<div dir="ltr">
<div class="gmail-container gmail-content-width3">
<div class="gmail-header gmail-reader-header gmail-reader-show-element">
<font size="1"><a href="https://lithub.com/a-brief-history-of-the-policing-of-black-music/?fbclid=IwAR05z03xTko7ApItxmUT9XnRH725VpZxzpZUF0m__i3uNqMpwXHZ6223iiw">https://lithub.com/a-brief-history-of-the-policing-of-black-music/?fbclid=IwAR05z03xTko7ApItxmUT9XnRH725VpZxzpZUF0m__i3uNqMpwXHZ6223iiw</a></font>
<h1 class="gmail-reader-title">A Brief History of the Policing of Black Music</h1>
<div class="gmail-credits gmail-reader-credits">By Harmony Holiday
June 19, 2020</div>
</div>
<hr>
<div class="gmail-content">
<div class="gmail-moz-reader-content gmail-line-height4 gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div>
<p><span></span></p><p>Billie Holiday
died handcuffed to her hospital bed because her drug addiction had been
criminalized. A Black FBI informant posed as a suitor, <a href="https://www.youtube.com/watch?v=lcnfxaLDTtU" target="_blank">hunted her</a>,
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.</p>
<p>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.</p>
<p>Thelonius Monk’s composition <em>In Walked Bud </em>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.</p>
<p>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.</p>
<p>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. <em>Get out of the car you fucking nigger. </em>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.</p>
<span>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.</span>
<p>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.</p>
<p>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” <em>and</em>
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.</p>
<span class="gmail-caption"><img src="https://s26162.pcdn.co/wp-content/uploads/2020/06/Screen-Shot-2020-06-19-at-5.20.58-AM.png" alt="" style="margin-right: 0px;" width="357" height="461"> Miles Davis in a New York courtroom, 1959.</span>
<p>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.</p>
<p>In 1961, when the “Freedom Now!” Suite debuted, written by Max Roach and Oscar Brown, Jr., performed most visibly by<a href="https://www.youtube.com/watch?v=YTeacoeAm9o" target="_blank"> Abbey Lincoln as she moaned and screamed</a>
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.</p>
<p>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.</p>
<p>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.</p>
<span>Hip hop’s most famous liberation chant is <em>fuck the police. </em>It’s been repeated so often it means almost nothing, it’s almost a call of endearment…</span>
<p>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.</p>
<p>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.)</p>
<p>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 <em>fuck the police. </em>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.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>In his story, “Will the Circle Be Unbroken<em>,” </em>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.</p>
<p>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 <a href="https://www.youtube.com/watch?v=cN7Unxd8tpM" target="_blank"><em>the missing Black notes </em></a><em>that have been stolen and captured for years and years and years.</em></p>
<p><em>Photo: Billie Holiday performing in the UK, courtesy the Halton-Deutsch Collection.</em></p>
<span></span>
<br><hr>
</div></div></div>
</div>
<div>
</div>
</div>
</div>