Category: Music

Apr 22 2014

Young People Continue To Talk About the Cops…

If you read this blog, you know that I talk a lot about policing. The cops are the gateway to the prison industrial complex and the gatekeepers of state power. In addition, as I’ve often written, the young people I work with want to talk about the police. Their material experiences of feeling and being oppressed usually revolve around how they are treated by cops.

Recently a young person who I love named Richard released a new music video for his song “Cops and Robbers.” You can and should watch it below.

I asked Richard about his inspiration for the song and his response was as follows:

“So the idea of the song actually was nothing planned. I was on the Greyhound coming back from a very short spring break and I had just started to re-read Assata Shakur’s Autobiography and I listened to the beat right after I read the first chapter and the first thing I could think of was Cops and Robbers, and how Assata was portrayed and accused and related to my experiences growing up in Chicago.”

I also asked about how he views the role of police in communities like the one he grew up in. His response was that they were “overseers” of the community. I thought that this terminology was instructive and harkens back to the slave patrols which were America’s original police forces.

Recently my comrade Francesco de Salvatore shared his collaboration with a group called the Young Fugitives about policing in Chicago. The project titled “Growing Up With CPD” is a set of audio interviews with young Chicagoans about their experiences with law enforcement. Below is one story.

“Growing Up With CPD” follows on the heels of a similar project that my organization undertook a couple of years ago called “Chain Reaction.” I think that what all of these projects have in common is a desire to surface the voices of young people who feel oppressed by policing in the hope that people will come to rely less on cops as the solution of violence. I hope that people will heed young people’s calls for true justice.

Apr 18 2014

Trials as Theater Redux: Billie Holiday Edition

A few weeks ago writer & artist Molly Crabapple considered the theatrical nature of court proceedings:

“Courtrooms are a violent theater. The violence happens off-scene: in Rikers Island where a homeless man recently baked to death; in the shackles and beatings and the years far from everything you love. But the courtroom itself is the performative space, the stage where the best story triumphs, and where all parties, except (usually) the defendant, are just playing parts.”

I had the pleasure of talking with Molly a bit about my experiences of sitting in numerous courtrooms over the years. As she points out in her essay, most trials are not high drama or high profile. They are mostly rote and often very boring. Yet the public is weaned on television courtroom depictions and mistake “Law & Order” for real life.

There are, however, individual high profile trials that can take on the character of high drama. Billy Holiday’s 1949 drug trial fits the bill. Sara Ramshaw (2004) writes about it in an essay titled “He’s my man!”: Lyrics of Innocence and Betrayal in The People v. Billie Holiday. A number of accounts have been written about the trial. They all vary but one thing is consistent: Holiday was found not-guilty. This was seen as a surprise given the fact that she was allegedly caught in possession of narcotics by a well-respected FBI agent named George H. White. Additionally, in an era where black defendants were subject to ‘legal lynchings’ even celebrity was not a get out of jail free card.

Ramshaw (2004) addresses how “the racist, heterosexist, and classist violence and victimization [Holiday] had experienced throughout her life was brought to the fore and highlighted in order to support her trial narrative (p.88).” Billie Holiday proclaimed her ‘innocence’ at trial and an all-white jury found her credible. She was acquitted on June 3 1949.

Holiday’s attorney, Jake Ehrlich, suggested as a defense that she had been set up by her boyfriend John Levy. Yet Ramshaw contends that “Erlich’s position had obvious deficiencies…Nonetheless, the jury appears to have accepted Ehrlich’s argument (p.100).” Why did the jury believe Holiday’s defense? Ramshaw explains: “The reason for this decision, I suggest, lies in the blurring of Holiday’s personal and public lives and the credibility her celebrity persona lent to her narrative of innocence and betrayal in the courtroom (p.100).”

The defense sought to play up Billie Holiday’s public image as being ‘unlucky in life and love.’ Ramshaw describes how they relied on and constructed this image:

“To begin, Holiday entered the courtroom on 31 May 1949, looking uncharacteristically ‘unkempt in a beige suit.’ Her eyes were puffy from crying and one eye was bruised and swollen. She told a reporter in the courtroom that Levy had hit her. ‘You should see my back,’ she stated: ‘He done it Friday night. It looks better now than what it did. He went off Saturday night – even took my mink – eighteen grand worth of coat…I got nothing now, and I’m scared.’”

Holiday was probably telling the truth about being abused by Levy. He was not the first boyfriend to have allegedly assaulted her. But Ramshaw makes clear that Holiday and her lawyers chose to underscore her victimhood and to marshal the public’s perceptions of her to their benefit. They succeeded in this; overcoming racism and turning misogyny to their advantage. The entire article by Ramshaw is fascinating and worth reading.

In the conclusion to the article, Ramshaw offers the following assessment of Holiday’s courtroom ‘performance:’

Holiday’s “My Man” routine, otherwise referred to as her “unlucky in life” public persona, was configured in United States popular culture on the basis of myths and stereotypes regarding black women and their sexuality. Throughout Holiday’s trial, issues regarding race, class, gender, and sexuality were either implicitly or explicitly highlighted in order to direct attention back to Holiday’s “unlucky in life” persona. This persona, in turn, filled gaps and resolved contradictions in the evidence. The heightened authenticity that her “unlucky in life” public persona lent to her trial narrative of innocence and betrayal gave Holiday’s testimony the quality of truthfulness needed to get a jury to overlook the evidence (or lack thereof) in front of them (p.105).

When I read Molly’s article, I remembered Ramshaw’s account of Holiday’s 1949 trial as a good example of how theatricality can manifest in courtrooms (especially in high profile trials). Take a few minutes to enjoy this poignant performance of “My Man” by Lady Day and think about how she marshaled the lyrics of this song, connected them to her personal experiences, and convinced a jury of white people to acquit her on drug charges in 1949.

Apr 12 2014

Musical Interlude: Behind Enemy’s Line…

I love Dead Prez…

You ain’t gotta be locked up to be in prison
Look how we livin, thirty thousand niggas a day
Up in the bing, standard routine
They put us in a box just like our life on the blocks
(behind enemy lines)
You ain’t gotta be locked up to be in prison
Look how we livin, thirty thousand niggas a day
Up in the bing, standard routine
They put us in a box just like our life on the blocks
(behind enemy lines)

Apr 05 2014

Musical Interlude: One Love…

An all time classic…

Mar 15 2014

Musical Interlude: Just A Friendly Game of Baseball

Today is the international day against police brutality…

Feb 08 2014

Musical Interlude: G Code

The Geto Boys remind you that you should NEVER talk to the cops. Ask for your lawyer…

Feb 04 2014

The Prison Culture Anti-PIC Mixtape

Thanks to the wonderful Julian you can enjoy the following mixtape of songs about the prison industrial complex. Special thanks to some of my Twitter followers who contributed suggestions to the list. You can access the mixtape here. Feel free to share it with others.

In exchange for listening to the mixtape, I ask that you please take a minute to learn about Marissa Alexander and if you can that you make a donation to her Freedom Fundraiser.

Anti-PIC Mixtape by Julian Ignacio on Grooveshark

Feb 02 2014

Musical Interlude: Claimin’ I’m A Criminal

I’ve always liked this song by Brand Nubian. It’s from back in 1994 which is probably when I stopped really listening to rap music (LOL!).

Jan 18 2014

Musical Interlude: “I’m an Alien” by Rebel Diaz

I really like this song by Rebel Diaz…

Jan 09 2014

A Music Video about Private Prisons…

I’m still on blogging hiatus but I came across this music video about private prisons called “Mississippi Lullaby” and thought that it was well done.