Tuesday, May 8, 2012

Gary Freeman On Constitutional History, Institutional Racism, and the Structural Corruption of the Criminal Justice System

http://truth-out.org/opinion/item/8709-how-the-amendment-to-end-slavery-was-crippled-by-racism

All,

In a powerfully lucid and brilliantly argued essay human rights advocate and organizer Gary Freeman explains how the intricate historical and contemporary connection between the U.S. constitution, structural racism, and the general exploitation of labor under a capitalist political economy--historically rooted in slavery and massive social segregation--has subsequently created a criminal justice system that systematically violates both the spirit and letter of the constitution itself as both a legal and moral document.

Kofi

Kofi


How the Amendment to End Slavery Was Damaged by Racism
Wednesday, 02 May 2012
By Gary Freeman
Truthout | Op-Ed


A Note From the Writer

It seems my destiny has placed me here to make my stand for human rights.

On March 7 of 1969 in Chicago, I was stopped by a police officer. At that time, it was more important than ever to know your rights because it was open season on young black males in that city. When I told him he had to have probable cause for a legal stop and frisk, he apparently didn't like what he heard. As I turned to walk away from his car, as I had a legal right to do, he jumped out of his car, hit me in the back of my head, threw me over the trunk of his car, pointed a snub-nosed revolver at my head and screamed he was going to blow my head off, "NIGGER!" I could taste on my tongue the acridness of my own death.

I was lucky because the opportunity for me to defend myself arose and I took it. I was able to disarm that officer and his gun arm was wounded. I was apprehended and, for defending myself, I was charged with attempted murder and aggravated assault. I was all of 19 years of age.

That officer never placed me under arrest and never frisked me. I was a young black male wearing combat boots and a black leather jacket.

If you were lucky enough to survive such an encounter in Chicago - and 11 other young African Americans were not that year - you could pretty much rest assured that you would be railroaded in court. So, when the opportunity presented itself, I fled to Canada.

I was arrested in 2004 in Canada on a new warrant. Both the US and Canadian governments knew the officer was a member of Chicago's fascist Red Squad and that a woman who involved herself with me was his informant. Neither thought it prudent to pursue what I promised would be a political trial and not a typical criminal proceeding. It was 1974, during the aftermath of Watergate and the Church Committee.

I was offered a plea bargain, and in 2008, my case was resolved in Chicago. But Canada's current, Tea Party-esque government cares nothing about the sanctity of the family or human rights. I lived as a model resident, homeowner, worker, union member and taxpayer for 30 years in Canada, where I helped raise my four Canadian-born children (who have grown up to be college-educated professionals). But the Canadian government will not let me go back to my family there.

That is my story, one that compelled me to write another story: the history of one of the anchors of official racism in the United States.

How the Amendment to End Slavery Was Damaged by Racism

The Constitution of the United States of America was created to enable the founding ideals and principles of the Declaration of Independence. Yet something went terribly wrong. It failed to recognize, defend and enable those ideals.

The tragedy of such a gargantuan failure is still with us today in the form of institutionalized and systemic racism and a deeply embedded exploitation of labor. Both are still given constitutional sanction. Such sanction resides in the very constitutional amendment that was supposed to free the slaves and end the exploitation of labor in America forever: the 13th Amendment.

Section 1.

Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.

Section 2.

Congress shall have power to enforce this article by appropriate legislation.
[E]xcept as a punishment for crime whereof the party shall have been duly convicted."

The reality of emancipation and racial equality cannot be fulfilled until the collective mindset of the nation is firmly turned away from the idea that slavery or involuntary servitude has any place within the constitutional fabric of the United States. Until the notion is gotten rid of that a person who is convicted of a crime is something less than other citizens, or is something less than human, there cannot be the necessary transformation of the American law enforcement and judicial system from one that is based upon vengeance and negative punishment to one that is focused on 21st-century restorative justice.
So, why does the Constitution of the United States of America still allow for the existence of servitude in America that can be triggered as a punishment for crime?

What America got in the 13th Amendment was a mindset reflected in legislation, law and customary practice best described in 1845 by Frederick Douglass in his "Narrative of the Life of a Frederick Douglass, an American Slave, Written by Himself": "To be accused was to be convicted, and to be convicted was to be punished; the one always following the other with immutable certainty. To escape punishment was to escape accusation ... " Think, please, of a young, black boy - Trayvon Martin - wearing a hoodie, who only wanted some Skittles and iced tea when he was shot to death on February 26, 2012, by a neighborhood vigilante because he looked "suspicious."

As Douglas A. Blackmon has pointed out in his Pulitzer Prize-winning book, Slavery By Another Name, those so-called crimes have run the gamut from the actually nonexistent or fictional to relatively minor offenses that would have been handled with non-penal consequences had the offender not been black, but the objective was to procure cheap, nearly free black labor for white farms, other businesses, state and local governments and large American corporations. And the 13th Amendment facilitated this via its language, which empowered law enforcement and the courts to traffic in African Americans for the purpose of rendering them into a post-Emancipation iteration of slavery and involuntary servitude.

It is therefore no accident that there exists a great disparity in the way the American criminal justice system deals with African Americans versus whites. Until the connection between the criminal justice system and slavery and involuntary servitude is condemned and forever severed, America will remain a nation plagued by a criminal justice system, the essence of which is racial inequality.

According to The Congressional Globe, Massachusetts Sen. Charles Sumner rose on April 8, 1864, during the debate on the 13th Amendment to speak to the inappropriateness of adapting the wording of the Jeffersonian Northwest Ordinance of 1787 to an amendment purporting to grant emancipation to the slaves: "There are words here, I have said, which are entirely inapplicable to our time. They are the limitation, 'otherwise than in the punishment of crimes whereof the party shall have been duly convicted.' Now, unless I err, there is an implication from those words that men may be enslaved as a punishment of crimes whereof they shall have been duly convicted." Sumner said the words, "do no good there, but they absolutely introduce a doubt."

In 2009, Scott W. Howe wrote in the Arizona Law Review: "Post- [13th] amendment history confirms an original public meaning for the slavery-as-punishment clause that gave states a broad immunity against claims under the main prohibition in the Thirteenth Amendment of improper treatment of prisoners." ("Original public meaning" refers to the method of constitutional interpretation which asks how an ordinary or reasonable person would have interpreted the text of the Constitution at the time it was ratified.)

"Many of the outcomes allowed by an original-public-meaning approach to the Thirteenth Amendment are abhorrent," wrote Howe.

There is a causal and interdependent relationship between the privatization of prisons, "convict labor," attacks on voting rights and attacks on affirmative action. These are all part of a vast and intricate web of undemocratic control established to maintain white elite privilege and power over African Americans and the rest of the 99 percent.

Indeed, racial inequality in America's justice system was admitted by the Supreme Court in McCleskey v. Kemp. The Court essentially said that given the inherent racism in American society it is "inevitable" that America's justice system would treat African Americans worse than whites. Yet, the Court ruled that only "individuals" - not the system - could be held accountable.

A recent North Carolina court case hailed as a landmark ruling moves away from that view. On April 20, 2012, Superior Court Judge Gregory A. Weeks of Cumberland County, citing North Carolina's 2009 Racial Justice Act, struck down the capital punishment sentence imposed on Marcus Robinson. Weeks ruled that systemic anti-black racial bias was indeed a factor in Robinson's and other capital cases involving black defendants in North Carolina.

The 1 percent needs to keep African Americans from realizing self-determination and to have a permanent American underclass in order to control the exploitation of labor and continue ramping up the wealth-to-poverty ratio; after all, American slavery and involuntary servitude were modes of labor exploitation which existed in the realm of supposed "free market" private entrepreneurship.

There's something stinking in America. It's that elephant in the living room smoking stogies rolled with thousand dollar bills earned not by him, but by the exploitation of other people's labor.

The immorality of such exploitation and the evil behavior required to maintain it led to the creation of constitutional and institutionalized racism from which flowed rigid systems of control (slave codes, "Black Codes", anti-miscegenation laws prohibiting interracial marriage and relationships, Jim Crow, fugitive slave laws, "one-drop rules" that assigned minority status to mixed-race people), perverse referencing tags used to define those exploited as less than human and to promote a mass psychology of anti-black racism.

The United States of America was founded upon the success of the Philadelphia Convention of 1787. Delegates from the states sent by their constituents to participate in the debates assembled there and ultimately cast a vote towards ratifying the US Constitution. Why is this so important with respect to slave emancipation? Because a concrete legal definition of freedom - and, therefore, what it meant to be emancipated - as well as the practical application of that definition, were rendered. In other words, we have clear precedents which flow directly from the Declaration of Independence: the right to take part in a consent-giving procedure, the right to voting representation in Congress and the great principle that government is only just when it has the consent of the governed. Whatever constraints or limitations are imposed upon that consent still require democratic consultation. Anything other than that amounts to tyranny.

But when the object is to control a people and not to free them, then the reasoning behind the wording of the 13th Amendment becomes clear. It allowed for the government to exercise power over a people which had not been given the opportunity to plebiscite and to render consent; and it underpinned body of law that rests soundly upon a legal fiction and a flowing web of rhetorical political hyperbole that amounts to hypocrisy and demagoguery. That well-known legal fiction was that blacks were not the equal of whites and were not intellectually, emotionally or morally capable of being full participants in a working democracy. What should have been so easy - the unconditional abolition of slavery and involuntary servitude as well as the recognition of the rights and the granting of the privileges of freedom - was burdened, bludgeoned and crippled by racism.

A reading of some of the Congressional debates and bills passed during the 38th Congress (March 4, 1863 to March 4, 1865) is instructive. Congress wrestled with the question of where to build a new penitentiary in the Washington DC area. Ideas were put forward about how best to use prison labor in the service of keeping the government from falling into debt because of the costs involved in incarcerating people. The question of absolute equality between men and women was scoffed at. And there continued unabated the relentless pursuit of further embedding white privilege into the constitutional and institutional fabric of the nation by denying that people of African descent could even remotely be considered equal with whites.

So, it is not surprising that, in spite of the vigorous arguments put forward by the likes of Senator Sumner - who cited the human rights principles of The Enlightenment, some pertinent language from the French Constitution and, of course, our own Declaration of Independence - the language in an initially proposed emancipation amendment recognizing the "absolute equality" of blacks and whites before the law was soundly rejected.

If the opposite of slavery is freedom, and if freedom in America is predicated upon the consent of the governed, the absolute equality of all before the law and the right of every citizen to have voting representation in Congress, then an authentic emancipation amendment should have included those elements.
To declare in subsequent amendments that everyone born in the United States is a US citizen and that all citizens have the right to vote is patently different from declaring that those who were once held in bondage and persecuted because of their "race" must be afforded some sort of plebiscite, guaranteed equality before the law and voting representation in Congress - and that Congress must be the enforcer.

The treatment of slaves had to do with control and the maintenance of the slavery system. This mindset spilled over into post-bellum America and was responsible for the slavery and involuntary servitude clause in the 13th Amendment. This mindset is manifest in a presumption of inequality, inferiority and guilt which extends its reach into present-day society at large; it is a mindset which does not recognize the sanctity of the individual and which reared its ugly head in the recent federal appeals court decision of a California case (Haskell, et al vs Harris, et al; No. 1015152 D.C. No. 3:09-cv-04779-CRB; February 23, 2012) which tested the so-called "test-on arrest" policy. The split-court ruling said that building a DNA database of anyone arrested is acceptable. This should be of particular concern to those who believe it is their American right to protest and who not only risk arrest when they do so, but risk getting their mouth swabbed and their DNA stored against their will.

Thurgood Marshall said, "The framers possessed no monopoly on the ability to trade moral principles for self-interest" when it came to the fate of African Americans. He believed the Constitution to be a living document, something that could be refreshed and renewed in the spirit of the ideal and principles of the Declaration of Independence. That is America's true bottom line.

Having an African American president does not mean America is post-racial. It doesn't mean that the debate on race is moot. As we have seen over the past four years, racism and the exploitation of labor are alive and well in America. President Obama and his family's residence in the White House is an expression of hope that we can courageously and progressively engage this debate and enact the appropriate constitutional and institutional reforms.

American freedom is a living, breathing, complicated thing. Individuals' racism, undemocratic beliefs and behavior will not be rectified by amending the 13th Amendment, but certainly, opening the dialogue and pushing for our Constitution to unconditionally recognize the abolition of slavery and involuntary servitude would be a mighty shove to the door.

This must be America's springtime. There is no greater time than now to open the most compelling dialogue on race in the history of our nation.

This article may not be republished without permission from Truthout.





Gary Freeman is a human rights activist.

Tuesday, May 1, 2012

MAYDAY 2012: The Ongoing and Crucial Importance of the Labor Movement in the United States



Sotheby's locked out its professional art handlers despite record breaking profits and the most successful quarter in the company's 267 year history. Now, valuable pieces of art are at risk as Sotheby's uses inexperienced, temporary workers to handle art once taken care of by veteran art handlers of 40 plus years.

Tell the Whitney Museum: Cut Your Ties With Sotheby's!

All,

This is a very important and necessary struggle that deserves our collective support. Please respond to the urgent request below by signing the petition and passing it on to others. Thank you...

Kofi


Begin forwarded message:

From: Chris Tysh
Date: April 25, 2012


Dear friends,

The art handlers at Sotheby's have been locked out since August 1, 2011. They have lost their medical coverage, their source of income and are a fighting a corporation bent on crushing the union. please support the workers by signing the petition and circulating it as widely as possible. Sotheby's must end the lock out now!

regards,
Chris




Dear Friend,

Imagine you have proudly served your employer for years. Imagine that in 2010 your employer had its second-best year in its 268-year history. Imagine that your company made so much money (over $680 million in profit) that your CEO rewarded himself with a nearly $3 million dollar bonus--bringing his total compensation to almost $6 million.

And now imagine that despite all of that, your company has kicked you and your coworkers out onto the street, cut off your family medical coverage, replaced you with new workers, and even after 8 months, refuses to bring you back to work until you agree to sign a contract that will completely destroy your job security and your right to collectively bargain a contract.

This is what is happening right now to 42 art handlers at Sotheby’s auction house. These workers, the majority of whom are people of color, desperately need their jobs back. All they are asking for is a fair contract that ensures a decent living for future generations of art handlers.

Please sign this petition to lend your voice in support of these workers, and to ask the Whitney Museum to stand up for socially responsible practices in the art world.

The Whitney Museum has accepted sponsorship money from Sotheby’s and has ignored pleas to cut ties to the anti-worker auction house.

A public pledge from The Whitney would not only help these workers and their families, but it would send a message to the art world that racial and economic fairness are just as valuable as the masterpieces regularly handled by these workers.

Please sign our petition* asking The Whitney Museum to take a stand for justice by vowing to not do any business with Sotheby’s until the auction house ends the lockout and signs a fair contract with the workers.

Thank you for your support!

In solidarity,

Workers for Justice in the Arts

SothebysBadForArt.com


*when signing the petition please list your title and organization if applicable!


Julian Tysh
Organizer
Teamsters Local 814




http://www.sothebysbadforart.com/content/

In 2010, Sotheby’s sales increased by 74 percent to $4.8 billion. And recently, Sotheby’s reported its most profitable quarter in the company’s 267-year history.

Despite record profits and growth, Sotheby’s refuses to negotiate a fair contract with its art handlers. Instead of recognizing and rewarding the contribution these workers have made to the company’s success, Sotheby’s has locked out its professional art handlers, kicking them into the street with no paycheck, while outsourcing their jobs to temporary workers. Meanwhile, Sotheby’s rewarded its CEO by nearly doubling his annual salary to almost $6 million.

Is Sotheby’s putting irreplaceable and fragile pieces of art at risk? Auctioneers may sell the art, but art handlers are responsible for the transportation, preparation and display of each piece. Some of the locked out art handlers have more than 40 years of experience protecting art that sells for as much as $100 million. Replacing these individuals with temporary workers is enough to make anyone scream.


http://www.teamster.org/content/teamsters-sothebys-bad-art




TEAMSTERS: SOTHEBY'S IS BAD FOR ART
August 26, 2011
Teamsters, Community Members Protest Sotheby's Worker Abuses


PRESS CONTACT:

Leigh Strope

lstrope@teamster.org
202-497-7766

(New York, N.Y.) – Hundreds of Teamster members and supporters protested outside Sotheby's Manhattan showroom to educate the company’s clients about the lockout of its art handlers today. Protesters held banners and signs that read, “Sotheby’s: Bad for Art” and “Sotheby’s: Stop the War on Art Workers,” while distributing leaflets.

After the most profitable year in the history of the company, auction house Sotheby’s locked out its longtime, dedicated employees on Aug. 1 while in the middle of contract negotiations. Those employees handle artwork and antiques valued at hundreds of millions of dollars. The company replaced its longtime, dedicated union employees with unskilled replacement workers.

“Sotheby's hired Jackson Lewis, one of America's most notoriously union-hostile law firm, to sabotage our contract talks. Jackson Lewis specializes in helping New York employers destroy permanent, professional jobs by bringing in a temporary workforce with high turnover,” said Jason Ide, President of Teamsters Local 814, which represents the 43 locked-out workers. “New York can’t afford to lose more good jobs, and art patrons need to know that outsourced art handlers at Sotheby’s aren’t destroying their treasures.”

“Sotheby’s has joined the growing ranks of companies that abuse their workers despite making hundreds of millions in profit. The Teamsters will always stand up for working people, and we are here to tell Sotheby’s that when they act like a corporate bully, we will fight back,” said Teamsters General President James P. Hoffa.

“New Yorkers need to know that these Sotheby’s workers—these experienced and dedicated art handlers who are responsible for protecting priceless works of art—are being treated unfairly,” said George Miranda, Teamsters International Vice President and President of Teamsters Joint Council 16 in New York. “Replacing experienced art handlers with outsourced workers is a bad way to handle New York’s fine art.”

When Sotheby's experienced the most profitable quarter in its 267-year history, it rewarded its top management royally. Sotheby's CEO Bill Ruprecht’s salary almost doubled in 2010 to $6 million. In several bargaining sessions since the Aug. 1 lockout, there has been little movement from the company to settle the contract.

“We are responsible for shipping, receiving, unpacking, assembling, and installing exhibitions of artwork and antiques valued in the millions of dollars,” said Julian Tysch, a locked-out Sotheby's art handler. “With profits over $100 million in the last quarter alone, I don’t understand why Sotheby’s would make such a bad decision to outsource this sensitive work and kick us to the curb for no reason.”

Founded in 1903, the Teamsters Union represents more than 1.4 million hardworking men and women in the United States and Canada. Visit www.teamster.org for more information.




The Origins of May Day: A Story of Chicago, the First Labor Movement and the Bombing That Divided Gilded Age America

Transcript
May 1, 2006

AMY GOODMAN: We are joined in the studio by James Green, Professor of History and Labor Studies at the University of Massachusetts, Boston, author of a new book called Death in the Haymarket: A Story of Chicago, the First Labor Movement and the Bombing that Divided Gilded Age America (2006). We welcome you to Democracy Now!

JAMES GREEN: Good morning. Happy May Day!

AMY GOODMAN: It’s good to be with you. Let’s stay in Chicago, where our last guest was, Jorge Mujica. They have major plans for today. But it all began here 120 years ago.

JAMES GREEN: Yes, it did. 120 years ago, thousands of workers and their families were marching through the streets of Chicago. It was a Saturday. Everyone left work, because in those days people had to work on Saturday. They were working a ten- and twelve-hour day. Most of these people were immigrants, and as your last interviewee just said, they were protesting as immigrant workers, as well as as people who were U.S. citizens and wanted to be U.S. citizens.

AMY GOODMAN: Where were these immigrants from?

JAMES GREEN: These were immigrants mostly from Germany, from Bohemia, what is now Czechoslovakia [Czech Republic and Slovakia], from France, all different parts of Europe, and this was a city where they worked in enormously large factories and found that they had been in years of depression and wanted to shorten the workday.

AMY GOODMAN: Talk about this period, 120 years ago. Put it in the historical context of the Civil War, of Abraham Lincoln.

JAMES GREEN: Right. Well, this was a period when the United States was still living with the memory of the Civil War. Many people had fought in the Civil War. And the question was whether African Americans, who were free people, would have their rights and whether now other people, who were so-called free labor, would also have their freedom. And they defined that as the eight-hour day, as getting some freedom from the long arm of the job.

It was also the period when American industrial capitalism was booming. The largest corporations in America were being created then, and yet people in the United States were thinking these were bad organizations, that they could be stopped, that somehow they could create an economy that was run by local people, run by workers themselves. The things that we think were inevitable in the 20th century didn’t seem so in 1886.

AMY GOODMAN: When Abraham Lincoln was assassinated, his body was brought to Chicago.

JAMES GREEN: Yes, yes. My book begins on May Day, but it’s May Day, May 1st, 1865, when Lincoln’s body comes back to Chicago, who is a great hero of all the people and all the classes, and Chicagoans stand unified in grief that May Day. And my project in the book is to explain how in 19 years all that came apart, and people became so divided from one another.

AMY GOODMAN: Well, talk about that, because it’s also the history of labor in this country.

JAMES GREEN: Yes. There was really no labor movement in 1865 to speak of. But what happened was, workers — many of them immigrants — felt the need to create one, partly because employers felt that there was a — they were going to freeze wages, keep wages the way they were, that any increase in wages would be a loss in profits, and they were not going to allow the workday to decrease. So people organized the labor movement, and when they did that in 1877, they faced terrible, terrible violence. About 30 people were killed in Chicago by the Chicago police. And that sets the city down a road of tension, of struggle, that leads directly to Haymarket.

AMY GOODMAN: It’s interesting, today there is a debate over whether to boycott, to rally, to protest, what the protest should look like. And people are doing all different things throughout the country. The same thing was happening more than a hundred years ago.

JAMES GREEN: Yes, the resonance in this is amazing. You know, I’m a history professor, and I tell my students, history doesn’t repeat itself, but you have to wonder when you look at what’s happening today, because the labor movement was divided then, too. The main organization, the Knights of Labor, said, "Don’t go on strike, let’s talk to employers. Don’t boycott, let’s appeal to the American people, let’s appeal to the legislature." But the immigrant and the community-based groups and the radical groups, the anarchists in Chicago, were all for taking direct action and had very little faith that the legislature would do the right thing, unless the people in the streets forced them to.

AMY GOODMAN: And so, explain in this 19-year period how we come to May Day, 1886, who the key players are, both on the corporate side, the Chicago powers that be, and the activists who were organizing workers.

JAMES GREEN: Well, first of all, the employers and legislature had really decided that they were against an eight-hour law. Illinois had been the first state to pass one, and the employers simply refused to obey it. So that was the background of the labor movement saying — a wing of the labor movement saying we have to really compel employers to concede. And, in fact, all during the spring of 1886, employers were conceding, just as you see people today closing down, like your guest, and accepting the reality that they needed these workers, and if they would come back for eight hours a day, they would have them. So, as the May Day appeared that first time in 1886, it looked as though everything was going to proceed peacefully. Employers were conceding, but behind the scenes people were getting their backs up.

AMY GOODMAN: I also would like you to lay out the media landscape, media absolutely critical today, the most powerful institutions on earth. Back then, also extremely critical in shaping people’s perception of labor that was organizing.

JAMES GREEN: Yes, it’s fair to say the daily press — and there were eight dailies in Chicago at the time — were universally hostile to the strike, to any form of direct action, very, I think anti-immigrant as well. And so, the workers had to create their own press. There was a daily newspaper in German published, Die Arbeiterzeitung [The Workers’s Newspaper], that reached 20,000 people. So the workers had to create an alternative media. Then, of course, when the violence began, the media was really responsible for shaping public opinion in all the events that occurred afterward.

AMY GOODMAN: Who was in charge of, for example, the Chicago Daily Tribune?

JAMES GREEN: The Chicago Daily Tribune was edited and published by a man named Joseph Medill, who was arguably the most powerful and influential journalist in the United States, and he had the ability to really shape what business opinion and what legal opinion in Chicago was. And he played a tremendous role in this. It’s really hard to underestimate it.

AMY GOODMAN: And would you say it was a paper of the business community?

JAMES GREEN: Yes, it announced itself as the paper of the businessman. And so they were very much opposed to the eight-hour day and very determined to identify radicals in the movement and in effect to kind of bait the movement by saying it’s led by revolutionaries, when in fact it was a broad mass-based effort.

AMY GOODMAN: Karl Marx also played a role here.

JAMES GREEN: Well, Karl Marx died in 1883, but his followers — there were many German followers of his in Chicago among the cigar makers and others, and they believed in what he and Engels wrote, that the only way for workers to get power was to create a mass-based labor movement that included all the workers of the world and that eventually this kind of movement could take over and create a cooperative economy that they called communism.

AMY GOODMAN: But hadn’t Marx and Engels brought their organization to New York, to the United States?

JAMES GREEN: They did. There was at the time something called the International Working Peoples Association, which was way ahead of its time, in terms of seeing the unity of workers as extending across boundaries and national lines. And the people in Chicago were devoted followers of the International Working Peoples Association.

AMY GOODMAN: And he was also a close follower of the Civil War and of the Emancipation Proclamation, of what happened to slaves as they were freed.

JAMES GREEN: Interestingly enough, Karl Marx wrote in English for the New York Tribune during the Civil War. Interesting. And he saw the Civil War as the most important event in world history, that not only did it end slavery and liberate black people, but it created an eight-hour movement, and Marx and Engels really looked to the United States, to the U.S. workers, as leading the world struggle for justice and freedom.

AMY GOODMAN: We’re going to break. When we come back, I want to ask you about Albert and Lucy Parsons. I want to talk about what happened after May Day, May 1, 1886, what really shaped the modern day labor movement in this country. I want to talk about the killings of May 5th. I want to talk about the riot. This is Democracy Now! We’re talking to James Green, Professor of History and Labor Studies at University of Massachusetts. His book is Death in the Haymarket: A Story of Chicago, the First Labor Movement and the Bombing that Divided Gilded Age America.

[break]

AMY GOODMAN: I’m Amy Goodman, as we talk about the history of May Day, 120 years ago today, May 1, 1886. Our guest is James Green. Death in the Haymarket is his book, A Story of Chicago, the First Labor Movement and the Bombing that Divided Gilded Age America. Again, welcome, and as we continue with the story. May Day, 1886, there is a mass uprising in Chicago.

JAMES GREEN: Right, and a tremendous euphoria and people in the streets and celebrating, because they called it their "Emancipation Day," actually, because it appeared that all of this would take place peacefully, and it was a great empowerment moment for the immigrants who had come here and hadn’t yet started to vote. This was their vehicle almost for asserting their definition of Americanism, and unfortunately something happened on May 3rd that led to tragic consequences.

There were pickets at the McCormick Harvester plant, they called it the Reaper Works. They produced farm implements. There were strike breakers. There was a lockout going on there. Their workers protested the lockout. There was a fight. Chicago police intervened massively, and several workers were killed, several unarmed workers, so the anarchists in Chicago — and I have to tell you a little bit about them — they were very active, very well-organized in Chicago, led by Albert and Lucy Parsons. They were people from Texas, not from Germany. Albert Parsons was from East Texas. He met Lucy there, who was a woman who had grown up in slavery and had become a free person, and they were married in Texas and had to flee there, because they were fighting for black rights after Reconstruction, and then they were dodging the Ku Klux Klan.

AMY GOODMAN: And they were an interracial couple.

JAMES GREEN: And they were an interracial couple and radicals, who believed — in those days being radical meant you supported the 13th, 14th and 15th Amendments in Texas. That was radical, and it could cost you your life.

AMY GOODMAN: And Albert Parsons ran a press.

JAMES GREEN: He ran a press that supported the Black Freedom Movement of the time, and he lost all of his former friends and was, you know, couldn’t sleep in the homes of white people. So he had already stepped outside of the mainstream before he left Texas. They came to Chicago in 1873 in the midst of a great depression, and as a result of their experiences there, particularly in the Great Uprising of 1877, when the Chicago police shot people in the streets, they became revolutionaries and called themselves anarchists by 1886. Parsons was a very, very good organizer. He was probably one of the key people in the whole eight-hour movement in Chicago, and so was his comrade August Spies, who was the man who edited this daily German newspaper, this anarchist newspaper.

AMY GOODMAN: And where had August Spies come from?

JAMES GREEN: He was from the forests of Germany. He grew up in a relatively privileged family background, and he, too, came to America, and what he saw here radicalized him actually, and also hearing speeches of people talking about the evils of capitalism, as they experienced. They were both rather independent men, tradesmen. Parsons was a printer. Spies was an upholsterer, and yet they identified themselves with the cause of the masses of immigrants in the city of Chicago. So when they heard about this killing by the police, they called a rally the next night on May 4th in the Haymarket Square, which is where workers had always gathered for political events, and they wanted it to be a peaceful rally. Everything so far had been peaceful in the eight-hour strikes, and, indeed, the rally was peaceful. The mayor of Chicago came and said, "I don’t hear any talk of throwing bombs. I don’t hear any threats."

AMY GOODMAN: In fact, Albert Parsons wasn’t even going to be there, right? He had been somewhere else.

JAMES GREEN: Right, he was planning to go somewhere else, and, in fact, he wasn’t even expecting trouble, so he brought Lucy and his two children, Albert, Jr. and Lulu, and later on, in the defense, they said, "Well, how could a man be advocating violence with innocent people around?" And so, the rally was winding down. It was about 10:30 in the evening. It started to rain. In fact, Albert and Lucy left the rally for the warmth of a nearby saloon, and just as the rally was winding down, a large force of police marched on the square where the rally was taking place.

AMY GOODMAN: Haymarket Square.

JAMES GREEN: Haymarket Square, about 176 police. The police captain had actually disobeyed the orders of the mayor, who said, "The rally is peaceful. There’s no need to disperse it." The police captain acted on his own, marched right up to them and said, "You must disperse," and the speaker said, "But we are peaceful." And he said, "You must disperse anyway." And as the speaker was coming down from the wagon, someone — and to this day, we don’t know who it was — threw a bomb that landed into the ranks of the police. One officer was killed immediately. Six others later died. The police were panicked, of course, almost hysterical. They’d never expected anything like this, began firing, probably shot, you know, each other, shot people in the crowd, and in the end, seven police died and at least three of the demonstrators. Many, many people were wounded, and this was the tragic, violent Haymarket Riot and had enormous consequences for what happened in labor history afterwards.

AMY GOODMAN: Explain.

JAMES GREEN: Well, it set off hysteria. Nothing like this had ever happened before in peacetime America. There had been horrible losses of life in battlefields, but in the middle of a city — there had been many riots, many demonstrations, many citizens had died, but never any police, so this was a shocking event, and it also sort of triggered off all the fears that many Americans had, people born here, of this massive number of immigrants who lived around them. A majority of the people in Chicago were foreign-born, so there was great deal of anxiety about that, and this attack on the police by what was assumed to be an anarchist, or today would be called a terrorist, really set off a kind of anxiety that the United States had not experienced before and nation’s first red scare. So people were rounded up; newspapers were suppressed; people’s homes were searched without warrant, and the anarchists, ten anarchists, were arrested and tried for the bombing.

AMY GOODMAN: The role of the paper in the anti-immigrant hysteria, and again, to this day, you don’t know who did this.

JAMES GREEN: Right, right. Well, the newspapers —- I quote them at length, and it will make your hair stand on end to see what they said about immigrants then, because there were no holds barred, and so these were -—

AMY GOODMAN: Do you see similarities with today?

JAMES GREEN: I do, although I think people today are being a little more careful about the overtly racist — I mean, there were all kinds of racist things in the papers about Germans and Czechs. You know, I mean it wasn’t just the color of people’s skin. It was that they were foreign, and they were threatening, and they were un-American, and so as soon as the bombing occurred, it didn’t matter whether they found the actual perpetrator. Someone was going to pay for this. And the Chicago papers — and the New York Times was even more extreme, actually —- said, "Somebody has to hang for this," and ultimately four anarchists did, even though the evidence doesn’t place them at the crime scene, doesn’t really put the bomb in any of their hands. They were the victims of the -—

AMY GOODMAN: Talk about the people who went on trial and the four men who hanged.

JAMES GREEN: Right, eight people were indicted, anarchists, all workers, all organizers, seven of them immigrants, were indicted not for — no one was accused of throwing the bomb, but having knowledge of a conspiracy that led to the bombing. Later this was regarded as an unprecedented kind of trial where people could be not only accused of being accessories, but sentenced to death, as seven of them were, for having knowledge, and later on it was said that they were sentenced as much for what they had said as what they did, and ultimately four of these men were hanged. One of them, Louis Lingg, committed suicide, "cheated the hangman," as the anarchists said, committed suicide on death row in Chicago.

AMY GOODMAN: Who was Louis Lingg?

JAMES GREEN: Louis Lingg was a young German anarchist, was the most overtly radical and militant of the anarchists. He actually was making bombs. He wasn’t at Haymarket, so it wasn’t him who threw the bomb. People were preparing for street warfare, and so that was enough for the press and the jury, the fact that people were preparing for this and saying this might be necessary. It didn’t really matter that they had actually done it, and ultimately Albert Parsons, August Spies, George Engel, and Adolph Fischer are all hanged, and they become known around the world, even to this day, as the Haymarket Martyrs, because after the execution takes place, it’s celebrated in America by all the press, but around the world, people believe a great injustice has been done, and people died — really these are the first "martyrs for the cause of industrial freedom," as Eugene Debs put it.

AMY GOODMAN: How did Parsons get connected? You said he had gone off to a saloon with his wife and kids.

JAMES GREEN: Right, he was really tried, I think, because he was the most important leader of the anarchist movement and the labor movement in Chicago. He wasn’t even present during the bombing. There was hardly anything to link him to it. In fact, he fled the city, and his defense lawyer persuaded him to come back and said, "There’s no way you can be convicted of this crime, because you had nothing to do with it," but in fact, he was, and he was sentenced to death. He was offered clemency by the governor, saying, "If you sign a recantation, you can save your life and spend the rest of your life in prison," and he refused.

AMY GOODMAN: And Spies?

JAMES GREEN: Yes, Spies was there at the time and was accused of being connected directly with the bombing, but there was a trial, sort of the trial of the century, and there was a tremendous amount of contradictory testimony indicating that he really didn’t have anything to do with actually throwing the bomb.

AMY GOODMAN: Can you talk about how their language, how their speeches, their writings were used against them?

JAMES GREEN: Yes, well, they believed that it was simply a matter of time before the police and militia — the businessmen had their own militia, by the way —- would intervene in one of these demonstrations and strikes -—

AMY GOODMAN: Wait, on that "by the way," what do you mean the businessmen had their own militia?

JAMES GREEN: The militia in Chicago and other cities were privately raised armed forces. You could fund your own militia company, and the interesting thing in Chicago is the workers, in reaction to this, formed their own militia, which were outlawed by the State of Illinois.

AMY GOODMAN: Pinkerton came from Chicago?

JAMES GREEN: Pinkerton was based there, so Chicago was really an armed camp. That’s the only way to put it, and it looked like something very seriously violent was going to happen. So Spies and Parsons said, ’You’d better be ready. You’d better have arms. By the way, the Constitution says you have the right to bear arms, and you’d better make bombs, and guess what? There’s no law against that either.’ So they were prepared to really go to war. They had been fighting the Pinkertons in the streets, and so this was a very volatile situation.

AMY GOODMAN: What do you mean they had been fighting the Pinkertons? Who were the Pinkertons?

JAMES GREEN: Well, the Pinkertons were private police that were hired by the employers who wanted to beef up their security, and the Pinkertons had actually killed people in Chicago. They were also remembered as the ones who hung the Molly Maguires, the Irish miners who were regarded as being innocent of the crime that they committed, so it was almost an armed conflict situation that they were preparing for.

AMY GOODMAN: Allan Pinkerton had established the company and hired veteran soldiers?

JAMES GREEN: Veteran soldiers and people who were out of work to go in and be informers and to be really hired gunmen and really to protect strike-breakers. That was their main job, because the employers weren’t sure they could always count on the police. Police were immigrant workers themselves, and sometimes they said, "Well, you know, we are not intervening here." That was part of the problem in Chicago at first.

AMY GOODMAN: So, you had these militias. You also had the police. How did they stand in relation to the militias?

JAMES GREEN: Well, at first the police were under the control of the mayor, who was pro-worker, pro-union, and you had situations where strike-breakers would be brought into plants, and the Chicago police would say, "Well, it’s not our job to protect them. If you want to bring them in, that’s your business." But something happened about a year before Haymarket, and the mayor lost control of the police, and a new captain came in who really wanted to do what the businessmen wanted, which was to prevent strikes, to back up lockouts, to prevent rallies, and so, you know, there’s clearly a situation where trouble is going to take place in Chicago and has to do with this shift in the use of police and the fact that you have Pinkertons and militia in the streets.

AMY GOODMAN: Can you talk, Professor Green, about the day that the men were hung?

JAMES GREEN: Yes. This was November 11, 1887, and people around the world knew that for a long time that these men would be sentenced to death. But something happened in the Cook County Jail which was quite extraordinary, was that the anarchists on the gallows seemed to be choreographing their own death scene, and they gave these speeches, which in some ways sound like they could come from a Shakespeare play or something like that. And August Spies said, "You may silence us now, but our memory will survive us." And Albert Parsons’s last words were, "Fighting for free speech even at the last breath." And when they died, when they were executed, the people in the room, who were all witnesses who wanted them to die, were kind of stunned and saddened, according to the newspapers, about this. So almost immediately, people in Chicago said, "Well, maybe something was done here that was wrong," and that was certainly true around the world.

AMY GOODMAN: And Lucy Parsons?

JAMES GREEN: Lucy Parsons lived on, carried on the struggle until 1942. The struggle for her really was to preserve her husband’s memory and the memory of the cause that he died for, and in the end she — her last May Day is in 1941. She is an 88-year-old woman. She’s blind, and she’s going through the streets of Chicago on a C.I.O. union parade on a float, and she became a kind of a living saint at the end of already life for the new labor movement coming to Chicago, unionizing the stockyards and the steel mills, and there was a real connection between that and what had happened before.

AMY GOODMAN: And how did the Haymarket killings and the hangings of the four men shape the modern-day labor movement?

JAMES GREEN: Well, I think that initially it had a very negative impact on the American Federation of Labor, the mainstream. The labor movement wanted nothing to do with the memory of these men. In fact, that’s one of the reasons why May Day wasn’t celebrated here, and instead Labor Day became the national holiday, rather than the international holiday. But somehow — I try to explain this in the book — the memory of these men wouldn’t die. It kept being recreated by people in the labor movement who wanted a broader movement, wanted a labor movement that would go into the streets, wanted a labor movement that would strike, even if it was against the law, wanted a labor movement that would use boycotts, and so that’s why their memory keeps getting revived.

AMY GOODMAN: Is there a monument to them in Chicago?

JAMES GREEN: Well, there is. There’s a cemetery, Waldheim Cemetery, a non-denominational cemetery, outside of the city — the mayor wouldn’t let them be buried in the city of Chicago — which has become a kind of international shrine, and not only are the Haymarket anarchists buried there, but 69 other people of the left, including Emma Goldman and Elizabeth Gurley Flynn, are buried there, but nothing exists in the city of Chicago, except a new monument, which is not to the police and not to the anarchists, but to the fragility of free speech, and you have to go there to see it, because it’s an abstract group of figures that are supposed to represent what happened in Haymarket as a kind of national tragedy.

AMY GOODMAN: Last comments on this May Day, where millions are observing this day by honoring immigrants, standing up for immigrant rights around the country.

JAMES GREEN: Well, it does appear as though what goes around comes around, in a way, that people are feeling the need to go into the streets to do — to take extraordinary action and to do it as part of an international community of workers. That’s what was important about May Day of 1886 is that people were demonstrating not only as U.S. citizens, but as citizens of the world, the larger world community of workers. And that’s what I see happening today, because, of course, in Indonesia and the Philippines, people are demonstrating, and they are here, too, and using some of the same tactics, the boycott, the staying away from work, that were really began in 1886.

AMY GOODMAN: And for people to remember that going back then is where we got the eight-hour day.

JAMES GREEN: Yes, that’s where it started, and people had to sacrifice their lives for what took many, many years. Not until 1938 did the struggle finally succeed.

AMY GOODMAN: I want to thank you for being with us, James Green, and for writing this book, Death in the Haymarket: A Story of Chicago, the First Labor Movement and the Bombing that Divided Gilded Age America.

Monday, April 23, 2012

A Tribute To Charles Mingus On His 90th Birthday



CHARLES MINGUS, 1922-1979

"Mingus was something else. A pure genius. I loved him."
--Miles Davis

All,

April 22, 2012 marks the 90th birthday of the late, great bass player and Jazz composer Charles Mingus (1922-1979). Mingus was one of the most important and pivotal artists, musicians, and composers in the 20th century and he played a profound role in contributing to and leading a revolutionary movement in the history of Jazz in the post 1945 era--one of the most significant and transformative periods in what can only be called a true 'golden age' in the music and thus the culture(s) of the African American people, its diaspora, and American society and culture generally. Thus in homage to, and especially deep appreciation and joyous celebration of, this fact we present the man and his extraordinary, groundbreaking music through the following video material and texts. Enjoy!

Kofi

CHARLES MINGUS (1922-1979):



Charles Mingus (1968)
Brilliant Documentary on Charles Mingus directed by Thomas Reichman:



TRIUMPH OF THE UNDERDOG (1998)
INNOVATIVE DOCUMENTARY ON CHARLES MINGUS DIRECTED BY DON MCGLYNN



A true master, a genius, and one
of America's greatest composers.

Today belongs to Charles Mingus.

Video:

http://www.jazzonthetube.com/page/754.html


- Lester Perkins
Jazz on the Tube


For more Charles Mingus videos, click here:

http://www.jazzonthetube.com/videos/charles-mingus

Charles Mingus

Videos:

Autumn Leaves (3:24)

Bass Clarinet Solo (5:29)

Bass Solo (4:01)

Devil's Blues (7:53)

Fables of Faubus (9:14)

Flowers for a Lady (1974) (9:14)

Foggy Day (3:21)

Good Bye Pork Pie Hat (9:30)

Happy Birthday Charles Mingus (tribute)

Moanin (9:02)

Opus 3 (17:03)

Peggy's Blue Skylight (5:52)

Rest in Peace Buddy Collette (20:00)

So Long Eric (4:52)

Summertime (4:37)

Take the A Train (9:58)

Take The A Train (9:57)

The Last Concert (28:30)

What Is A Jazz Composer?

See the complete catalog of
jazz on the tube videos:

http://www.jazzonthetube.com/

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Live in Belgium 1964
Charles Mingus bass - Eric Dolphy bass clarinet, flute - Clifford Jordan sax tenor - Jaki Byard piano - Dannie Richmond drums:

http://www.youtube.com/watch?v=UOd4TlP7MP8



Live in Oslo (Norway) 1964
Johnny Coles (tp) Eric Dolphy (as, bcl, fl) Clifford Jordan (ts) Jaki Byard (p) Charles Mingus (b) Dannie Richmond (d):



Live in Liege, Belgium April 19, 1964
Eric Dolphy (as, bcl, fl) Clifford Jordan (ts) Jaki Byard (p) Charles Mingus (b) Dannie Richmond (d)



Charles Mingus Interviewed by Nesuhi Ertegun (2 of 9):



Happy Birthday Charles Mingus (1922-1979)
b. April 22, 1922

Happy Birthday Charles Mingus!

Charles Mingus, Jr. was born on April 22, 1922 in Nogales, Arizona on a military base and raised in Watts, California. Charles first became interested and exposed to music through the church and when he was eight he heard Duke Ellington on the radio for the first time. Mingus began learning music on trombone and later cello. Charles later studied bass formally with H Rheinshagen from the New York Philharmonic and studied composition with Lloyd Reese. By the time Mingus was in his teens he was already composing advanced pieces that would be considered in the 'third stream' movement of Jazz. Charles later recorded these early compositions in 1960 with Gunther Schuller and called the album 'Pre-Bird'. Mingus quickly created a name for himself in Jazz and in the 1940s toured with Louis Armstrong, Russell Jacquet, Howard McGhee and Lionel Hampton. In the early 1950s Charles joined the New York scene and performed with Charlie Parker who was a major influence for Mingus. During this period Charles also played with Miles Davis, Bud Powell, Max Roach, Art Tatum and Duke Ellington. Also in the '50s Mingus formed his own publishing and recording company with Max Roach to document and protect his music. The most notable album on Debut Records from this period is the 'Massey Hall' concert with Dizzy Gillespie, Charlie Parker, Bud Powell and Max Roach.

Mingus pursued one of his visions around this time called the 'Jazz Workshop' which enabled musicians to come together and support each other in testing their limits and pushing ahead to new ground in Jazz. These groups led to Mingus developing the sound we know him for today and some of the musicians who played in the Jazz Workshop were Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. In the late '50s and into the 1960s Mingus began releasing albums as a leader at an incredible pace especially considering the originality in all of his music. Charles began with 'Pithecanthropus Erectus' in 1956 with Mal Waldron, Jackie Mclean and J. R. Monterose followed by 'The Clown' in 1957. In 1959 Mingus released three of his most legendary albums; 'Blues and Roots', 'Mingus Ah Um' and 'Mingus Dynasty'. In 1960 he recorded 'Charles Mingus Presents Charles Mingus' with Eric Dolphy, Dannie Richmond and Ted Curson. Incredible music kept flowing from Mingus and he recorded 'The Black Saint and the Sinner Lady' in 1963 which is considered a masterpiece and one of greatest works of arranging and orchestration in Jazz history. Also is '63 Mingus showed us his skills on the piano with the album 'Mingus Plays Piano' which features only Charles playing solo piano.

Charles was a warrior for civil rights and his music reflects his willingness to put himself out there for what he believed in. Mingus’ tune ‘Fables of Faubus’ best demonstrates his willingness to call it as he sees it and if you search the song title on Jazz On The Tube you can hear the version of this song with words by Charles as well. In the late 1960s and early ‘70s Charles’ incredible pace slowed just a little bit but the music didn’t stop. In 1971 Mingus was awarded the Slee Chair of Music and spent a semester teaching at the State University of New York at Buffalo. Also in ’71 his autobiography was published entitled ‘Beneath the Underdog’. In 1974 he formed a band with Richmond, Don Pullen, Jack Walrath and George Adams and they recorded the albums ‘Changes One’ and ‘Changes Two’. During the mid 1970’s Mingus also toured Europe, Asia, South America and America until he developed a rare nerve disease in 1977. Even though Charles could no longer play after this, he still composed by singing tunes into a tape recorder, showing his love and determination to create. Charles Mingus passed away in 1979 and his ashes were scattered in the Ganges River in India. Both New York City and Washington D.C. honored him after his passing with a “Charles Mingus Day”

Charles Mingus recorded over 100 albums and wrote over 300 scores in his life and leaves a legacy as one of greatest composers in American history and certainly in the history of Jazz. Some of the awards Mingus has received include being inducted into the Down Beat Hall of Fame, Grammy Lifetime Achievement Award, his album ‘Mingus Dynasty’ was inducted into the Grammy Hall of Fame, the U.S. Postal Service issued a stamp in his honor, and the National Endowment of the Arts provided grants for a nonprofit called “Let My Children Hear Music” in which they cataloged all of Mingus’ works and made them available at the New York Public Library. Charles Mingus was a genius, a Jazz master, a warrior for civil rights and in my humble opinion a true American hero.

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.”

"In other words I am three. One man stands forever in the middle, unconcerned, unmoved, watching, waiting to be allowed to express what he sees to the other two.

The second man is like a frightened animal that attacks for fear of being attacked.

Then there's an over-loving gentle person who lets people into the uttermost sacred temple of his being and he'll take insults and be trusting and sign contracts without reading them and get talked down to working cheap or for nothing, and when he realizes what's been done to him he feels like killing and destroying everything around him including himself for being so stupid. But he can't - he goes back inside himself. Which one is real? They're all real."
– Charles Mingus


Charles Mingus - Fables of Faubus
from: Jazz on the Tube

In 1957 the Governor of Arkansas, Orval Faubus, ordered the state's National Guard to prevent the integration of Little Rock Central High School by nine African-American teenagers. President Eisenhower was slow to react and enforce the Supreme Court's decision, Brown vs Board of Education. Twenty days after the initial incident the President federalized the Arkansas' National Guard and sent in army's 101st Airborne Division to help the nine students enter the school safely. This event marked the first time racism in the South was on network television for the entire country to watch over almost a month long span.

Charles Mingus wrote the song 'Fables of Faubus' as a response to this event and show his anger and disgust at the racism endured by black people in America. The song was first recorded for Mingus' album Mingus Ah Um in 1959 on the Columbia label though they would not allow the lyrics to be included. In 1960 Mingus was able to record the song on the Candid label with lyrics on his album Charles Mingus Presents Charles Mingus. The lyrics include a call and response between Mingus and drummer Dannie Richmond.

"Mingus, as you know, was outspoken. He used the bandstand as a soapbox to communicate what was on his mind—about the ills of society, the inequities and the social injustice. He spoke out at all times, not just about people making noise in clubs during performances but also about political and social issues. This was a musical communication about his feelings, not to be confused with political protest. Mingus only wrote six or seven political compositions with lyrics, but he was not didactic. His purpose with his music wasn’t to confront social injustice. He was too much of a composer for that. But he did vent on the bandstand vocally about anything he felt was wrong or unfair. Back then, that took courage."
--Sue Mingus

Charles Mingus
From Wikipedia, the free encyclopedia



Performance for the U.S. Bicentennial, New York City, July 4, 1976. Photo by Tom Marcello

Background information

Birth name Charles Mingus Jr.
Born April 22, 1922 US Army Base in Nogales, Arizona
Origin Los Angeles, California, United States
Died January 5, 1979 (aged 56)
Cuernavaca, Mexico

Genres Bebop, avant-garde jazz, post-bop, third stream
Occupations Bassist, composer, bandleader
Instruments Double bass, piano, cello, trombone
Years active 1943–1979
Labels Atlantic, Candid, Columbia, Debut, Impulse!, Mercury, United Artists
Website www.mingusmingusmingus.com

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz musician, composer, bandleader, and civil rights activist.

Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz.

Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players.

Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz." His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.[1]

Because of his brilliant writing for mid-size ensembles—and his catering to and emphasizing the strengths of the musicians in his groups—Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius."[2]

Mingus' music was once believed to be too difficult to play without Mingus' leadership, and Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise.[3] However, many musicians play Mingus compositions today, from those who play with the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.[4]

In 1988, a grant from the National Endowment for the Arts[5] made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library[6] for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".[7]

Biography
Early life and career

Charles Mingus was born in Nogales, Arizona. He was raised largely in the Watts area of Los Angeles, California. His mother's paternal heritage was Chinese and English, while historical records indicate that his father was the illegitimate offspring of a black farmhand and his Swedish employer's white granddaughter.[8] In Mingus' autobiography Beneath the Underdog he recounts a story told to him by his father, Charles Mingus senior, according to which his white grandmother was actually a first cousin of Abraham Lincoln. Charles Mingus Sr. claims to have been raised by his mother and her husband as a white person until he was fourteen, when his mother revealed to her family that the child's true father was a black slave, after which he had to run away from his family and live on his own. The autobiography doesn't confirm whether Charles Mingus Sr. or Mingus himself believed this story to be true, or whether it was meant to be merely an embellished version of the Mingus family's lineage.[9]

His mother allowed only church-related music in their home, but Mingus developed an early love for music, especially Duke Ellington. He studied trombone, and later cello, although he was unable to follow the cello professionally because, at the time, it was nearly impossible for a black musician to make a career of classical music, and the cello was not yet accepted as a jazz instrument. Despite this, Mingus was still attached to the cello; as he studied bass with Red Callender in the late 1930s, Callender would even comment that the cello was still Mingus's main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player.[9]

Due to a poor education (much of which was because his early teachers did not think much could come of a black student), Mingus could not read western notation as a young musician. This had a serious impact on his early musical experiences: since he could not read music, he felt ostracized from the classical music world rather than accepted, and eventually turned from a symphonic path entirely. These early experiences were also reflected in his music, which often focused on racism, discrimination and justice.[10] Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school. He studied for five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese.[11] Throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth.

Beginning in his teen years, Mingus was writing quite advanced pieces; many are similar to Third Stream because they incorporate elements of classical music. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird, referring to Charlie "Bird" Parker; Mingus was one of many musicians whose perspectives on music were altered by Parker into "pre- and post-Bird" eras.

Mingus gained a reputation as a bass prodigy. His first major professional job was playing with former Ellington clarinetist Barney Bigard. He toured with Louis Armstrong in 1943, and by early 1945 was recording in Los Angeles in a band led by Russell Jacquet and which also included Teddy Edwards, Maurice Simon, Bill Davis and Chico Hamilton, and in May that year, in Hollywood, again with Teddy Edwards, in a band led by Howard McGhee.[12] He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several of Mingus's pieces. A popular trio of Mingus, Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus' mixed origin caused problems with club owners and he left the group. Mingus was briefly a member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall. Mingus's notorious temper led to him being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol.[13]

Also in the early 1950s, before attaining commercial recognition as a bandleader, Mingus played gigs with Charlie Parker, whose compositions and improvisations greatly inspired and influenced him. Mingus considered Parker the greatest genius and innovator in jazz history, but he had a love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for a derivative crop of pretenders to Parker's throne. He was also conflicted and sometimes disgusted by Parker's self-destructive habits and the romanticized lure of drug addiction they offered to other jazz musicians. In response to the many sax players who imitated Parker, Mingus titled a song, "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird").

Based in New York

In 1952 Mingus co-founded Debut Records with Max Roach, in order to conduct his recording career as he saw fit; the name originated with a desire to document unrecorded young musicians. Despite this, the best-known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of the two lead instrumentalists playing together. After the event, Mingus chose to overdub his barely audible bass part back in New York; the original version was issued later. The two 10" albums of the Massey Hall concert (one featured the trio of Powell, Mingus and Roach) were among Debut Records' earliest releases. Mingus may have objected to the way the major record companies treated musicians, but Gillespie once commented that he did not receive any royalties "for years and years" for his Massey Hall appearance. The records though, are often regarded as among the finest live jazz recordings.

Supposedly (although in the source cited, it is pure speculation) in 1955, Mingus was involved in a notorious incident while playing a club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who suffered from alcoholism and mental illness (possibly exacerbated by a severe police beating and electroshock treatments), had to be helped from the stage, unable to play or speak coherently. As Powell's incapacitation became apparent, Parker stood in one spot at a microphone, chanting "Bud Powell...Bud Powell..." as if beseeching Powell's return. Allegedly, Parker continued this incantation for several minutes after Powell's departure, to his own amusement and Mingus' exasperation. Mingus took another microphone and announced to the crowd, "Ladies and gentlemen, this is not jazz; these are very sick men."[14] This was Parker's last public performance; about a week later he died after years of substance abuse.

Mingus often worked with a mid-sized ensemble (around 8–10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding that his musicians be able to explore and develop their perceptions on the spot. Those who joined the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) included Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz. Some musicians dubbed the workshop a "university" for jazz.

Pithecanthropus Erectus among other creations

The decade which followed is generally regarded as Mingus's most productive and fertile period. Impressive new compositions and albums appeared at an astonishing rate: some thirty records in ten years, for a number of record labels (Atlantic Records, Candid, Columbia Records, Impulse! Records and others), a pace perhaps unmatched by any other musicians except Ellington and Frank Zappa.

Mingus had already recorded around ten albums as a bandleader, but 1956 was a breakthrough year for him, with the release of Pithecanthropus Erectus, arguably his first major work as both a bandleader and composer. Like Ellington, Mingus wrote songs with specific musicians in mind, and his band for Erectus included adventurous, though distinctly blues-oriented musicians, piano player Mal Waldron, alto saxophonist Jackie McLean and the Sonny Rollins-influenced tenor of J. R. Monterose. The title song is a ten-minute tone poem, depicting the rise of man from his hominid roots (Pithecanthropus erectus) to an eventual downfall. A section of the piece was free improvisation, free of structure or theme.

Another album from this period, The Clown (1957 also on Atlantic Records), with an improvised story on the title track by humorist Jean Shepherd, was the first to feature drummer Dannie Richmond. Richmond would be his preferred drummer until Mingus's death in 1979. The two men formed one of the most impressive and versatile rhythm sections in jazz. Both were accomplished performers seeking to stretch the boundaries of their music while staying true to its roots. When joined by pianist Jaki Byard, they were dubbed "The Almighty Three".[15]

Mingus Ah Um and other works

In 1959 Mingus and his jazz workshop musicians recorded one of his best-known albums, Mingus Ah Um. Even in a year of standout masterpieces, including Dave Brubeck's Time Out, Miles Davis's Kind of Blue, John Coltrane's Giant Steps, Bill Evans' Portrait in Jazz, and Ornette Coleman's prophetic The Shape of Jazz to Come, this was a major achievement, featuring such classic Mingus compositions as "Goodbye Pork Pie Hat" (an elegy to Lester Young) and "Fables of Faubus" (a protest against segregationist Arkansas governor Orval E. Faubus that features double-time sections).

Mingus witnessed Ornette Coleman's legendary—and controversial—1960 appearances at New York City's Five Spot jazz club. Though he initially expressed rather mixed feelings for Coleman's innovative music: "...if the free-form guys could play the same tune twice, then I would say they were playing something...Most of the time they use their fingers on the saxophone and they don't even know what's going to come out. They're experimenting." Mingus was in fact a prime influence of the early free jazz era. He formed a quartet with Richmond, trumpeter Ted Curson and saxophonist Eric Dolphy. This ensemble featured the same instruments as Coleman's quartet, and is often regarded as Mingus rising to the challenging new standard established by Coleman. Charles Mingus Presents Charles Mingus was the quartet's only album.

Only one misstep occurred in this era: 1962's Town Hall Concert. An ambitious program, it was unfortunately plagued with troubles from its inception.[16] Mingus's vision, now known as Epitaph, was finally realized by conductor Gunther Schuller in a concert in 1989, 10 years after Mingus's death.

The Black Saint and the Sinner Lady and other Impulse! albums

In 1963, Mingus released The Black Saint and the Sinner Lady, a sprawling, multi-section masterpiece, described as "one of the greatest achievements in orchestration by any composer in jazz history."[17] The album was also unique in that Mingus asked his psychotherapist to provide notes for the record.

Mingus also released Mingus Plays Piano, an unaccompanied album, in 1963. A few pieces were entirely improvised and drew on classical music as much as jazz, preceding Keith Jarrett's landmark The Köln Concert in those respects by some 12 years.

In addition, 1963 saw the release of Mingus Mingus Mingus Mingus Mingus, an album which was praised by critic Nat Hentoff.[18]

In 1964 Mingus put together one of his best-known groups, a sextet including Dannie Richmond, Jaki Byard, Eric Dolphy, trumpeter Johnny Coles, and tenor saxophonist Clifford Jordan. The group was recorded frequently during its short existence; Coles fell ill during a European tour. On June 28, 1964 Dolphy died while in Berlin. 1964 was also the year that Mingus met his future wife, Sue Graham Ungaro. The couple were married in 1966 by Allen Ginsberg.[19] Facing financial hardship, Mingus was evicted from his New York home in 1966

Changes

Mingus's pace slowed somewhat in the late 1960s and early 1970s. In 1974 he formed a quintet with Richmond, pianist Don Pullen, trumpeter Jack Walrath and saxophonist George Adams. They recorded two well-received albums, Changes One and Changes Two. Mingus also played with Charles McPherson in many of his groups during this time. Cumbia and Jazz Fusion in 1976 sought to blend Colombian music (the "Cumbia" of the title) with more traditional jazz forms. In 1971, Mingus taught for a semester at the University at Buffalo, The State University of New York as the Slee Professor of Music.[20]

Later career and death

By the mid-1970s, Mingus was suffering from amyotrophic lateral sclerosis, in America known as Lou Gehrig's disease, a wastage of the musculature. His once formidable bass technique suffered, until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death. Eminent music journalist Stephen Davis sympathetically snapshot Mingus's final years in a rare piece titled "Ten Takes on Charles Mingus" published in Zero: Contemporary Buddhist Life and Thought, Vol. 3 (Autumn, 1979).

Mingus did not complete his final project of an album named after him with singer Joni Mitchell, which included lyrics added by Mitchell to Mingus compositions, including "Goodbye Pork Pie Hat", among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. The album featured the talents of Wayne Shorter, Herbie Hancock, and another influential bassist and composer, Jaco Pastorius. Mingus died aged 56 in Cuernavaca, Mexico, where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River.

Legacy

The Mingus Big Band

The music of Charles Mingus is currently being performed and reinterpreted by the Mingus Big Band, which, starting October 2008, plays every Monday at Jazz Standard in New York City, and often tours the rest of the U.S. and Europe. Elvis Costello has written lyrics for a few Mingus pieces. He had once sung lyrics for one piece, "Invisible Lady", being backed by the Mingus Big Band on the album, Tonight at Noon: Three of Four Shades of Love.[21]
In addition to the Mingus Big Band, there is the Mingus Orchestra and the Mingus Dynasty, each of which are managed by Jazz Workshop, Inc., and run by Mingus's widow Sue Graham Mingus.

Epitaph

Epitaph is considered to be one of Charles Mingus' masterpieces. The composition is 4,235 measures long, requires two hours to perform, and is one of the longest jazz pieces ever written. Epitaph was only completely discovered during the cataloging process after his death by musicologist Andrew Homzy. With the help of a grant from the Ford Foundation, the score and instrumental parts were copied, and the piece itself was premiered by a 30-piece orchestra, conducted by Gunther Schuller. This concert was produced by Mingus's widow, Sue Graham Mingus, at Alice Tully Hall on June 3, 1989, ten years after his death. It was performed again at several concerts in 2007. The performance at Walt Disney Concert Hall is available on NPR. The complete score was published in 2008 by Hal Leonard.

Autobiography

Written throughout the 1960s, Mingus's sprawling, exaggerated, quasi-autobiography, Beneath the Underdog: His World as composed by Mingus,[9] was published in 1971. Written in a "stream of consciousness" style, it covered several aspects of Mingus's life that had previously been off-record.

In addition to his musical and intellectual proliferation, Mingus goes into great detail about his perhaps overstated sexual exploits. He claims to have had over 31 affairs over the course of his life (including 26 prostitutes in one sitting). This does not include any of his five wives (he claims to have been married to two of them simultaneously). In addition, he asserts that he held a brief career as a pimp. This has never been confirmed.

Mingus's autobiography also serves as an insight into his psyche, as well as his attitudes about race and society.[22] Autobiographic accounts of abuse at the hands of his father from an early age, being bullied as a child, his removal from a white musician's union, and grappling with disapproval while married to white women and other examples of the hardship and prejudice.[23]

Cover versions

Considering the number of compositions that Charles Mingus wrote, his works have not been recorded as often as comparable jazz composers. About the only Mingus tribute album recorded in his lifetime was baritone saxophonist Pepper Adams's album, Pepper Adams Plays Charlie Mingus in 1963. Of all his works, his elegant elegy for Lester Young, "Goodbye Pork Pie Hat" (from Mingus Ah Um) has probably had the most recordings. Besides recordings from the expected jazz artists, the song has also been recorded by musicians as disparate as Jeff Beck, Andy Summers, Eugene Chadbourne, and Bert Jansch and John Renbourn with and without Pentangle. Joni Mitchell sang a version with lyrics that she wrote for the song.

Elvis Costello has recorded "Hora Decubitus" (from Mingus Mingus Mingus Mingus Mingus) on My Flame Burns Blue (2006). "Better Git It in Your Soul" was covered by Davey Graham on his album "Folk, Blues, and Beyond." Trumpeter Ron Miles performs a version of "Pithecanthropus Erectus" on his EP "Witness." New York Ska Jazz Ensemble has done a cover of Mingus' "Haitian Fight Song", as have Pentangle and others. Hal Willner's 1992 tribute album Weird Nightmare: Meditations on Mingus (Columbia Records) contains idiosyncratic renditions of Mingus's works involving numerous popular musicians including Chuck D, Keith Richards, Henry Rollins and Dr. John. The Italian band Quintorigo recorded an entire album devoted to Mingus' music, titled Play Mingus.

Gunther Schuller's edition of Mingus' "Epitaph" which premiered at Lincoln Center in 1989 was subsequently released on Columbia/Sony Records.

One of the ultimate tributes to Mingus came on September 29, 1969 at a festival honoring him. Duke Ellington performed The Clown at the festival. Duke himself did Jean Shepherd's narration. As of this date, this recording has not been issued.

Personality and temper

As respected as Mingus was for his musical talents, he was sometimes feared for his occasional violent onstage temper, which was at times directed at members of his band, and other times aimed at the audience.[24] He was physically large, prone to obesity (especially in his later years), and was by all accounts often intimidating and frightening when expressing anger or displeasure. Mingus was prone to clinical depression. He tended to have brief periods of extreme creative activity, intermixed with fairly long periods of greatly decreased output.

When confronted with a nightclub audience talking and clinking ice in their glasses while he performed, Mingus stopped his band and loudly chastised the audience, stating "Isaac Stern doesn't have to put up with this shit."[25] Mingus reportedly destroyed a $20,000 bass in response to audience heckling at New York's Five Spot.[26]

Guitarist and singer Jackie Paris was a first-hand witness to Mingus's irascibility. Paris recalls his time in the Jazz Workshop: "He chased everybody off the stand except [drummer] Paul Motian and me... The three of us just wailed on the blues for about an hour and a half before he called the other cats back."[27]

On October 12, 1962, Mingus punched Jimmy Knepper in the mouth while the two men were working together at Mingus's apartment on a score for his upcoming concert at New York Town Hall and Knepper refused to take on more work. The blow from Mingus broke off a crowned tooth and its underlying stub.[28] According to Knepper, this ruined his embouchure and resulted in the permanent loss of the top octave of his range on the trombone - a significant handicap for any professional trombonist. This attack temporarily ended their working relationship and Knepper was unable to perform at the concert. Charged with assault, Mingus appeared in court in January 1963 and was given a suspended sentence. Knepper would again work with Mingus in 1977 and played extensively with the Mingus Dynasty, formed after Mingus' death in 1979.[29]

Mingus was evicted from his apartment at 5 Great Jones Street in New York City for nonpayment of rent, captured in the film Mingus: 1968, by Thomas Reichman, which also features Mingus performing in clubs and in the apartment, shooting a shotgun, composing at the piano, and discussing love, art, and politics and the music school he had hoped to create.[30]

Awards and honors

1971 Guggenheim Fellowship (Music Composition)
1971: Inducted in the Down Beat Jazz Hall of Fame.
1988: The National Endowment for the Arts provided grants for a Mingus nonprofit called "Let My Children Hear Music" which cataloged all of Mingus' works. The microfilms of these works were given to the Music Division of the New York Public Library where they are currently available for study.[5]
1993: The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".[31]
1995: The United States Postal Service issued a stamp in his honor.
1997: Was posthumously awarded the Grammy Lifetime Achievement Award.
1999: The album Mingus Dynasty (1959) was inducted in the Grammy Hall of Fame.
2005: Inducted in the Jazz at Lincoln Center, Nesuhi Ertegun Jazz Hall of Fame.
[edit]Discography

Main article: Charles Mingus discography
Filmography

1959, Mingus contributed most of the music for John Cassavetes's gritty New York City film, Shadows.
1961, Mingus appeared as a bassist and actor in the British film All Night Long.
1968, Thomas Reichman directed the documentary Mingus: Charlie Mingus 1968.
1991, Ray Davies produced a documentary entitled Weird Nightmare. It contains footage of Mingus and interviews with artists making Hal Willner's tribute album of the same name, including Elvis Costello, Charlie Watts, Keith Richards, and Vernon Reid.
Charles Mingus: Triumph of the Underdog is a 78 minute long documentary film on Charles Mingus directed by Don McGlynn and released in 1998.
[edit]References

^ NYT review of 1965 UCLA concert http://www.nytimes.com/1984/09/23/arts/an-irrepressible-65-mingus-concert.html?&pagewanted=all
^ David Simpson. "Myself When I Am Real: The Life and Music of Charles Mingus, by Gene Santoro". Jazz Institute of Chicago book review. Retrieved 2008-03-25.
^ See the 1998 documentary Triumph of the Underdog
^ Ernest Barteldes (2009-02-18). "Thirty Years On, The Music Remains Strong; Charles Mingus’ legacy revisited at the Manhattan School of Music". nypress.com. Retrieved 2009-10-26.
^ a b NEA press release http://arts.endow.gov/about/40th/mingus.html
^ NYPL catalog page http://catalog.nypl.org/record=b11250454
^ Library of Congress press release http://www.loc.gov/today/pr/1993/93-081.html
^ Myself When I am Real: The Life and Music of Charles Mingus, Gene Santoro (Oxford University Press, 1994) ISBN 0-19-509733-5
^ a b c Mingus, Charles: Beneath the Underdog: His Life as Composed by Mingus. New York, NY: Vintage, 1991.
^ "Charles Mingus and the Paradoxical Aspects of Race as Reflected in His Life and Music". Retrieved 11/10/2011.
^ "Charles Mingus | Charles "Baron" Mingus: West Coast, 1945-49". Allaboutjazz.com. 2001-02-01. Retrieved 2009-10-08.
^ Jazz Discography Project. "Charles Mingus Catalog at JazzDisc.org". Jazzdisco.org. Retrieved 2009-10-08.
^ Hentoff, Nat (1978). Jazz Is. W H Allen. pp. 34–35.
^ "Five More Articles on Jazz (Rexroth)". Bureau of Public Secrets article.
^ Saying Something: Jazz Improvisation and Interaction, Ingrid Monson (University of Chicago Press, 1997) ISBN 0-226-53478-2
^ Gene Santoro (2000-06-06). "Town Hall Train Wreck". The Village Voice. Retrieved 2011-12-05.
^ Review at Allmusic, by Steve Huey, retrieved 2011-12-05.
^ Hentoff, Nat (1963). Liner Notes, Mingus Mingus Mingus Mingus Mingus
^ "Jazz". AllAboutJazz.com. 1979-01-05. Retrieved 2009-10-08.
^ The Musical Styles of Charles Mingus, (Warner Bros. Publications, Jazz Workshop, 1982)
^ "Tonight at Noon: Three of Four Shades of Love". Album overview on Allmusic.
^ Ratliff, Ben (1998-01-18). "JAZZ VIEW; Hearing Mingus Again, Seeing Him Anew - The". New York Times. Retrieved 2009-10-08.
^ Friday, October 02, 1964 (1964-10-02). "Jazz: Beneath the Underdog". TIME. Retrieved 2009-10-08.
^ Wynn, Ron; Katz, Mike (1994), Ron Wynn, ed., All Music Guide to Jazz, M. Erlewine, V. Bogdanov, San Francisco: Miller Freeman, p. 461, ISBN 0879303085
^ Sue Graham Mingus. Tonight at Noon.
^ Wynn, Ron (1994), "Jazz Venues", in Ron Wynn, All Music Guide to Jazz, M. Erlewine, V. Bogdanov, San Francisco: Miller Freeman, p. 717, ISBN 0879303085
^ "Paris When He Sizzles". Village Voice article by Will Friedwald.
^ Santoro, 2000
^ "Jimmy Knepper - Obituaries, News". London: The Independent. June 16, 2003. Archived from the original on 2010-09-03. Retrieved 2009-10-08.
^ "Mingus 1968". Retrieved 12/10/2011.
^ Library of Congress press release, June 11, 1993. Rule, S. "Library of Congress buys Charles Mingus Archive", New York Times, June 14, 1993
[edit]Further reading

Beneath the Underdog, his autobiography, presents a vibrantly boastful and possibly apocryphal account of his early career as a pimp.
Myself When I Am Real: The Life and Music of Charles Mingus by Gene Santoro, Oxford University Press (November 1, 2001), 480 pages, ISBN 0-19-514711-1
Mingus: A Critical Biography by Brian Priestley, Da Capo Press (April 1, 1984), 340 pages, ISBN 0-306-80217-1
Tonight At Noon: A Love Story by Sue Graham Mingus, Da Capo Press; Reprint edition (April, 2003), 272 pages, ISBN 0-306-81220-7. Written by his widow.
Charles Mingus - More Than a Fake Book by Charles Mingus, Hal Leonard Corporation (November 1, 1991), 160 pages, ISBN 0-7935-0900-9. Includes 2 CDs, photos, discography, music transcriptions, a Mingus comic book promoting his anti-bootlegging project, and so on.
Mingus/Mingus: Two Memoirs by Janet Coleman, Al Young, Limelight Editions (August 1, 2004), 164 pages, ISBN 0-87910-149-0
I Know What I Know: The Music of Charles Mingus by Todd S. Jenkins, Praeger (2006), 196 pages, ISBN 0-275-98102-9
But Beautiful: A Book About Jazz by Geoff Dyer, Abacus (2006), pages 103–127, ISBN 0-349-11005-0
[edit]External links
Official website
What Is a Jazz Composer—Liner notes from Let My Children Hear Music by Charles Mingus.
Charles Mingus by Nat Hentoff
MINGUS!—sonic.net
Charles Mingus multimedia directory - Kerouac Alley
Charles Mingus: Requiem for the Underdog by Alan Goldsher
Charles Mingus at the Internet Movie Database
Charles Mingus at the Notable Names Database v t e
Charles Mingus
Studio albums

Jazz Composers Workshop (1954-55) The Jazz Experiments of Charlie Mingus (1955) Pithecanthropus Erectus (1956) The Clown (1957) East Coasting (1957) A Modern Jazz Symposium of Music and Poetry (1957) Mingus Ah Um (1959) Mingus Dynasty (1959) Blues & Roots (1960) Charles Mingus Presents Charles Mingus (1960) Reincarnation of a Lovebird (1960) Oh Yeah (1961) Tonight at Noon (1957-61) Tijuana Moods (1962) The Black Saint and the Sinner Lady (1963) Mingus Mingus Mingus Mingus Mingus (1963) Mingus Plays Piano (1964) Let My Children Hear Music (1972) Mingus Moves (1973) Changes One (1974) Changes Two (1975) Three or Four Shades of Blues (1977) Cumbia & Jazz Fusion (1978)

Live albums

Mingus at the Bohemia (1955) The Charles Mingus Quintet & Max Roach (1955) Jazz Portraits: Mingus in Wonderland (1959) Charles Mingus Sextet with Eric Dolphy Cornell 1964 (1964) Town Hall Concert (1964) The Great Concert of Charles Mingus (1964) Right Now: Live at the Jazz Workshop (1964) Mingus at Monterey (1964) Charles Mingus and Friends in Concert (1972) Mingus at Carnegie Hall (1974) Mingus at Antibes (1976)

Discography Mingus Big Band Mingus Dynasty Sue Mingus Mingus (1979) Epitaph (1990)