POV: Darnell L. Moore: What If I Chose to Be Gay? Or, Why Herman Cain Might Be onto Something

 

What If I Chose to Be Gay?

Or, Why Herman Cain

Might Be onto Something

So apparently Herman Cain thinks that a person can choose to be gay. The Human Rights Campaign (HRC) seriously disagrees. HRC recently forwarded an e-news update with the following call to action spelled out in the subject line: "Tell Herman Cain pizza toppings are a choice -- being gay isn't."

HRC, and many other LGBTQ individuals and allies, took offense to the GOP presidential candidate's sentiments that he shared on ABC's The View, when he boldly declared, "You show me the science that says that it's not [a choice], and I could be persuaded. Right now it's my opinion against the opinion of others who feel differently. That's just a difference of opinion." But I am a self-identified queer (black) progressive man who thinks that Abel's Cain, for once, just might be onto something. Don't stone me too soon before hearing me out, however.

It seems that the "nature" argument, or, rather, the "people are born gay" argument, is the only basis for others' acceptance of LGBTQ folk and, for many of us, the only basis for acceptance of ourselves. As a result, we continue to regurgitate findings from scientific guilds to support our claims of "truth" regarding our worthiness and full humanity. For example, HRC's announcement, which sought to reprove Cain's "choice" theory, points to a number of sources to validate that one's gay essence is biological and not a result of external factors, like culture. Cited in the note are familiar names that have been associated, at various points within our recent history, with anti-homosexual and pro-homosexual propaganda, like the American Psychological Association and the American Psychiatric Association. As if the naming of those empirical giants were not enough, they went on to quote brief statements from the American Medical Association and American Counseling Association, all to prove and assert our worth as human beings who just happen to befriend, love, and/or sexually engage with others who might be of the same sex. Do we really need "science" as proof of our worth and justification for respect? Well, HRC and Cain apparently think so!

I affirm my LGBTQ brothers and sisters who name and claim their sexualities and expressions as part of their being. But I also want to push back against those who feel as if there is only one right (pun intended) way to think about our sexual selves. What if one's affinity towards, attraction to, desire to be intimate with, and/or love for another person of the same sex is a choice after all? What if we, including those of us who are LGBTQ-identified, considered what it might mean if we only relied on the nature argument to somehow prove that we aren't morally inept, sinful, hell-bound, deviant, lustful, and/or community-destroying bodies?

Ian F. Haney Lopez, the well-known critical race theorist and Professor of Law at UC Berkeley, argues in his now-classic essay, "The Social Construction of Race," that "[h]uman interaction rather than natural differentiation must be seen as the source and the continued basis for racial categorization." What does this have to do with debates on sexuality as a consequence of nature or nurture? Well, thinkers like Lopez, and others before and after him, offer a line of thinking that counters the notion of biological race and instead insists on the idea that race is a created social reality. Thinking of race as a byproduct of our own design rather than a thing that could be discovered through scientific (and racist) methods practiced by, say, 18th-century scientists like Petrus Camper, who used "craniometry" to develop a hierarchy of races (of course, blacks landed a bit higher than orangutans on that ladder), illuminates how the sciences have been used to substantiate the inferiority of some human beings in comparison to some others.

History is a great teacher; which is why it shouldn't be hard for many of us to imagine how the location of a presumed "gay gene" could become the proof of human being's slippery deviation from hereditary normality (heterosexuality) into genomic abnormality (homosexuality). I can definitely imagine the Cains of the world relying on empirical science to support that notion. All that to say: to hell with the need for "evidence" to make clear our right to exist as equals in the world.

But back to this idea of "choice": what is wrong with someone making a choice to love, have sex with, be attracted to, or befriend someone of the same sex? After thinking about this question, I considered what it might mean for us to move one's "choice" to love and be loved to the center of our politics. The denying of another's choice to love, kiss, hug, sleep with, hold hands with, or share a home with another person (of the same sex or not) is an aggressive move against another's right to the pursuit of happiness, especially when that choice does not bring harm to the persons or the communities in which they are part.

"Choice" is dangerous language because it reeks of a dangerous type of moralism, at least the kind that conservatives like to rely on to support their ideas of family and "right" relationship between humans and God. But progressives must name and offer new and varied definitions of "family," "friendship," and "relationship." We can be moral guards, as well, and proclaim that we have a right to make choices that sustain, lift up, and strengthen us, our families, and our communities.

I say we resist arguing with Cain, with supposed guards of America's "traditional values," with subjective science, and even the Bible. We need to begin the discussion at a different starting place, namely, a place that starts by focusing on our worth as human beings, for once. I propose that we tell Cain: I love to choose my pizza toppings and I hate when they are chosen for me.

 

 

 

OP-ED: Nikky Finney: The Bare Arms of Angry Black Women

By Nikky Finney

The Bare Arms

of Angry Black Women

We are called angry Black women because we are not afraid of bare arms. We pay close attention to our arms, holding our children tight inside of them. We are called angry Black women because we use our arms to wave to each other, because we boldly swing our arms when we walk, because we know arms reach out, give regard, sometimes we even hire haute couture designers who have done their homework, who know we are no armless hipless mannequins.

I have decided that when I hear another fine Black woman fallaciously referred to as an angry Black woman during Black History Month this year, that I will stop whatever I am in the middle of and meditate on my personal list of other Black women who had great regard for their bare arms: Harriet Tubman, Sojourner Truth, Ida B. Wells Barnett, Barbara Jordan, Modjeska Monteith Simkins, Lorraine Hansberry, Beulah Butler Davenport (grandmother), Frances Davenport Finney (mother), as well as the fierce line of great aunts: Otelia, Nanny, Mary, Bertha. Here on these sacred black winged things, I will zoom and linger for the duration. Black amber, caramel, elegant, muscular, long, pillow-like, black bare arms akimboed at the hip or side. American history has not acknowledged the black arms of Black women. But Black History knows the arms of Black women very well.

Black arms on Black women are valuable apparatuses: for escaping, pointing to North Star freedom; recruiting Black troops for the Union Army; penciling notions of women's suffrage; documenting, detailing the horrors of lynching (circa 1892), and thereby inventing investigative journalism in America; pecking out, scene by scene, manual typewriter blazing the timeless A Raisin In The Sun. Brave black arms assist in the raising of a historical hand. Remember that day in the House of Representatives, 1972, 'the Inquisitor' she called herself at the impeachment hearings for President Richard Nixon. Bare black arms show up like early travel signage of American history: STOP-- GO - TURN HERE. To make a young country stronger, better, more just.

Black arms on Black women defended themselves from raging policemen and sex-crazed guardians of the old guard. Wiser Black arms taught us to high fly our younger Black arms like proud banners of the Black country we dreamed our lives forward from. The Black arms of the Black women of so many families drove buses and carried weighty purses that doubled as hammerheads. Barriers might need dismantling between breakfast and supper.

I come from Black women who knew America could not be America without the presence of their arms, women who never hid their arms, who carried their arms brazenly, and sometimes because it was the only work we could get, lost an arm while working at the chicken or flashlight factory. Women who liked their arms, needed their arms, and shot out their arms to shield someone they loved. As a girl I saw Black women regularly pushing up their long sleeves or boldly sporting a sleeveless Sunday Easter dress because Black arms had to breathe, stay free, be quick to open and ready to fly. Free arms can swim upstream, climb a hill, break a fall, propel a dance, arm-wrestle southern white folk's daily foolishness. Babies had to be held, hugging had to happen, and signs had to be hoisted: 'A Man Was Lynched Yesterday.'

My mother, the most beautiful woman in the world, strode into Edwards Five and Dime, Sumter, South Carolina, to get a bag of wooden clothes pins, or was it a four-pack of undershirts for Daddy? Mama, dressed in a baby blue and white polka-dot cotton sleeveless dress, cinched at the waist, arms freshly vaselined and her whole Black female body shining like a bronze action figure. She stood there like Dorothy Dandridge or Lena Horne, off screen, and yet no one in charge looked our way. No one said, "May I help you?" And there she would wait, impatiently tapping her foot, until another customer walked in, one quickly seen and quickly helped. That was the moment when Mama raised her beautiful Black arm -- high -- the bare braids of deltoid, bicep, and anconeus now radiant in the air.

It's Black History Month and this year I'm celebrating the bare arms of Black women. When we don't hide our strong arms, when we use them to visualize our jubilant love for our Blackness, when we teach our children how to dig down into the earth and plant organic spinach in the back garden, when we wear our arms free, display them proudly, use them to wave from our gallery seat, when we cross them privately, comfortably, self-assuredly, there across the rest of our beautiful Black body, while standing at our private windows, while gazing out of our White House or our green or blue or yellow house -- something sadly American still happens, someone calls us what is easy and false and familiar only to them, angry Black woman, a phrase that bears no resemblance to what or who we are.

At the gym this year I have decided to keep the Black History celebration going by working more on my arms. I will also remember to give a good stretch to my arms before scribbling out any new poems and I promise you I will be my mother's daughter -- until the end of time, passionately partial to tank tops, spaghetti straps, the very shortest of sleeves.

 

 

 

__________________________

 

 

Michelle Obama

shows off push-up skills

on 'Ellen'

 

By Rhyanne Green

 

Michelle Obama does push-ups on 'Ellen'

Michelle Obama shows off push-up skills on 'Ellen'

Now we know first lady Michelle Obama means business when it comes to physical health. While Mrs. Obama was a guest on The Ellen DeGeneres Show to promote her "Let's Move" healthy eating campaign, Ellen DeGeneres made a friendly push-up contest. challenge to the first lady.

"How many push-ups can you do? Because I like to do a push up," said DeGeneres. Michelle coyly replies "Well um you know, I don't know. I can do some -- can you?" The first lady then gently teased DeGeneres, "You know it depends on how your back is, because I know you have these back issues." "Oh no," said DeGeneres, who popped out of her seat and sprung into action

By the time they finish, Michelle Obama tallies 25 push ups. "How amazing is that!?" said DeGeneres.

WATCH the first lady and Ellen's push-up match

>via: http://www.thegrio.com/entertainment/first-lady-michelle-obama-push-up-match-...

VIDEO: Aya de Yopougon > African Digital Art

Marquerite Abouet

 image

Aya de Yopougon

by African Digital Art February 2nd, 2012

 

Aya de Youpougon is a critically acclaimed graphic novel series by Marguerite Abouet. Abouet was born in Abidjan, Cote D’Ivoire, many of the themes in Aya chronicle her childhood memories of a proposers and promising Ivory Coast in the 1970′s.

Perhaps the reason why Aya has captured the attention of readars across the globe is that the comic presents a different sort of Africa, one that illustrates daily life outside of the typical war, famine and disease narrative. Due to popular demand Aya de Youpougon will be gracing the screens this year in a feature length animated film.


Films synopsis.

“Welcome to Yopougon, a working-class neighborhood of Abidjan in the late 70s, renamed Yop City – to sound like an American movie ! This is home to Aya and her two friends, Adjoua and Bintou. The’re 19-years-old, a time in your life when everything seems possible. But while Aya would like to become a doctor one day, her friends are more into nightclubbing at the local “maquis” and hunting for a husband. Around this dynamic trio, we cross characters with diverse destinies like Ignace, Aya’s runaround father who juggles several “offices”, and Moussa, the son of the powerful Bonaventure Sissoko who counts on his Toyota to pick up girls. There’s also Fanta and Koro, the mothers who try to protect their daughters. Or Grégoire, the “Parisian” who blows his cash at the famous hotel Ivoire.
A true chorale comedy, Aya of Yop City is a chronicle of an unexpected Africa, modern and urban.”

 

 

HISTORY: Watch ‘Daisy Bates: First Lady of Little Rock’ > Clutch Magazine

Black History Month Fab:

Watch ‘Daisy Bates:

First Lady of Little Rock’

Friday Feb 3, 2012 – by

When you think about prominent women of the civil rights movement who comes to mind? Rosa Parks? Mary McCloud Bethune? Fannie Lou Hamer?

Although women in the movement were oftentimes marginalized, black women played an integral role in the fight for civil rights. One such woman was Arkansas’ Daisy Bates.

Daisy Bates was the head of the Arkansas NAACP and led the fight to integrate Little Rock’s Central High School. Along with being partly responsible for desegregating the schools, Bates was a staunch feminist, a newspaper publisher, and a self-educated woman. Despite being an American hero, very few people outside of Arkansas know about her contributions to civil rights.

Recently filmmaker Sharon La Cruise brought Daisey Bates’ story to film and is spreading the word about this true civil rights leader.

Watch “Daisy Bates: First Lady of Little Rock” and share it with everyone you know! 

<p style="font-size:11px; font-family:Arial, Helvetica, sans-serif; color: #808080; margin-top: 5px; background: transparent; text-align: center; width: 512px;">Watch Daisy Bates: First Lady of Little Rock on PBS. See more from Independent Lens.</p>

Watch Daisy Bates: First Lady of Little Rock on PBS. See more from Independent Lens.

 

VIDEO: Esperanza Spalding Mixes African History with Jazz on ‘Black Gold’ > Clutch Magazine

Black History Month Fab:

Esperanza Spalding

Mixes African History with Jazz

on ‘Black Gold’

Thursday Feb 2, 2012 – by

Grammy winner jazz musician Esperanza Spalding is back with another fabulous album and another dope single, “Black Gold.”

Featuring soul singer Alegebra Blesset, “Black Gold” is an inspirational tune that speaks of the storied history of Africans in the diaspora. Just in time for Black History Month, Algebra sings of ancient and powerful Africa kings and queens and reminds the youth that they are “black gold.”

“Black Gold” is the lead track from Spalding’s latest album, Radio Music Society, due out March 20.

Check out the video for “Black Gold” and let us know what you think.

 

 

VIDEO: Mayra Andrade - Cape Verde’s Songstress

Cape Verde’s Songstress

I became an instant fan of music from the sun drenched islands of Cape Verde when I first heard the sound of Bana’s soulful harmonies and the intoxicating voice of the barefooted diva Cesária Évora (may she rest in peace). As Cape Verdean hip hop artist Shokanti explained to me, there’s a new bright voice carrying on the nation’s blues-influenced style of morna music.

 27-year-old Mayra Andrade stands on the shoulders of past musical luminaries like Bana and Cesária as one of Cape Verde’s modern songstresses. In MC Shokanti’s words:

“Mayra Andrade is an amazing musician with a gift to capture audiences of all ages into her musical journey. She has brought Cape Verde to the world and the world into Cape Verde by staying true to her traditional roots and creating new innovative fusion of world sounds. It may be hard to replace Cesaria Evora, but Mayra Andrade has proven that she will have her own legacy to fulfill.”


Mayra Andrade, “Comme s’il en Pleuvait (Live)” at Studio de l’Ermitage.

In a recent interview published by The Economist , I spoke with Mayra Andrade about her craft and roots. Read an excerpt below and head over there for the full article:

The relationship that musicians have with their craft is often an intimate one. How did you develop your passion for music?
 I don’t think I really chose music—instead, music chose me. From the moment I was born, I felt like I was surrounded by the sounds of the famous Cape Verdean singers like Bana, and Brazilian musicians such as Caetano and Milton Nascimiento. I was being seduced by this acoustic sound, and I just couldn’t ignore it.

As an African artist, do you feel under pressure to make a certain type of music?
For African musicians there’s always this pressure to be traditional. The audience has certain expectations of you because you’re African—they want something exotic. But just conforming to others’ expectations can become meaningless over time. Someone might say that I’m not traditional enough. But no one ever says to a pop singer, “You’re not pop enough”. (Economist)


Mayra Andrade & La MC Malcriado, “Mas Amor”

- Dialo Hall, founder of Addis Tunes

__________________________

The Q&A: Mayra Andrade

Cape Verde’s music lives on


 

 

 

Jan 23rd 2012, 13:28 by D.H. | NEW YORK

 MOST anyone who knows the music of Cape Verde, an archipelago nestled 500km off the coast of West Africa, first learned of these sublime sounds through the music of Cesária Évora. She popularised morna, the melancholy strains that are unmistakably the Cape-Verdean style of blues. Évora passed away last month, but the emotional essence of morna lives on through one of the country’s most celebrated sirens—27-year-old Mayra Andrade. As Vasco R.A. Pires, a Cape Verdean poet, has mused: "Like the constant caress of the ocean waves, Mayra's voice expresses our soul and spirit, and the world is amazed." 
 
Ms Andrade’s music has earned acclaim and a range of awards throughout Europe, including the prestigious German Record Critics Award. During her brief hiatus from touring, I talked to her over the phone about public expectations of an African artist and what it means to make honest music.
 
The relationship that musicians have with their craft is often an intimate one. How did you develop your passion for music?
 
I don’t think I really chose music—instead, music chose me. From the moment I was born, I felt like I was surrounded by the sounds of the famous Cape Verdean singers like Bana, and Brazilian musicians such as Caetano and Milton Nascimiento. I was being seduced by this acoustic sound, and I just couldn’t ignore it.
 
You were born in Cuba, spent your formative years in Senegal, Germany and Cape Verde, and you are now settled in Paris. How have these life experiences influenced your musical aesthetic?
 
You can’t be the same after living in different spaces. You can’t do the same music after your eyes have seen the wonders of the world. The direction in which I have grown is very different from the world of my youth. I want my music to be a reflection of this journey.
 
Your first release was "Navega" in 2006. Then in 2009 you released "Storia Storia". How did you evolve as an artist from your first project to your second?
 
With "Storia Storia" I stretched myself to embrace a variety of musical styles. And I had the opportunity to work with so many amazing musicians who were incredibly generous with their gifts. The basis of the album was recorded in São Paulo, Rio de Janeiro and Salvador da Bahia—with musical guests from Cuba, along with an array of Brazilian arrangers. It was really a chance to spread my wings artistically and to experiment with different sounds.
 
In November 2010 and you released your third album, "Studio 105". How did you approach this project?
 
I really wanted to breathe new life into earlier compositions from my previous albums, plus three covers of some other songs. After doing the original versions, I felt free to do different arrangements. I think that as an artist, it’s important that you don’t fall into complacency, you don’t have to do what you always do. So I figured I would take the opportunity to try something new.
 
As an African artist, do you feel under pressure to make a certain type of music?
 
For African musicians there’s always this pressure to be traditional. The audience has certain expectations of you because you’re African—they want something exotic. But just conforming to others’ expectations can become meaningless over time. Someone might say that I’m not traditional enough. But no one ever says to a pop singer, "You’re not pop enough".
 
So what have you been working on recently?
 
I’m in a strange and interesting moment musically. I really want to stretch myself, otherwise I fear I may find myself bored. Yet, this isn’t an easy process. I’m very close to my musical heritage, so I have to fight with myself to keep from doing the same old thing. But I want to reach people’s hearts with my music—I want it to be honest. I think people can tell when you’re being honest, and when you’re just going through the motions.
 
How have you found inspiration?
 
It’s a very interesting process. I’ve been listening to a lot of other music lately, just trying to develop a greater appreciation for how others work, what I like, why I like it, and what elements I may even borrow. It’s a very different process for me. On one hand, right now, I need the time to do nothing and to go through this phase of discovery, but I also feel a little guilty that I’m not creating more albums. I am doing some shows, but I’m mostly in the studio experimenting.
 
What is the one thing about yourself and your music that you wish people understood?
 
I really don’t like to expose my private life. But at the same time I really want to invite people to be a part of my life—to understand who I am through my voice. It’s almost like when you’ve become so close with someone that you understand them without them having to say a word. In this business, when you pour your soul into your music, you feel very exposed. It’s like you aren’t allowed to make mistakes—either they love you or hate you. This type of intimacy can be very frightening. We’ll see where my musical journey takes me, and see how willing people are to accept what I’m giving them. But I think it’s important that the world accepts African musicians for who they really are.

 

 

 

PUB: Lambda Literary | Outstanding Mid-Career Novelist Prize

Outstanding Mid-Career Novelist Prize

The Outstanding Mid-Career Novelist Prize is presented annually at the Lambda Literary Awards ceremony. The award, made possible by James Duggins, PhD, consists of two cash prizes of $5,000.

The awards will be presented to two LGBT-identified authors.  Age is not a determining factor. The award recognizes LGBT content of importance to the LGBT community and with emergent LGBT authors who have written and published at least three novels, or two novels and substantial additional literary work such as poetry, short stories, and essays.  A panel (or panels) will be created to identify candidates & winners. Recommended winners will be reviewed by the Staff and Board of Trustees of the Lambda Literary Foundation.  Click on the link below to download the revised 2012 nomination guidelines.  Nominations are open through March 16, 2012

Download the 2012 Nomination Guidelines (PDF)

 

PUB: 2012 New Women's Voices Chapbook Competition - Finishing Line Press

CALL FOR MANUSCRIPTS

2012 NEW WOMEN’S VOICES CHAPBOOK COMPETITION

A prize of $1,000 and publication for a chapbook-length poetry collection.
Open to women who have never before published a full-length poetry collection.  Previous chapbook publication does not disqualify. International entries are welcome. Multiple submissions are accepted.

Final judge to be announced. All entries will be considered for publication. The top-ten finalists will be offered publication. Submit up to 26 pages of poetry, PLUS bio, acknowledgments, SASE and cover letter with a $15 entry fee (pay by check or money order.  Deadline: Feb. 15, 2012 (DEADLINE)

NWV

Finishing Line Press
P O Box 1626
Georgetown, KY 40324

USA

Please send a $15 check or money order with your submission.

A self-addressed, stamped envelope (SASE) with the correct postage must accompany all manuscripts. A SASE is needed for any kind of response, even if the writer does not want the material returned.


A good photocopy of the manuscript or a computer printout, rather than the original, should be sent. Finishing Line Press is not responsible for lost manuscripts.

 

 

You can pay the entry fee ($15) online here:  http://www.finishinglinepress.com/product_info.php?cPath=2&products_id=566

 

BUY NOW VIA PAYPAL

If you prefer, it is fine to send a check or money order with your submission instead of using the buy now button.


 

 

PUB: Julia Peterkin Award in Poetry | Converse College

Submission Guidelines for the
2012 Julia Peterkin Award in Poetry
Eligibility

The 2012 Julia Peterkin Award is open to all poets. Previously published works are eligible for inclusion in the submission. Only original works in English may be submitted.

Manuscript Format Guidelines

Entries must be typed on quality paper, 8 1/2 by 11. Photocopies or copies from letter-quality printers are acceptable. Each entry should include up to 10 pages of poetry (blind submissions ), along with a cover page including the writer’s name, address, daytime phone number, and titles of submission. Also include a one-paragraph biography. 

 Entry Requirements

  • A handling fee of $15 made payable to: Converse College English Department. Deadline: February 15, 2012.
  • Results will be announced on the Peterkin web page in May 2012. No manuscripts can be returned.
  • Send one copy of the manuscript prepared according to format guidelines.
  • The winner will receive $1,000 and travel expenses for a reading at Converse College. Winner should be willing to read at Converse during the Fall 2012 Visiting Writers Series.  

Send entries to:

The Julia Peterkin Award
Creative Writing Program
Converse College
580 E. Main Street
Spartanburg, SC 29302

For more information, call 864.596.9111.

 

INFO: BoL - Pharoah Sanders, Heidi Vogel, 15 versions of "Balm In Gilead"

BREATH OF LIFE:

a converation about black music

We bless this week with both a studio and a live version of Pharoah Sanders gracing us with “Let Us go Into The House Of The Lord.” Vocalist Heidi Vogel serenades us with brilliant interpretations of Brazilian music. We close with 15 takes on the gospel classic, “There Is A Balm In Gilead” featuring Donna Weaver, John Blake Jr, Nnenna Freelon, Kamau Daaood, Sunny Sumter, Courtney Bryan, Larry Willis, Mahalia Jackson, Archie Shepp, Rhoda Scott, The Clark Sisters, Karen Clark-Sheard, Soweto Gospel Choir, and Nina Simone.

>http://www.kalamu.com/bol/

 

 

+++++++++++++++++

 

This is as close to the dangerous live Pharoah as one is liable to get from any mechanical recording. Amazingly there are no electric instruments, nor even creative use of amplification. It’s drums, percussion, acoustic bass, acoustic piano and Pharoah, although when they are full-out roaring you’ll swear there is some secret instrument juicing up the maelstrom. What it really is, is cats in tune with each other who are willing to use extra-musical elements to effect extraordinary music.

Pianist Lonnie Liston Smith in particular is demonic: his left foot holding down the sustain pedal while his left hand rumbles in the bass clef of the piano producing a tidal wave of sound akin to a stampede of bull elephants, at the same time his right hand is mining sparkling jewels of treble trills that sing and ring in the upper reaches. You can almost see the piano doing the twist as both ends of the keyboard are struck with sledgehammer strength.

When Pharoah enters his first bellowing notes are what other saxophonist might have used for a climax—at that point there is almost nothing left to do but let sounds just gush out and afterwards fall back totally exhausted. Pharoah had played the opening theme with such sensitivity and control that we are completely shocked by his short solo, which is immediately followed by a percussion fusillade that is a second coming matching and reprising the saxophone assault. By now the audience is actively participating, hollering and shouting as though they were an accompanying Pentecostal choir.

A short arco solo from Mr. McBee on bass and Pharoah then re-enters playing with the dignity of a high-bishop, or an immense black swan gliding over a placid lake at sunset. At this point the music is a prayer. For peace, for understanding, guidance and grace. And then, just like Eric said, the sounds are gone…

—Kalamu ya Salaam