show business, Luckey refused to retire. During his golden years he composed two musicals, Emalina and Old Golden Brown, the latter of which he spent over a decade composing, writing the lyrics, and writing and revising the plot.

 

Roberts made few records and most of these were early piano rolls, while his later records were made after he had suffered strokes and was injured in a road accident. Still, it is possible to understand the awe felt by such pianists as Fats Waller, James P. Johnson and Willie "The Lion" Smith at his astonishing technique. Luckey was held in the highest esteem by his contemporaries. He played tenths as easy as others played Octaves. His tremolo was terrific, and he could drum on one note with two or three fingers in either hand. His style in making breaks was like a drummer's; he'd flail his hands in and out lifting them high, a very spectacular pianist.

 

Luckey Roberts died on February 5, 1968.

 

Adapted from bio by Tom Roberts. 



Luckey Roberts 3 (pictured left) Luckey Roberts (pictured left) With Willie Smith




  
 
The Bawabisi SGL Symbol

Bawabisi SGL Symbol (Partial Transparency)

The SGL symbol, the Bawabisi, is inspired by Nigerian Nsibidi script and West African Adrinkra symbols. The two facing semi-circles represent unity and love. The figure has been split symmetrically in half to suggest parts of a whole that mirror each other. Dots are often used in Adinkra symbols to represent commitment and pluralism. The split and dots, with the addition of color, suggest the concept of gender. The circle encompassing the figure reinforces the idea of connectedness despite duality, suggesting the idea of two-spirited.





About  BMX- NY...
 
  



 THE BLACK MEN'S XCHANGE - NEW YORK (BMX-NY) was founded in Harlem in 2002 and is a gathering for same gender loving (SGL) and bisexual Black men to powerfully and respectfully address issues that impact their lives, and to connect with one another in a positive, affirming, nurturing and transformational environment. Ages 18 and up.

BMXNY.org 

 


BMX  Mission  Statement

BMX Logo (Black)
THE BLACK MEN'S XCHANGE (BMX) was founded in 1989 by activist, writer and behavioral health expert Cleo Manago, as an instrument of healing and empowerment for same gender loving (SGL) and bisexual African descended men. The mission of the Black Men's Xchange (BMX) is to affirm, heal, educate, unify and promote well-being and critical thinking among Black people - 18 and up - diverse in sexuality, class, culture and philosophy.  Black Men's Xchange (BMX) conducts activities that promote healthy self-concept, sexual health, constructive decision making, and cultural affirmation among same-gender-loving (SGL), bisexual and heterosexual Black populations. BMX affirms and educates Black men (and the community at-large) while providing tools for self-determination, community responsibility, self-actualization and the prevention of health threats (e.g. HIV, isolation, substance and other addictions, and mental instability). BMX creates an environment that advances black culture and involves identifying and unlearning ingrained anti-homosexual and anti-black male and female conditioning,

 

BMX is built on a philosophy that embraces same gender loving experience as intrinsic to everyday Black life.  Integral to BMX's approach is the understanding that, in order to decrease internal and external anti-homosexual thinking, and demystify differences around diverse ways of living and loving Black people must engage in supportive dialogue with each other and the community.



  

BMX-NY MMM Photos 11
 
The Black Men's Xchange-New York And Our Allies At The Millions More Movement (MMM) In Washington, DC
(October 15th, 2005) 


 
At BMX we believe that self-determination is crucial in achieving success toward healing and empowerment.  We understand that our cultural and experiential uniqueness requires a uniquely focused and precise approach.  Affirming strategies born out of our own experience is powerful; hence, the adoption of the terms, Black, African American and Same Gender Loving (SGL).



 

The Term Same Gender Loving

The term Same Gender Loving (SGL) emerged in the early '90s to offer Black women who love women and Black men who love men (and other people of color) a way of identifying that resonated with the uniqueness of Black life and culture.  Before this many African descended people, knowing little of our history regarding homosexuality and bi-sexuality, took on European symbols and identifications as a means of embracing our sexualities, including: Greek lambdas, German pink triangles, and the white-gay-originated rainbow flag, in addition to the terms gay, and lesbian.

The term gay, coined as an identification by White male homosexuals in the '50s, was cultivated in an exclusive White male environment.  By the '60s, the growing Gay Liberation movement developed in a climate largely excluding Blacks and women.  In response to this discrimination, White women coined the identification lesbian, a word derived from the Greek island, Lesbos. The Lesbian movement, in turn, helped define a majority White movement, called feminism.  In response to the racism experienced by women of color from White feminists, celebrated author, Alice Walker introduced the term womanist.

The term womanist identified women of color concerned with both the sexual and racial oppression of women.  In this spirit of self-naming and ethnic-sexual pride, the term same gender loving(SGL) was introduced to enhance the lives and amplify the voices of homosexual and bi-sexual people of color, to provide a powerful identification not marginalized by racism in the gay community or by "homophobic" attitudes in society at large.

As gay culture grew and established enclaves in San Francisco, Chelsea, Provincetown, Key West and other territories, Blacks especially, were carded and rejected from many establishments.  Even today Blacks, Latinos and Asians often appear in gay publications and other media solely as potential sexual objects.  Ironically, gay rights activism was modeled on the Civil Rights and Black Power Movements initiated by African Americans.

In the years since the advent of the Gay Rights movement many Black SGLs have found scant space for the voices, experiences and empowerment of Black people.  Additionally, the rigid influence of the Black church's traditionally anti-homosexual stance has contributed to attitudes that repress and stigmatize Black SGLs.  The lack of acknowledgment and support in the Black community has shunted multitudes of same gender loving African descended people to the White community to endure racism, isolation from their own communities, and cultural insensitivity.

The high visibility of the white gay community along with the absence of illumination on same gender loving experience contributes to the tendency in Black communities to overlook and ridicule same gender loving relationships as alien or aberrant.  The SGL movement has inspired national dialogue on diverse ways of loving in the Black community.  The term same gender loving explicitly acknowledges loving within same-sex relationships, while encouraging self-love.

The designation, same gender loving has served as a wake up call for Blacks to acknowledge diverse ways of loving and being, and has provided an opportunity for Blacks and other people of color to claim, nurture and honor their significance within their families and communities.


BMXNational.com





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