[News] A Brief History of the Policing of Black Music

Anti-Imperialist News news at freedomarchives.org
Sun Jun 28 13:06:08 EDT 2020

Brief History of the Policing of Black Music
By Harmony Holiday June 19, 2020

Billie Holiday died handcuffed to her hospital bed because her drug
addiction had been criminalized. A Black FBI informant posed as a
suitor, hunted
her <https://www.youtube.com/watch?v=lcnfxaLDTtU>, fell in love with her
even, and turned her in for heroin possession, not for hurting anyone, or
violence, or for singing too beautiful and true a song but because she was
self-medicating against the siege of being a famous Black woman in America,
a woman who carried the weight of the nation’s entire soul in her music.

For as long as Black music has been popular, crossover, coveted by white
listeners and dissected by white critics, it has also been criminalized by
white police at all levels of law enforcement. A micro-archive of the
criminalization of Black music and police presence within the music,
focused on jazz music and improvised forms, shows why we now cry and chant
unapologetically for abolition. Even when our life’s work is to bring more
beauty into the world, to create new forms, we are brutalized, policed,
jailed, and die in contractual or physical bondage. Or both.

Thelonius Monk’s composition *In Walked Bud *is dedicated to his friend,
fellow pianist Bud Powell, a memento to the night when Bud protected Monk
from police during a raid of the Savoy Ballroom in 1945. The Savoy was
targeted as one of Black music’s epicenters in Harlem. Bud stepped between
an officer and Monk and was struck in the head, incurring injuries that
damaged his cognition, causing him to be institutionalized on and off for
the rest of his life.

In 1951, Monk and Bud were sitting in a parked car when the NYPD narcotics
division approached. Unbeknownst to Monk, Bud had a small stash of heroin
and attempted to toss it out the window. It landed on Monk’s shoe
instead—Monk was blamed, did not snitch on his friend, and was sent to
Rikers Island for 60 days, held on $1,500 dollars bail. When released,
Monk’s Cabaret Card, which granted him legal license to play in New York
clubs, had been revoked. It would take years for the charges to be dropped
and the license reinstated, years the Monk family and innovation in Black
music suffered at the whims of the police. And the policing of Monk didn’t
stop there.

In 1957, on a drive with Charlie Rouse and Nica, his rich white baroness
friend, in Nica’s Bently, Monk asked to stop for a glass of water. Denied
this simple request by the white waitress at the cafe they found, Monk just
stood and stared at her, agape with disgust. The waitress called the
police; when they arrived Monk walked right past them back into the car
with Nica and Charlie. He would not get out when the police approached. *Get
out of the car you fucking nigger. *Monk’s window was down and the officer
started smashing his hands with a night stick: our genius Black pianist who
gave us the break the space between Black thoughts and Black notes, getting
his hands bashed and broken by police because he wanted a glass of water.
Monk was cuffed, humming, his bloodied hands behind his back in chains.
Monk’s window was down and the officer started smashing his hands with a
night stick: our genius Black pianist who gave us the break the space
between Black thoughts and Black notes, getting his hands bashed and broken
by police.

In 1959 Miles Davis was standing on the sidewalk outside of his own gig at
Manhattan’s Birdland. He was with a white woman, smoking a cigarette
between sets. A police officer pulled up and asked him what he was doing
loitering—at that time a Black man just standing was criminalized, but
especially one standing with a white woman. Miles pointed out his name on
the marquee, explaining that he was between performances. This cavalier
deference to the matter-of-fact seems to trigger the racism always-already
seething in some cops.

Miles was beaten over the head with a nightstick, bloodied, cuffed, taken
to jail. The incident was a legal nuisance and also altered his
disposition, made him both more brooding and more volatile. In Miles’s case
being policed in public life led to a rage he would only display in
private, that he took out on his wives. His intimate relationships with
Black women were overwhelmed by violence, he victimized them and beat into
them deflected confessions of his feelings of powerlessness in the face of
state violence. He could not be the father of “Cool” *and* a blatantly
dejected Black man, so Black women became the symbols of a trouble he
didn’t want to admit stemmed from white men, their policing, their
scrutiny, and their over-familiar criticism.
Miles Davis in a New York courtroom, 1959.

Later in his life, when he lived in Malibu and drove expensive sports cars
on its canyon roads, police would stop Miles routinely when he was on his
way home, to interrogate him on the true owner of his car, had he stolen
it, was he some white man’s driver, what was he doing in this white
neighborhood with this expensive machine. Money, fame, all levels of
success, were no exemption. Miles’s presence as a Black man was as policed
by the state as his changing sound was by white music critics. Everyone
wanted him as they saw him, in return he became so original that he could
take his tone into almost any form, from painting to boxing, to screaming
back at their prejudice on his horn, hexing detractors back into their
formless obsessions with his immaculate Blackness.

In 1961, when the “Freedom Now!” Suite debuted, written by Max Roach and
Oscar Brown, Jr., performed most visibly by Abbey Lincoln as she moaned and
screamed <https://www.youtube.com/watch?v=YTeacoeAm9o> its depiction of the
path Black Americans took from slavery to citizenship, the result was the
blacklisting of Max, Abbey, and Oscar from many performance venues in the
US. The hushed accusations that they were controversial for making true
music policed their ability to share that music with American audiences.
Abbey screaming on stage like a fugitive slave found and being branded and
beaten was a vision the country was not ready to allow without backlash.

Club owners and record companies helped marginalize their music,
interrupted the course of star-making, and tamed some of the candid
militancy in all of their spirits. The state can police Black music
directly, but it can also deploy its tacit muzzle, which is almost worse
for the anxiety and psychic distress it invites. These artists knew they
were being surveilled and penalized for their expression but had no single
name or entity to hold accountable, ensuring that some part of them blamed
themselves and one another. Oscar Brown, Jr. even expressed resentment
toward Max Roach for performing and releasing the suite at all, turning his
reputation from benign griot to troublemaker in the eyes of the overseer
owners of venues.

The fact that record companies and clubs and recording studios are owned
primarily by white men adds another trapdoor to the labyrinth that polices
Black music at every level. The boundaries between rehearsal and
performance are skewed—with white men always watching and keeping time and
signing the paychecks, the code switch isn’t flipped as often as it
otherwise would be. There is always a stilted professionalism constraining
the freest Black music when it’s recorded in white-owned studios or
clubs—the music is not completely ours in those spaces. No matter how good
we get at tuning out the white gaze its pressure is always immanent.
Hip hop’s most famous liberation chant is *fuck the police. *It’s been
repeated so often it means almost nothing, it’s almost a call of endearment…

We feel this today in the music that jazz helped make way for. Hip hop,
which began in Black neighborhoods as entirely ours, was colonized and
coopted and policed into a popular form whose translation to white venues
often reduces the music to sound and fury. What is the point of yelling
about Black liberation to a bunch of white middle class college students,
or at festivals where Black people aren’t even really comfortable or in
attendance? What is the point of producing all this music to make white
record executives richer and give them what they believe is a hood pass to
obsess over and imitate Black forms.

Jazz begat hip hop, and we learned that our most militant sound was also
our most commodifiable. The militancy was quickly overshadowed by
criminalization, open-secret wars between Black rappers, public awareness
of their rap sheets, of the personal business, all of that given to
listeners who felt entitled, still do. Criminality became the vogue and
Black criminality a fetish within hip hop, the parading of the rap sheet
increasing desirability among white audiences who conflated crime with
authenticity and realness, trouble glamorized and traded for clout. (When
jazz musicians were criminalized it was more devastating, costing them
their right to play.)

Prison and bondage have been effectively woven into Black acoustic
consciousness. Policing and the police have become the most familiar
chorus. Hip hop’s most famous liberation chant is *fuck the police. *It’s
been repeated so often it means almost nothing, it’s almost a call of
endearment, a calling forth of the police, a fuck you to them that implies
they are omnipresent and within earshot all the time, ready to strike out
against any Black song or singer who threatens their lurking fixation on
Black life and Black sound.

As the musicians are policed and incriminated so too are their forms, so
too is that thought that leads to new Black musical temperaments. Musicians
who seek to remain true to themselves often self-marginalize, police their
own public presence, reject fame and affiliation in order to keep from
being ruined by it or policed into oblivion from the outside—and so fewer
Black people hear them. Even still, the police ambush these private sects,
asking why they’re at their gig or in response to a noise complaint,
escalating to yet another incident, always haunting their music with some
threat of captivity.

In the late 1960s jazz bassist Charles Mingus tried to open a jazz school
in Harlem. He wanted a Black-owned and Black-run place, outside of the
university, the studios, and clubs all owned by whites, to teach and
develop the music. The city of New York kicked him out of the space, not
for any real legal issues but because his wish was a threat to their
embedded policing. They removed all of his belongings and arrested him, he
cried in the back of the cop car as sheets of his music were left on the
street to be swept away by the wind. No such school has been attempted
since and Black music is developed and studied in heavily policed white
westernized institutions or not at all.

My own father, a Black musician, was getting arrested the last time I saw
him. He went to jail, he died. He had spent his life as a kind of warrior:
he carried guns, he was the quickest draw anywhere, he mangled studio
engineers or lawyers he felt were trying to rip him off, he could not read,
had never been taught that skill, but he could kill if he had to. He was
avenging something all the time, his vengeance was finally policed and
criminalized, never rehabilitated in any more tender way, just returned as
bondage. He sang songs in jail, entertained his jailers with stories and
songs. I’m still avenging him. I’m still imagining his alter-destiny in a
world where his very existence had not been criminalized.

In his story, “Will the Circle Be Unbroken*,” *Henry Dumas, who himself was
killed by police, invents a Blacks-only jazz club set in Harlem and an
“afro-horn” that if heard by white people kills them. A group of white
hipsters comes to the club one night, name drops, begs for entrance, and
when they are denied repeatedly, they call on a police officer who forces
the bouncer to let them in. They enter and start to absorb the music and
before the first song is over they are dead, the frequency kills them. They
were warned.

I dream of a Black music, a Black sound, free of the shackles of the white
gaze, impossible for police to attack or scrutinize, ineffable to those
forces, free even of white desire. Unbroken, lethal to detractors, wherein
we can hear our unobstructed selves and get closer to them in other spheres
of life, where the pleasure we derive from our music isn’t always fugitive,
in escape from those forces that police it, and escaping us to reach or
appease white audiences and white modes of consumption. I dream of the
notes that only we can hear recovered, the ones multi-instrumentalist
Rahsaan Roland Kirk called *the missing Black notes *
<https://www.youtube.com/watch?v=cN7Unxd8tpM>*that have been stolen and
captured for years and years and years.*

*Photo: Billie Holiday performing in the UK, courtesy the Halton-Deutsch

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