Beauford Delaney (1901-1979) “Portraitist of the Famous”
“Perhaps I should say, flatly, what I believe–that he is a great painter, among the very greatest; but I do know that great art can only be created out of love, and that no greater lover has ever held a brush.”
James Baldwin (1924-1987), writer, friend of artist Beauford Delaney
Abdul-Jalil al-Hakim, c.1971oil on canvas
Beauford Delaney, hailed as the most important African-American artists of the 20th century, whose life appeared to symbolize the mythical artistic existence of privation and relative obscurity, that show a retrospective of “uninhibited colorist (though never an unintelligent one)” that is “apotheosized” and whose talent and “free, open and outgoing nature” engendered admiration from everyone whom was fortunate enough to encounter him as he was THE darling of the international culture scene in New York and Paris. James Baldwin called him his “spiritual father.”
Remembering THE Greatest artists of the 20th century, the ‘amazing and invariable’ Beauford Delaney, the “Portraitist of the Famous”, who’s masterpieces are trumpeted as cutting-edge work in Black aesthetics, stylistic evolution from representation to pure abstraction, with new and radical theories with his techniques and expression of the politics of Black arts, affording him his very own, singular serious stature among abstract expressionists, transforming the critical landscape into a growing interest in his creation of “Black Abstraction”!
For more than a decade, Delaney showed compelling, vibrant images of energetic life: produced engaging abstract works, portraits, landscapes, and abstractions celebrated for their brilliance and technical complexity with his dramatic stylistic shift from figurative compositions of life to abstract expressionist studies of color and light, powerful works of art and culture, illuminate some of Delaney’s most innovative years and firmly place his work among the dominant art movements of the day.
The fascinating Beauford Delaney is a Modern artist who produced engaging portraits, landscapes, and abstractions celebrated for their brilliance and technical complexity with his dramatic stylistic shift from figurative compositions of New York life to abstract expressionist studies of color and light following his move to Paris in 1953, illuminate some of Delaney’s most innovative years and firmly place his work among the dominant art movements of the day!
The career of Beauford Delaney (1901-79) was mainly working with Expressionism, Harlem Renaissance who’s first exhibition was New Names In American Art: Recent Contributions To Painting And Sculpture By Negro Artists at The Renaissance Society in Chicago, IL in 1944, and the most recent exhibition was Art Basel Miami Beach 2020 – online viewing only at Art Basel Miami Beach in Miami Beach, FL in 2020. Beauford Delaney is mostly exhibited in United States, but also had exhibitions in Germany, United Kingdom and elsewhere. Delaney has 10 solo shows and 79 group shows over the last 76 years (for more information, see biography). Delaney has also been in 7 art fairs but in no biennials. The most important show was Beauford Delaney: From New York to Paris at Philadelphia Museum of Art in Philadelphia, PA in 2005. Other important shows were at The Minneapolis Institute of Arts in Minneapolis, MN and The Studio Museum in Harlem in New York City, NY. Beauford Delaney has been exhibited with Norman Lewis and Romare Bearden. Beauford Delaney’s art is in 9 museum collections, at France at the Museum of Modern Art , École des Beaux-Arts, Whitney Museum of American Art in New York City, NY and The Art Institute of Chicago in Chicago, IL, featured in Jet and Playboy magazines among others.
Beauford Delaney is ranked among the Top 10 globally, and in United States. Delaney’s best rank was in 1944, the artist’s rank has improved over the last 5 years, with the most dramatic change in 1992.
Many of its prominent figures, who admiringly looked upon Delaney as their “Shaman” or “Yogi” and fondly referred to him as a “Black Buddha”, were described by his close friend, James Baldwin, as a “cross between Brer Rabbit and St. Francis of Assisi.”
His list of friends and acquaintances including artists, World Leaders, politicians, activist, authors/poets/writers, intellectuals, filmmakers, promoted by numerous patrons of the arts, world Cultural Ambassadors, art gallery owners, befriended by notable figures, and musicians Stuart Davis — his closest painter compatriot — W.E.B. Du Bois (whose portrait he painted), Salvadore Dalí (whose portrait he painted), Countee Cullen, Louis Armstrong (whose portrait he painted), Duke Ellington (whose portrait he painted), Ethel Waters (whose portraits he painted), W.C. Handy (whose portrait he painted), Henry Miller (who wrote a tribute to him), John F. Kennedy (whose portraits he painted), Robert Kennedy (whose portraits he painted), Jean-Claude Killy (whose portraits he painted), Herb Gentry, Alain Locke, Cy Twombly, Sterling Brown, Langston Hughes, Georgia O’Keeffe (who drew charcoal and pastel portraits of Delaney in 1943), Augusta Savage, Stuart Davis, John Marin, Pablo Picasso (whose portrait he painted), Richard A. Long (whose portrait he painted), John Koenig (whose portrait he painted), and Claude McKay were connected to Paris in various ways.
Also significant is the impact of jazz, as exemplified by the avante garde “free jazz” music explosion of Ornettte Coleman, Archie Shepp, Cecil Taylor, Frank Wright, Bobby Few, Bill Dixon, François Cotinaud, Sunny Murray, Barney Wilen, Globe Unity Orchestra, Andrew Hill, Dave Burrell, Anthony Braxton, Leroy Jenkins, Grachan Moncur III, Malachi Favors, Claude Delcloo, Beb Guérin, Kenneth Terroade, Bernard Vitet, Lester Bowie, Jerome Cooper, Joseph Jarman, Joachim Kühn, Steve Lacy, Roscoe Mitchell, Robin Kenyatta, Michel Portal, Irène Aebi, Ronnie Beer, Kent Carter, Dieter Gewissler, Oliver Johnson, Famoudou Don Moye, Alan Shorter, Bernard Vitet, Jouk Minor, Byard Lancaster, Kenneth Terroade, Paul Jeffrey, Ronnie Beer, Sonny Sharrock, Pharoah Sanders, Black Harold, Johnny Dyani, Gary Windo, Rene Augustus, Joseph Déjean, Beb Guérin, Claude Delcoo, Clifford Thornton, Wayne Shorter, Sun Ra and His Intergalactic Research Arkestra, François Tusques, Alan Silva and the Celestrial Communication Orchestra.
Luminaries Josephine Baker, Bob Blackburn, Ed Clark, Bob Thompson, Marian Anderson (whose portrait he painted), Jacob Lawrence, Ella Fitzgerald (whose portrait he painted), Zora Neale Hurston, Alfred Stieglitz, Carl Van Vechten, Edward Steichen, Dorothy Norman, Anaïs Nin, art studio owner Charles Alston, Jackson Pollock, Vassili Pikoula, Henri Chahine (whose portrait he painted), Charlie Parker (whose portrait and music he painted.), James Jones, Jean Genet, Lawrence Calcagno, Cab Calloway, Elaine DeKooning, Palmer C. Hayden (whose portrait he painted), art dealer Darthea Speyer (whose portrait he painted) who had exhibitions of Delaney’s art at Paris’ Galerie Lambert in 1964. Others include artists Charles Boggs, Al Hirschfeld, John Franklin Koenig, Harold Cousins, Herbert Gentry (whose portrait he painted), Ed Clark, and Ellis Wilson, authors James Jones and Henry Miller (who was also a water colorist), Writers Richard Wright, Surrealist poet Stanislas Rodanski, Chester Himes, Ralph Ellison, William Gardner Smith, Richard Gibson, Lorraine Hansberry, Ted Joans, art historian Richard A. Long, and his friend Lynn Stone.
Delaney became close friends with another influential visual artist, Lawrence Calcagno. A white, abstract landscape artist from Northern California, it was an unlikely pairing when the two met in Paris. Yet the two men grew to share a close artistic bond, tied by their shared belief in the spiritual nature of painting and abstraction. They also became close personal friends, writing hundreds of letters to each other over Delaney’s later years, after Calcagno left Paris to return to America. In these letters, Delaney is at his most vulnerable and open, as he felt with a kindred spirit.
His closest lifelong friend, however, was James Baldwin — who, while fleeing a strict father at 16, looked up Delaney in the Village. He later called the artist his “principal witness.” Delaney was a kind of surrogate nurturing father to the writer. Judging by his 1941 Dark Rapture (James Baldwin), a steamy nude portrait of the 16-year-old writer (as well as from subsequent Baldwin portraits over the decades), Delaney seems to have been in love with the lithe young man 22 years his junior.
Indeed, while Delaney had not intended to settle permanently in Europe, he quickly realized he had found there a more hospitable climate in which to pursue his craft. Asked about his experience as an expatriate he replied, “Expatriate? It appears to me that in order to be an expatriate one has to be, in some manner, driven from one’s fatherland, from one’s native land. When I left the United States during the 1950s no such condition was left behind. One must belong before one may then not belong. I belong here in Paris, I am able to realize myself here. I am no expatriate.”
While Paris had in some sense liberated Delaney, there were sorrows he could not escape. “There always seems to be the shadow,” Delaney wrote to a benefactor, “which follows the light.” Although he was referring to the financial difficulties that plagued him throughout his career, the artist could also have been talking about his struggles with mental illness, which manifested as psychotic breaks and ghostly voices in his head, resulting in his confinement to a mental hospital at the end of his life. While Delaney was a mentor to Baldwin during the author’s early years, Baldwin later became Delaney’s protector, assisting him financially and emotionally. For an introduction to an exhibition in Paris in 1964 Baldwin wrote, “Perhaps I am so struck by the light in Beauford’s paintings because he comes from darkness—as I do, as, in fact, we all do.” The vibrant luminosity of Composition 16 is but one example of Delaney’s lifelong quest to find light in that darkness.
Many felt him to be the “Dean of African American Artists Living in Europe.” Although he never fully wanted this distinction most of Delaney’s works were close to being classified as abstract art. Beauford Delaney died in Paris at age 78 on March 26, 1979.
Delaney lived and worked in Paris for many years and much of his work was neglected until a retrospective in 1978 at the Studio Museum in Harlem. During his absence, the French government, in an effort to collect delinquent accounts, sealed off his apartment and prepared to auction off his products of nearly a forty year career. Many of his works were stolen and some had to be recovered by European Intelligence, the CIA/FBI. Had the works been sold, dispersed throughout Europe, the neglect may have been irreversible.
The painter Beauford Delaney (Knoxville 1901-1979 Paris) was lost to history for a time. Yet in the mid-twentieth century, Delaney was considered an important artist of his generation.
Following his death, he was praised as a great and neglected painter but, with a few notable exceptions, the neglect continued.
A retrospective of his work at the Studio Museum in Harlem a year before his death did little to revive interest in his work. It was not until the 1988 exhibition Beauford Delaney: From Tennessee to Paris, curated by the French art dealer Philippe Briet at the Philippe Briet Gallery, that Delaney’s work was again exhibited in New York, followed by two retrospectives in the gallery: “Beauford Delaney: A Retrospective [50 Years of Light]” in 1991, and “Beauford Delaney: The New York Years [1929–1953]” in 1994.
Delaney disappeared from collective memory partly due to the racial bias of art history, which, among other things, meant that even while he was celebrated, it was less as a painter equal to his contemporaries than as some kind of Negro seer or spiritual black Buddha wherein he could not escape the long American night of racism.
“Whatever Happened to Beauford Delaney?”, an article by Eleanor Heartney, appeared in Art in America in response to the 1994 exhibition asking why this once well regarded “artist’s artist” was now virtually unknown to the American art public. “What happened? Is this another case of an over-inflated reputation returning to its true level? Or was Delaney undone by changing fashions which rendered his work unpalatable to succeeding generations? Why did Beauford Delaney so completely disappear from American art history?” The author believed that Delaney’s disappearance from the consciousness of the New York art world was linked to “his move to Paris at a crucial moment in the consolidation of New York’s position as the world’s cultural capital and his work’s irrelevance to the history of American art as it was being written by critics” at the time. The article concludes, “Today [1994] as those histories unravel and are replaced by narratives with a more varied and colorful weave, artists like Delaney can be seen in a new light.”
In 1985 James Baldwin described the impact of Delaney on his life, saying he was “the first living proof, for me, that a black man could be an artist. In a warmer time, a less blasphemous place, he would have been recognized as my Master and I as his Pupil. He became, for me, an example of courage and integrity, humility and passion. An absolute integrity: I saw him shaken many times and I lived to see him broken but I never saw him bow.” Baldwin marveled over Delaney’s ability to emulate such light in his work despite the darkness he was surrounded by for the majority of his life. It is this insight of Delaney’s past, Baldwin believes, that serves as evidence for the true victory Delaney secured. Baldwin admired his keen ability to “lead the inner and the outer eye, directly and inexorably, to a new confrontation with reality.” He further wrote, “Perhaps I should not say, flatly, what I believe – that he is a great painter – among the very greatest; but I do know that great art can only be created out of love, and that no greater lover has ever held a brush.”
His work is sold in galleries for increasingly high prices, and his paintings hang prominently among modernist and postwar works in New York’s Museum of Modern Art [where his yellow Composition 16 (1954-56) was hung next to a work by Mark Rothko], the Smithsonian’s American Art Museum, and the National Portrait Gallery (notably a portrait of Baldwin). The American artist Glenn Ligon curated a 2015 exhibition at the Tate Liverpool titled “Glenn Ligon: Encounters and Collisions” that featured two works by Delaney (one a portrait of Baldwin) and put Delaney in the company of the Abstract Expressionists, next to a picture by Franz Kline.
Because his estate has been largely closed to scholars to the present day, and because his reputation waned after his death, critical writing about Delaney is almost nonexistent, even with the flourishing of Baldwin studies across disciplines.
The Studio Museum of Harlem broke ground with the first major posthumous exhibition of Delaney on US soil with Beauford Delaney: A Retrospective (1979) and included the full text of Baldwin’s previously published essay “Introduction to Exhibition of Beauford Delaney Opening December 4, 1964 at the Gallery Lambert.” There have been other exhibitions of Delaney’s work since 2000 that include Baldwin in minor ways and whose catalogues have provided most of the critical work done recently on Delaney to date: these include Beauford Delaney: Liquid Light: Paris Abstractions 1954-1970, organized by Michael Rosenfeld Gallery in 1999; Beauford Delaney’ at the Sert Gallery of the Harvard University Art Museums; An Artistic Friendship: Beauford Delaney and Lawrence Calcagno at the Palmer Museum of Art at the Pennsylvania State University in 2001; The Chrysler Museum of Art, Norfolk, VA; Beauford Delaney: The Color Yellow, organized by the High Museum of Art in 2002 and curated by Richard J. Powell, who contributed a groundbreaking essay about Delaney’s use of color; Beauford Delaney: New York to Paris (2005), organized by the Minneapolis Institute of Art, whose robust catalog features several scholarly essays mentioning James Baldwin; Beauford Delaney: Renaissance of Form and Vibration of Color (2016) at Montparnasse’s Reid Hall and sponsored by Wells International Foundation and Les Amis de Beauford Delaney, along with Columbia Global Centers/Reid Hall Exposition; and Gathering Light: Works by Beauford Delaney (2017) at the Knoxville Museum of Art in Tennessee. Aside from the catalogue essays from these and other exhibitions, the only monograph devoted to Delaney is the 1998 biography by David Leeming, Amazing Grace: A Life of Beauford Delaney (1998). Leeming outlines the broad arc of Delaney’s life and artistic development while emphasizing the contrast between the artist’s vibrant social life and troubled inner life that led to his institutionalization in the late 1970s. It is encouraging to see, however, that references to Delaney are now appearing in cutting-edge work on Black aesthetics, such as Fred Moten’s theoretical work, and in reconstructions of LGBTQIA arts.
While previous Delaney exhibitions and publications have almost exclusively emphasized Delaney’s stylistic evolution from the 1940s to the 1960s, from representation to pure abstraction, as a function of his move from New York to Paris and/or his worsening mental health, the proposed symposium will put Delany into conversation with new and radical theories about the techniques and politics of Black arts, affording him some of the first serious treatment by academic criticism to date. Because of Delaney’s stature among abstract expressionists, the project will contribute to a growing interest in the past ten years concerning “Black Abstraction” in the arts, as evidence by shows at the Michael Rosenfeld Gallery (2014), the Contemporary Arts Museum in Houston (2014), Pace Gallery (2016), Anita Shapolsky Gallery and the National Museum of Women in the Arts in Washington, D.C. (2018). It is time to bring Delaney also into the sphere of queer theory, new Black aesthetics, and new theories of Black care that are transforming the critical landscape in academe and in which Baldwin is now frequently found.
But his life ended very much like it began. Even after the fame and notoriety, he was still a poor, black man with many struggles. Just like his art, Delaney’s life was filled with light and darkness. Highs and lows.
If you were to picture a counter-image to help balance that perception in one person, you could hardly do better than Beauford Delaney. He was black, he was gay, he was unpredictable, he was charismatic. He was an intellectual, and he was an artist, in fact a wildly colorful, creative and unpredictable abstract expressionist. He was cosmopolitan, connected to the world beyond, and adored in Paris and New York, where his paintings, some of them famous and very expensive, have been exhibited, even recently.
Illustrated in black-and-white in a photograph with the artist in his studio, n.p.
Beauford Delaney: A Retrospective, The Studio Museum in Harlem, New York, NY, April 9 – July 2, 1978;
Museum of National Center for Afro-American Artists, Dorchester, MA, October 8 – November 4, 1978
Illustrated in black-and-white in a photograph with the artist in his studio and listed on the checklist as no. 13, n.p. (titled Portrait of a Man)
NOTE
Abdul-Jalil al-Hakim (c.1971) exemplifies Beauford Delaney’s masterful portraits in which he uses bold, contrasting color to express an arresting psychological and emotional likeness. With his signature yellow palette and expressive brushstroke, Delaney portrays his friend Abdul-Jalil al-Hakim.
Throughout his career, Beauford Delaney executed modernist and psychologically compelling portraits of friends, acquaintances and patrons. Portraits of those he knew intimately, tended to be the most compelling and profound. Generally, Delaney’s portrait paintings tend to be modernist, melding representation with abstraction, sharing a strong affinity with the gestural luminous abstractions that dominated Delaney’s oeuvre after 1953. Even after Delaney evolved into an abstract expressionist painter upon his move to France in September 1953, he continued to paint portraits that were much more than straightforward depictions of his sitters. While the composition was defined by the subject, he executed modernist canvases defined by his relatively monochromatic fields of color and distinctive brushwork. Like Delaney’s landscapes, cityscapes and interiors of his Greene Street period of the 1940s and early 1950s, the faces, bodies and backgrounds of his portraits were vehicles for his personal language of abstraction. Art historian Richard J. Powell writes:
“In addition to his artistic commitment to abstraction, experimenting with painted surfaces in oil pigments, and delving into the visual effects and relational possibilities of color, Beauford Delaney was equally bound to an art of portraiture. The genre that first brought Delaney critical notice and a measure of success, portraiture exemplified his genuine love of people – all kinds of people – and his fascination with their outward appearances, personalities, minds, and auras. As seen in almost every early photograph of Delaney – whether in his crowded Greene Street studio or sitting alongside his work at the Annual Washington Square Art Fair – portraits largely defined his as an artist. Yet…portraiture was also a vehicle for sorting out an array of primarily visual issues: concerns of color and form that could easily be coupled with his painting a friend’s likeness or an esteemed individual’s spirit.”*2
Abdul-Jalil al-Hakim recalls meeting Beauford Delaney and sitting for his portrait in Paris in 1971, when al-Hakim was around twenty years old. al-Hakim was born Randy Wallace before converting to Islam and changing his name.
Beauford Delaney and Abdul-Jalil al-Hakim with Abdul-Jalil al-Hakim (c.1971), 1971
Curator Patricia Sue Canterbury writes of Delaney’s portraits of the 1960s:
“Delaney’s portraiture during the 1960s, although often regarded as a departure from the artist’s abstract explorations of light, was actually an extension of the same. As he had reassured viewers at the opening of his solo show at the Galerie Lambert in late 1964, abstraction and portraiture ‘were studies in light revealed – the light that have meaning to the individuals depicted…and the light considered directly as contained…in the abstract paintings.’ As the decade progressed, however, it is clear that any boundaries perceived between the two became increasingly blurred. Solid forms within the portraits dematerialized and the subject and the enveloping atmosphere seemingly shared the same atomic structure.”*2
Powell writes of Delaney’s use of a yellow palette:
“Delaney’s artistic preoccupation with the color yellow is governed by its capacity to illuminate a world in which poverty, inhumanity, lovelessness, mediocrity, and darkness threaten his soul and being. No stranger to assaults on the body and psyche, Delaney sought in his work and throughout his entire life to experience that state of perfect bliss in nature and society, to reach that nearly unattainable note or apogee of emotional discernment in the arts, and to know that ecstatic feeling of an ‘excessive and deliberate joy’ in life. Oddly enough, by placing himself and his audience in his dense and luxurious yellow zone, he realized these grand ambitions.”*3
Photograph of Beauford Delaney in his studio as reproduced in the catalogue for the exhibition Beauford Delaney, Galerie Darthea Speyer, Paris, France, February 6 – March 2, 1973; Abdul-Jalil al-Hakim (c.1971) can be seen above Delaney to the right
Portraits by Beauford Delaney are in numerous museum collections including:
The Art Institute of Chicago, Chicago, IL;
Carnegie Museum of Art, Pittsburgh, PA;
Chrysler Museum of Art, Norfolk, VA;
Detroit Institute of Arts, Detroit, MI;
Knoxville Museum of Art, Knoxville, TN;
Memorial Art Gallery, University of Rochester, NY;
The Metropolitan Museum of Art, New York, NY;
The Museum of Modern Art, New York, NY;
The National Portrait Gallery, Washington, DC;
Philadelphia Museum of Art, Philadelphia, PA;
San Francisco Museum of Modern Art, San Francisco, CA;
SCAD Museum of Art, Savannah, GA;
The Studio Museum in Harlem, New York, NY;
Tennessee State Museum, Nashville, TN;
Virginia Museum of Fine Arts, Richmond, VA;
Weatherspoon Art Museum, University of North Carolina at Greensboro, NC;
Whitney Museum of American Art, New York, NY;
Worcester Art Museum, Worcester, MA.
Footnotes:
*1-Richard J. Powell, “The Color of Ecstasy,” Beauford Delaney: The Color Yellow (Atlanta: The High Museum of Art, 2002), 20-21
*2-Patricia Sue Canterbury, “Transatlantic Transformations: Beauford Delaney in Paris,” Beauford Delaney: From New York To Paris exh. cat. (Minneapolis: Minneapolis Institute of Arts, 2004), 65
Beauford Delaney, Self-portrait, 1944. Photo: Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Beauford Delaney was an American Harlem Renaissance painter known for his colorful Modernist compositions and distinctive approach to figuration. One of the most important African-American artists of the early 20th century, he often painted New York street scenes, lively scenes in jazz clubs, and portraits of prominent black figures like James Baldwin and W.E.B. Du Bois. Can Fire in the Park (1946) is one of his most iconic images, movingly capturing a common occurrence in Depression-era New York life. In addition to his representational work, Delaney also painted abstractly, noting that “the abstraction, ostensibly, is simply for me the penetration of something that is more profound in many ways than the rigidity of a form,” he explained. “A form if it breaths some, if it has some enigma to it, it is also the enigma that is the abstract, I would think.” Born on December 30, 1901 in Knoxville, TN as one of 10 children, he worked as sign-post painter as a teenager before going on to study in Boston at the Massachusetts Normal School, the South Boston School of Art, and the Copley Society. After school, he moved to Harlem in New York, where he befriended fellow artists like Alfred Stieglitz and Stuart Davis, who introduced him to the work of Modernists like Paul Cézanne, Pablo Picasso, Henri Matisse, and others. He moved to Europe in 1953 but was unable to find the same success he had previously had in New York, and gradually succumbed to alcoholism and mental health problems before his death on March 26, 1979 in Paris, France. Today, Delaney’s works are in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, and the Philadelphia Museum of Art, among others.
Fame, at least lasting fame — the your-work-goes-down-in-history kind, often accompanied by fat royalty payments — is a club that thinks of itself as an unbiased meritocracy, blind to everything but aesthetic innovation and popular success. It’s never quite worked out that way. When we look at the past, we still see generations of great talents who never quite got their due critically or commercially, many of them left relatively unsung. In this ongoing series, our critics pick artists they feel remain underappreciated and tell their stories and sing their praises.
“He is amazing … this Beauford,” the novelist Henry Miller wrote of his lifelong friend Beauford Delaney in a 1945 essay that helped make the painter (whom Miller called a “black monarch” capable of making “the great white world … grow smaller”) a legendary attraction in Greenwich Village. So much so that people often gathered outside Delaney’s building at 181 Greene Street, where he lived and worked on the top floor — a walk-up lit only by a wood-burning potbellied stove.
Born in Knoxville, Tennessee, in 1901, Delaney migrated north to Boston in 1923 to study art, then moved to New York in November 1929, days after the onset of the Great Depression. That first day in New York, he slept on a Union Square bench, where someone stole his shoes. The next morning, he set out on foot, in newly bought shoes, to walk uptown to Harlem. When he reached Central Park, he stopped because of his severely blistered feet.
Things had never been tougher for American artists — let alone black ones. Art schools didn’t take black artists, and independent-studio classes banned black artists from figure-drawing sessions with white models. Undaunted, Delaney began drawing at a midtown dance studio. Somehow, his career took off almost overnight. Four months after he arrived in New York, an article appeared in the New York Telegraph about portraits Delaney had done of dancers and society figures.
Beauford Delaney
Artist (1901–79)
Currently, MoMA has “Composition 16”(1954–56) on view, a glowing bioluminescent yellow abstraction kitty-corner across the gallery from that other (until recently) missing modernist, Hilma af Klint. Both are in the company of de Kooning, Kline, and the other giants of mid-century painting.
He met and charmed everyone. A list of his friends and acquaintances includes Stuart Davis — his closest painter compatriot — W.E.B. Du Bois (whose portrait he did), Duke Ellington, Louis Armstrong, Jacob Lawrence, Alfred Stieglitz, Georgia O’Keeffe (who did a portrait of him), Edward Steichen, Dorothy Norman, Anaïs Nin (who intimidated him), Jackson Pollock, and Jean Genet. His closest lifelong friend, however, was James Baldwin — who, while fleeing a strict father at 16, looked up Delaney in the Village. He later called the artist his “principal witness.” Delaney was a kind of surrogate nurturing father to the writer. Judging by his 1941 Dark Rapture (James Baldwin), a steamy nude portrait of the 16-year-old writer (as well as from subsequent Baldwin portraits over the decades), Delaney seems to have been in love with the lithe young man 22 years his junior.
In October 1938, more than a decade before Pollock graced the same pages, Life magazine featured Delaney, picturing him beatifically smiling at the Washington Square Outdoor Art Exhibit. The caption read, “One of the most talented Negro painters.” Yet by the time he died in 1979, Delaney was alone, alcoholic, hallucinating, paranoid, and penniless in a Paris psychiatric hospital. What started as a great American story is now a near absence in the history of American art and an American Dream forestalled.
I love his work — especially his highly colored, optically intense, dense figurative paintings. He is almost an exact contemporary of, and the New York counterpart to, another great painter-portraitist, an artist who captured the power and magic of being poor stylishly, who lived on the margins but eventually came to be recognized as a visionary: Alice Neel. Delaney should be regarded as such as well.
Through the 1930s and 1940s, while most American artists were either being fifth-rate Cubists, regionalists, or academics or desperately looking for ways around Picasso via Surrealism, Delaney made his own thoroughly contemporary way. In street and park scenes, still lifes, and portraits, he built upon the work of his good friend Davis, arriving at his own compact, flat fields of creamy, opaque color. His sense of visual, jigsawing geometry and strong, graphic distillation of structure is second only to Davis’s. Delaney’s work, however, has a much more human aura, atmosphere, and arc, almost to a mystical degree, seen only in Marsden Hartley.
So why has Delaney been disappeared from collective memory? Partly, it is the racial bias of art history, which, among other things, meant that even while he was celebrated, it was less as a painterly equal to his contemporaries than as some kind of Negro seer or spiritual black Buddha. And in 1953, at the age of 51, Delaney left New York at perhaps the worst possible time. When other American artists, like Jasper Johns, Robert Rauschenberg, Cy Twombly, John Cage, and Merce Cunningham, were meeting and staying up late together (many of them open and uncloseted in their sexuality), Delaney was in Paris, where Baldwin had told him he could escape the long American night of racism. Baldwin was right, but Delaney struggled with French and became even more isolated. Twombly, Baldwin, and Miller returned often to New York, while Delaney never did. So he never got to rejoin the conversation.
By the 1960s, Delaney’s abstraction was more connected to the French Art Informel — a primarily European response to Abstract Expressionism — and his paintings, influenced as they were by Monet’s Water Lilies and Turner’s glowing color, had few of the ironic, systemic, direct qualities of Pop Art and minimalism. At a distance, Delaney’s work seemed passé — an artist painting in a void, outside the canon.
*This article appears in the January 6, 2020, issue of New York Magazine.
Beauford Delaney collection, Sc MG 59, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library
Repository
Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division
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Beauford Delaney was a painter, specializing in portraits. The Beauford Delaney collection consists of correspondence with colleagues, friends, gallery owners, and family members, as well as printed material documenting Delaney’s life in Paris.
BIOGRAPHICAL/HISTORICAL INFORMATION
Beauford Delaney was born in Knoxville, Tennessee, the third child of the Reverend Samuel Delaney and Delia Johnson Delaney. He attended the Knoxville Colored School and later studied art with an elderly Knoxville artist, who encouraged him to get further training. In 1924 Delaney went to Boston where he studied at the Massachusetts Normal School and the South Boston School of Art, and attended evening classes at the Copley Society.
Delaney went to New York in 1929, settling at first in Harlem. He painted society women and professional dancers at Billy Pierce’s dancing school on West 46th Street, which gained him a reputation as a portraitist. His first one-man show, which consisted of five pastels and ten charcoal drawings, was at the 135th Street Branch Library of the New York Public Library in 1930. During the same year three of his portraits were included in a group show at the Whitney Studio Galleries, the predecessor of the Whitney Museum of American Art. Delaney also taught part-time at a progressive school in Greenwich Village.
By the late 1940s Beauford Delaney had become a significant figure on the art scene. He illustrated “Unsung Americans Sung” (1944), a book of black musical tributes edited by W.C. Handy; he had a series of one-man shows in New York and Washington, D.C.; and he exhibited in group shows in a number of other cities. In 1945 he showed his first series of portraits of writers Henry Miller and James Baldwin, who would become his lifelong friends. In 1949 he began an association with the Roko Gallery in New York, where he exhibited annually until 1953.
In 1953 Delaney left New York with the intention of settling in Rome, but a visit to Paris turned into a permanent stay. He had two studios in Paris, the first in the suburbs of Clamart and the other in the Rue Vincingetorix. In Paris Delaney exhibited in one-man and group shows at the Gallerie Paul Fachetti (1960), the Centre Culturel Americain (1961 and 1972), the Galerie Lambert (1964), the Musee Galliera (1967) and the Galerie Darthea Speyer (1973), among other places. The latter was a major showing of a selection of his work from the mid-1960s to the early 1970s and the catalog contained tributes by James Jones, James Baldwin, and Georgia O’Keefe. Delaney also exhibited in England, Germany, Italy, Spain, Switzerland and the United States. The Paris years saw the creation of several masterpieces including portraits of singer Marian Anderson and writer Jean Genet. During this period he also created a series of interiors and studies in watercolor.
After suffering two nervous breakdowns, Delaney was institutionalized, and died on March 26, 1979 at St. Ann’s Hospital in Paris. Delaney’s last one-man show in the United States was at the Studio Museum in Harlem in 1978, inaugurating that museum’s Black Masters Series. Delaney’s work is in several private collections and in the collections of the Schomburg Center for Research in Black Culture, The Studio Museum in Harlem, the Newark Museum and the Whitney Museum of American Art.
SCOPE AND ARRANGEMENT
The Beauford Delaney collection consists of correspondence with colleagues, friends, gallery owners, and family members, as well a printed material documenting Delaney’s life in Paris. Biographical information is provided in statements Delaney authored, articles prepared by others for catalogs, and his obituary. Among the many friends, colleagues and art collectors with whom he maintained an active correspondence is James Baldwin, who wrote an introduction to a catalog for an exhibition of Delaney’s art at Paris’ Galerie Lambert in 1964. Other correspondents include artists Charles Boggs, Al Hirschfeld, John Franklin Koenig, and Ellis Wilson, authors James Jones and Henry Miller (who was also a water colorist), art historian Richard A. Long, and his friend Lynn Stone. Additional artists, painters, writers, gallery owners and musicians who corresponded with Delaney include Lawrence Calcagno, Cab Calloway, Elaine DeKooning, Palmer C. Hayden, and Darthea Speyer.
The letters discuss the style of painting of the correspondents, travels, purchase and exhibition of works, and personal matters. Numerous gallery announcements for art exhibits of Delaney’s and other artists’ works in Paris, New York and other cities demonstrate the extent of Delaney’s activities in the contemporary art world. The collection also contains a large number of picture postcards, some sent by friends, and gallery announcements. Family letters are from his brother and fellow artist, Joseph Delaney, and discuss his own work and impressions of Paris; his brother Emery (includes letters Delaney wrote to his brother, in addition to those received); and Delaney’s niece, Imogene.
“In another religion they honor people who serve like you with Sainthood!” – Economics Professor Adeel Malik,Oxford University, England and World Renowned News Expert Commentator, speaking about Abdul-Jalil and the Aaron & Margaret Wallace Foundation.
“GOD sent me an ANGEL!” – Hammer, speaking about Abdul-Jalil.
“Jalil, YOU ARE A TZADIK (SAINT)!”– Barry Barkan, Live Oak Institute and
Ashoka Fellow at Ashoka Foundation:Innovators for the Public
“I thank God for you and for bringing you into my life and for the ministry you have been given to help the people of God!”– Pastor L. J. Jennings, Kingdom Builders Christian Fellowship, speaking about Abdul-Jalil and AMWF
Jalil with of his Rolls Royces
As President and CEO of Superstar Management since 1971, the first African-American in this field, Abdul-Jalil al-Hakim has a tremendous wealth of experience in all aspects of business and personal management, contract drafting and negotiations, and performed all arbitrations of salary grievances and contract disputes for all professional sports and entertainment clients with unprecedented legal and historical results. He negotiates and drafts all agreements for all publishing, merchandising and licensing; commercial advertisements and product endorsements; corporate sponsorships and affiliations; motion picture, television, radio and personal appearances. He was the first “SUPER AGENT“, CREATED the Profession of Sports/Music/Entertainment Branding, Marketing and Promoting, the African-American in the field and has taught and lectured Entertainment Law for 35 years. Many of the agents and lawyers in the business where instructed, consulted, influenced or inspired by his work….
Made “Law Review” TWICE with UNPRECEDENTED cases establishing NEW LAW; Sports/Music/Entertainment Talk Show Founder, Producer and Host, CSA; Expert and Guest Political/Legal/Business/Sports/Music/Entertainment Analyst and Commentator; Business/Sports/Music/Entertainment Law Lecturor/Presentor; Sports Color Commentator; His “The Stars” show was the FIRST Cable Business/Sports/Music/Entertainment Talk Show in 1973; OpEd Columnist/Journalist; Sports, Music, Entertainment and Variety Film, TV, Concert and Special Events Content Creator/Producer/Developer/Runner/Promoter; Islamic Dawah Lecturor/Presentor; His Computer Intelligence Company First and Only Minority Certified IBM, Apple, Compact, Microsoft Computer Value Added Dealer (1982); Computer Technology Lecturor/Presentor; MWBE Specialist
Nominated for Emmy, GLAAD Awards
“Out. The Glenn Burke Story”
COMCAST SPORTSNET’S PRESENTATION ABOUT FIRST OPENLY GAY
MAJOR LEAGUE BASEBALL PLAYER
Click link for “Out. The Glenn Burke Story” YouTube Promotion:
“Out. The Glenn Burke Story” documents the extent of Burke’s courage, strife and friendship throughout his life, and the compassion and callousness of the sport of baseball. The program weaves together insights from Burke’s teammates and friends, including Dusty Baker, Davey Lopes, Sports Agent Abdul-Jalil, Reggie Smith, Rick Monday, Manny Mota, Rickey Henderson, Claudell Washington, Mike Norris, Shooty Babitt, Tito Fuentes, and former Major Leaguer and gay rights activist Billy Bean. Out. The Glenn Burke Story Narrated by Dave Morey, Bay Area Broadcasting Icon and Member of the Bay Area Radio Hall of Fame’s Class of 2010 We have attached the links to a short video documentary about a radio conversation, the live radio broadcasts on November 20, 2010 over ABC Networks’ KGO 810 FM Radio Show and on December 4, 2010 over KNBR- The Sports Leader, 680 AM and ESPN Radio “The Ticket” 1050 AM, of the discussion of the film “OUT. The Glenn Burke Story” The ABC- KGO Radio broadcast was with Shooty Babbitt, John Lambert and Abdul-Jalil. The KNBR show was with Doug Harris, the producer of “Out. The Glenn Burke Story” on the show “Law and Sports” with host attorney Ivan Golde, whose also a legal analyst for CNN, Warner Bros- KRON, and CBS-KPIX, among others.
The on-air discussions were about Glenn, the film, society and sports. We think you will be very moved with the overall content and how Glenn’s impact has becoming a serious topic of discussion around the country. Glenn lives on!!!
Here are the links:
Short documentary about a radio conversation with Sports and Entertainment Manager-Agent Abdul-Jalil, Oakland A’s Executive Shooty Babitt and NBC Sports Broadcaster John Lambert, some of the cast members of OUT. The Glenn Burke Story. The topic of the discussion was gays in professional sports. The conversation was hosted by Rich Walcolf, and filmed at KGO 810 studios in San Francisco.
He negotiated a series of contracts that included many unprecedented benefits to the individual clients, one of which was interest-free loans that could be forgiven. Upon review by the Internal Revenue Service, the contracts and returns where thrown out and challenged by the IRS as the IRS filed suit. After an 8 year legal battle, he prevailed in Federal Tax Court and established that Interest free Loans where in fact legal. This unprecedented legal ruling was established as a standard in the Tax Laws and was written in several National Law Journals. Cite: “IRS vs Al-Hakim” published by Commerce Clearing House(CCH) Tax Court Memorandum Cases editions KF 6234A 505 and Maxwell McMillian (Prentice Hall) Federal Tax Cases edition KF 6234A 512 Tax Court Memorandum Decisions. Articles and citations available upon request….
December 2000 the IRS moved to change the Tax Codes with the historic “al-Hakim” Tax Code §7872 [692] Ruling. The IRS changed the Federal Tax Codes such that it now “prevents no-interest loans” and was instituted to eliminate and close the Federal Income Tax loop-hole created with al-Hakim’s use of interest free loans in sports and entertainment financial transactions. CITE: Tax Notes, Dec. 4, 2000, p. 1311; 89 Tax Notes 1311 (Dec. 4, 2000) “al-Hakim Tax Code” Ruling
al-Hakim’s victory in the Federal Tax Court over the U. S. Tax Commissioner has the nations foremost academic institutions and academians in the study of Law and Business teaching al-Hakim’s use of interest free loans in Tax Free financial transactions as part of the Law and Business ciriculum in such hallowed halls as Harvard University, Yale University,Washington University, Stanford University, University of Virginia, and Wake Forest University Schools of Law Federal Tax Courses, among others.
al-Hakim’s victory in the Federal Tax Court over the U. S. Tax Commissioner has academians teaching al-Hakim’s use of interest free loans in Tax Free financial transactions as part of a Wake Forest University School of Law Federal Tax Course on “ISLAMIC AND JEWISH PERSPECTIVES ON INTEREST” and al-Hakim’s historic impact on Shariah-Riba Complaint financial transactions in the business world.
Author/Professor: Newman, Joel S. al-Hakim’s victory in the Federal Tax Court over the U. S. Tax Commissioner has academians teaching al-Hakim’s use of interest free loans in Tax Free financial transactions as part of the Wake Forest University School of Law Federal Tax Course on “ISLAMIC AND JEWISH PERSPECTIVES ON INTEREST” and al-Hakim’s historic impact on Shariah-Riba Complaint financial transactions in the business world. Joel S. Newman is a professor at Wake Forest Law School, Winston Salem, North Carolina. In this report, Newman discusses financial transactions that allow devout Muslims and Jews to obey religious prohibitions against interest, while giving investors a return on their investments. The tax treatment of these transactions is considered. An integral part is al-Hakim’s case.
2010- On August 25, 2010 Abdul-Jalil received the letter shown below of “Thanks” from Arch Bishop Joel Jeune of Grace Village in Haiti for the Relief Mission they received from the Aaron & Margaret Wallace Foundation with Stepping Together on behalf of The World Conference of Mayors (WCM) and The National Conference of Black Mayors (NCBM). This is a tangible reality of SUCCESS in Haiti for ALL the members of the organizations world-wide rather than the many idle cocktail party rants and raves of projects that exist without any substance behind them. THEY DID IT! ALL the members of the World Conference of Mayors can celebrate their success and acknowledge their contribution.
They are now moving forward in a meaningful way to secure financial, subsistence, construction and medical aid and support for the next mission which will take place as soon as we can unite to raise the necessary items just mentioned. They can tap into the resources of the USAIDS and the National Medical Association to make great progress in securing bi-weekly missions to various needed areas around the World!
They are committed and prepared to work with the WCM and NCBM organizations to raise funds, provide support and organize continued relief efforts for financial donations, to deliver much needed medical support and supplies; food; clothing; educational materials; construction support and building materials; much needed personal items; and legal assistance for displaced children from orphanages that were given transportation and temporary housing in the United States with other families, churches, and organizations until homes have been rebuilt to house them. Where most relief efforts are limited, if not stopped altogether by current travel restrictions in, within, and out of Haiti, The World Conference of Mayors has some political cache that it can exercise to further achieve our united goals globally. This could be the first step toward fulfilling several of their conversations of thier organizations providing relief support to WCM and NCBM efforts globally.
Additionally, in relations to their working together on relief missions here in America and globally, Abdul-Jalil is exploring the possibility of a telethon, perhaps with J. C. Watts Black Television News Channel (BTNC). To that end the WCM is prepared to provide it’s full support to his and their joint efforts to overcome the continual need for financial assistance to achieve their goals. These fundraising efforts include the proposed telethon as a measure to not only raise funds but to raise awareness for the causes as well. Now they are moving forward with these joint and several fundraising efforts with a goal of working together on projects of mutual interest and support in a spirit of oneness.
Again, there is much work to do and the Aaron & Margaret Wallace Foundation with Stepping Together are committed and prepared to work with WCM and NCBM organizations to raise funds and organize continued relief efforts to provide assistance to countries around the world, especially Africa, the Caribbean and South/Central America.
Page One of Letter
Page Two of Letter
2003- al-Hakim Prevails in Motion to Vacate the Appraisal Awards Against CSAA
In February 2003 after 3 years of defendants legal delays with ten motions for terminating sanctions to prevent the motion from being heard, al-Hakim prevailed in his Motion to Vacate the Appraisal awards against CSAA. (View or download Order here http://www.box.net/shared/n10p7erncv) The courts found that the awards had to be vacated if, among other grounds, “the award was procured by corruption, fraud, or other undue means”; or the appraisers(A. Michael DeCeasare, Ruben Estrada, Ron Magin and Gene Roberts) “exceeded their powers and the award cannot be corrected without affecting the merits of the decision upon the controversy submitted”. The order further cited the improper use of “cash value” as replacement cost, use of erroneous “used cost” figures, denial of coverage, injection of fraud, concealment, breach of contract, and coverage issues without any reason or evidence, CSAA could not defend their actions nor those of their own appraiser. What the court did not address in the motion to vacate was the actual collusion and fraud again perpetrated upon the court by the defendant Ron Cook and the hostile intervener when they provided to and the appraisal panel adopted the improper “cash values” used in the vacated award and the exhibits to support them came directly from the presentation of CSAA’s expert Gary Halpin at the vacated appraisal, and that the fraudulent award itself was further prepared, written, submitted and distributed by defendant Cook and the hostile intervener. This victory locks CSAA in on the Bad Faith actions we submitted to the courts and are subject to summary judgment.
2005- Federal Complaint with United States Attorney General, Department of Justice, of Hate Crime of Islamophobia and Xenophobia In 2005 he filed a federal complaint with the United States Attorney General, Department of Justice, of a hate crime of Islamophobia and Xenophobia committed against him by Judge David C. Lee during a trial in Superior Court of Alameda County, California, that is moving forward with the investigation and charges of criminal extrinsic fraud upon the court of the State of California, spoliation of evidence, and the doctrine “unclean hands” against defendants/hostile intervener AAA Insurance; Ron Cook and the law firm of WILLOUGHBY, STUART & BENING; defense counsel Steve Barber and the law firm of Ropers Majeski; and others. The complaint, drafted and filed by al-Hakim in pro per, has broad based support from Democrats and Republicans, was submitted by Congresswoman Barbara Lee with the offices of Congressmen John Conyers, and Charles Rangel, has been review by several legal experts, with advocacy by former Republican Senator J. C. Watts, a client of al-Hakim’s. The complaint addresses the concern that a Superior Court Judges’ conduct rose to the level of consideration for a Federal Crime and a Civil Rights violation because the bench upon which the judge rules is “under the color of law” and certainly the violation of anyone’s civil rights is a federal crime. “Muslims, just as any other group, can not be afraid to speak up when their rights have been abridged. If one does not speak up, then the transgressions goes unreported and the perpetrator goes on to harm again unchecked, it does not matter whom the transgressor is” said al-Hakim. The complaint, perhaps even more importantly, not only requested Merrily Friedlander, Chief of the Civil Rights Division, to make an investigation of a judicial hate crime, but also the many other civil rights and due process violations of judicial misconduct, and attorney extrinsic fraud upon the court and law that are themselves directly the matters complained. J. C. Watts in asking “What does a supposed terrorist act in Russia have to do with the negligent contamination of a home in America?” posed the argument that there must be consideration of and a response to the many issues in the complaint.
2005 – Present, “Powe Folks” NBA World Champion Basketball Camp at Leon Powe of the NBA World Champion Boston Celtics Promoted, Marketed and provided Media for Leon Powe’s “Powe Folks” NBA World Champion Basketball Camp. In Game 2 of the NBA Finals, Powe, a second-year, second-round draft pick from Oakland was the Celtics hero. Years earlier, he was his family’s hero, as he helped keep his siblings together while they bounced between 26 different homeless shelters in a year during a patch when his mother couldn’t afford shelter. It’s one of the most touching sports stories in ages, and his emergence as a playoff force only highlights it. ABC/ESPN produced a short biography on how Leon overcame tremendous adversity to make it on the Boston Celtics. The night this aired, Powe wowed the international television crowd as he scored 21 points off the bench in less than 15 minutes to spark the Boston Celtics to a 108-102 victory over the Los Angeles Lakers to take a 2-0 lead in the NBA Finals.The Celtics went on to win the NBA Championship.
Hammer in Russia for President Yeltsin’s 1996 Re-Election Campaign
November 1995- M C Hammer in Russia, The Re-election of Russian President Boris Yeltsin by “Our Home Is Russia”, Russian Prime Minister Viktor Chernomyrdin’s Political Party Prime Minister Chernomyrdin’s party was struggling to distance their leader from the unpopularity of the Government he headed, resolved to using western style campaign strategy. “Our Home” promised economic stability and continuation of the Democratic course of Yeltsin’s government. November 1995 al-Hakim executive produced, produced, filmed and broadcast on Russian National TV a series of concerts in St. Petersburg and concerts in Moscow by MC Hammer in an urban style, “Rap-The-Vote” to secure the 18-45 voter turnout and re-election of President Boris Yeltsin. Polling after the concerts was overwhelmingly positive.. “Hammer is our father and rap is a very serious subject for me and if Chernomyrdin can give us Hammer then we will give him our vote.” said Oleg, an 18-year old Russian rap fan in attendance. Being Prime Minister gave Chernomyrdin a huge advantage in access to Russian voters, with slick campaign posters, he told AP “we are using American pop music performances to drum up support among Russian youth for his political campaign”; the video scenes showed M.C. Hammer performing. Chernomyrdin’s travels around Russia in his capacity as Prime Minister, but looked more like the political campaign trail of an American President. This strategy was trumpted as “world altering” for saving Russian democracy with Yeltsin’s re-election ensuring continuity in the evoultion of Russia and securing world peace. This strategy was heralded world wide by political pundits as “incredibly brillant”, a “triumph for democratic reform” and “world altering” in it’s effect of having “saved” Russian democracy, as Yeltsin was the only alternative in ensuring continuity in the evoultion of Russia and securing world peace. This coup, a miraculous event in history, was depicted and cannonized in a 2004 film “Spinning Boris” starring Jeff Goldblum, Anthony LaPaglia and Liev Schreiber.
“Spinning Boris” The Best President of Russia America Ever Had ..L. A. Times Review Jeff Goldblum, Anthony LaPaglia and Liev Schreiber star as a trio of elite American political campaign operatives who were hired in secret to manage Russian President Boris Yeltsin’s election campaign in 1996. He’s polling at 6 percent with the election a few months away. First, they must get someone’s attention; they succeed finally with Yeltsin’s daughter, then it’s polling, focus groups, messages and spin. Even as Yeltsin’s numbers go up, they are unsure who hired them and if Yeltsin’s allies have a different plan in mind than victory. When the going gets toughest, they put a spin on their stake: democracy and capitalism must win. They orchestrate the most spectacular political comeback of the twentieth century – as they “sold” Boris Yeltsin to the Russian public gaining Yeltsin’s successful re-election.
July 1996- “Community Movement Toward Improvement” Music Conference at Clara Muhammed School & Masjidul Waritheen “Community Movement Toward Improvement” Music Conference at Clara Muhammed School & Masjidul Warithdeen in Oakland, California featuring MC Hammer, Martin Wyatt-KGO TV, Mohammed (MTV Real World-SF),Sway, Imani, Davey D, Raphael Saadiq- Tony Toni Tone, Greg Khalid Peck- Warner Bros,Karen Lee- Warner Bros Music, Eric B, Rico Cassanova, Abdul-Jalil,Tony Collins- Giant Records, Anita Greathouse-Knight, Gene Shelton, Lenny Williams,Thembisa Mshaka, Roy Tesfaye-Death Row Records shown in ABC-TV news clip.
1993-6 Co-Promoted, Managed and Trained Evander Holyfield including fights versus Riddick Bowe Heavyweight Title Boxing Matches
1980- Founded COMPUTER INTELLIGENCE In 1980 founded COMPUTER INTELLIGENCE, (COIN), the worlds first Authorized Minority IBM and Apple Computer dealer; is a complete computer integration, network, communications, sales, service and systems company. Established certified educational, corporate and government market specialist that provide custom integrated computer systems, design, networks, Auto CAD/CAE, Desktop Publishing, Internet training, consulting, programming, maintenance, and software training to Pac Bell, State of California, PG&E, City of Oakland, Univ. of California, Sandia Labs, EBMUD, BART, etc. They are Apple and IBM Certified Educational Specialist; Business, Legal and Accounting Office specialist; Web Commerce specialist; Local Area Network specialist; and repair technicians. In 1987 his computer store was burglarized by members of the City of Oakland Police Department, including Neuman Ng and Kailey Wong. He took his case to the District Attorney’s office, homicide division to conduct the investigation that lead to the arrest and conviction of two policemen for the rash of bomb burglaries and sentenced.
1983- Commercials for City of Oakland “Conference On Urban Economic Development” Originated, Executive Produced, Engineered, and Administered polling and analysis of Oakland Urban Economic Development survey for the City of Oakland; Wrote, Executive Produced, Produced, Directed, Edited and broadcast commercials for City of Oakland “Conference On Urban Economic Development”.
1982 – City of Oakland Image Campaign “I know You’ll Love Oakland” Commercials Originated, Executive Produced, Engineered, and Administered polling and analysis of Oakland City image survey for the City of Oakland; Co-Wrote, Executive Produced, Co-Produced, and Edited theme song “I know You’ll Love Oakland”; Wrote, Executive Produced, Produced, Directed, Edited and broadcast commercials for City of Oakland Image Campaign “I know You’ll Love Oakland”. Acknowledgement from ” CITY Of OAKLAND “
March 1979- The Historic BALSA 1979 National Law Convention The historic Black American Law Students Association, 11th Annual National Convention, March 28-April 1, 1979, Hyatt, Oakland, was themed: “The Reconstruction of Black Civilizations.” Dedicated to- Rev. Ben Chavis of the Wilmington Ten, Introduction- Mayor Lionel Wilson, Keynote Speaker- Min. Louis Farrakhan, with veritable “Who’s Who” of nations leading Black presenters: Junius Williams-Pres. NBA, Hon. Ben Travis, Abdul-Jalil al-Hakim, Don Warden (Khalid al-Mansour), Dave Wilmont-Georgetown Law Center; Howard Moore, Alfred Slocum- Rutgers School of Law, Angela Davis, Victor Goode- Ex. Dir. NCBL, Hon. Judith Ford, Herb Reed- Howard School of Law, Asa Hilliard, Nathan Hare, Ron Baily- Northwestern University, Michael Ashburne, David Hall- FTC, Denice Carty Bernia- North Eastern University; Moot Court Judges: Hon. Wiley Manuel, Hon. Clinton White, Hon. David Cunningham, Hon. Allen Broussard, with “Thanks” to -John Burris, Peter Cohen, Claude Ames, Robert Harris, Eva Patterson, George Holland.
1974 – Creator, Executive Producer, Producer, and Host Cabel Television Show “The Super Stars” In 1974 he Created, Executive Produced, Produced, and Hosted the worlds first cable television sports talk show that was distributed around the world. The show has hosted and been hosted by many of the worlds greatest athletes, entertainers, performing artist, and celebrities.
Articles and citations available upon request.
LECTURER AND PRESENTOR IN THE FIELDS OF:
*ENTERTAINMENT LAW* *THE ART OF REPRESENTING PROFESSIONAL ATHLETES AND ENTERTAINERS* *REPRESENTING THE PRODUCER* *REPRESENTING THE DIRECTOR* *REPRESENTING THE SUPERSTAR* *GETTING MONEY FOR YOUR MOVIE* *LICENSING MOTION PICTURES* *DIGITAL MOVIEMAKING* *THE BUSINESS OF SPORTS* *THE BUSINESS OF ENTERTAINMENT* *SPORTS AND ENTERTAINMENT MARKETING* *ADVERTISING, MARKETING, PROMOTION, SPONSORSHIPS, BRANDING AND HIP HOP CULTURE* *HIP HOP AND THE SPREAD OF ISLAM* *ISLAM AND MUSIC*
1995 Sports Image Awards Program Cover
~Leon Powe’s “Powe Folks” Basketball Camp, Oakland, CA. 2006-8, ~ Lynn Harris’ “Fourth Quarter Athletics Basketball Showcase” (with Ashley and Courtney Paris(OU), Devanei Hampton (Cal), Alexis Gray-Lawson (Cal), Candice Wiggins (Stanford), Brooke Smith (Stanford), and Ashley Walker(Cal), Oakland, CA. 2006, Golden State Warriors Adonal Foyle’s “Athletics and Academics” Basketball Camp, Oakland, CA. 2006, ~Music in Islam, University of California, Berkeley, CA 2003~ National Islamic Convention, Seacaucus., NJ 1997,~ Host Evening of Elegance, National Arabic Conference, Oakland, CA. 1997,~ National Islamic Convention, N.Y.C, N.Y. 1996,~ International Islamic Conference, Los Angeles, CA. 1996,~ Oaktown Music Conference, Oakland, CA 1996,~ National Society of Black Engineers Conference-Region 6, San Luis Obispo, CA. 1992,~ CAREER FEST, Oakland, CA. 1986, ~ California State University, Hayward, CA. 1985,~ United States Coast Guard, Oakland, CA. 1982,~ National BALSA Law Conference, Houston, TX 1981,~ National BALSA Law Conference, Philadelphia, PA. 1982,~ National BALSA Law Conference, Oakland, CA. 1979,~ National BALSA Law Conference, N.Y.C., N.Y. 1980,~ Mountain Regional Law Convention, Oklahoma City, OK. 1980,~ College of Alameda, Alameda, CA. 1981,~ Eastern Regional Law Conference, Washington D.C. 1980,~ National Black Media Convention, Oakland, CA. 1972,~ National BALSA Law Conference, Washington D.C. 1976,~ Pacific Coast Law Conference, San Francisco, CA. 1976,~ Stanford Law Society, Palo Alto, CA. 1976,~ National Black History Week Awards, San Francisco, CA, 1974
EDUCATION:
1972-73 Stanford University Graduate School of Business, Stanford, California; Candidate for Degree of Masters in Business Administration. 1968-71 University of California School of Business, Berkeley, California, Bachelor of Science Degree in Business Administration and Policy. Minor in Educational Psychology and Sociology.
HONORS & ADDITIONAL INFORMATION:
~ Graduated from High School with honors,~ Deans List at U.C. Berkeley,~ Ford Foundation Scholar and COGME Fellowship Award at Stanford University Graduate School of Business,~ Federal Law Review, 1987,~ Enshrined in ” WHO’S WHO “, United States Registry, 1990,~ Enshrined in ” WHO’S WHO IN CALIFORNIA “, California Historical Society, 1982,~ Enshrined in ” OUTSTANDING YOUNG MEN OF AMERICA “ United States Jaycees, 1982,~ Enshrined in ” WHO’S WHO IN ELECTRONICS”, United States Registry, 1989,~ Acknowledgement from ” CITY Of OAKLAND “, Oakland, CA. 1982,~ Acknowledgement from ” UNITED STATES CONGRESS, 7TH DISTRICT “, Oakland, CA. 1974,
OF INTEREST:
~ Only person to graduate from University of California, Berkeley in 2.5 years and achieve letters in three academic disciplines; Business Administration, Educational Psychology, and Sociology,~ Took and passed one full year class load in one college academic quarter!,~ Recognized for Genius I.Q.~ College Commitment Counselor, ~As a senior founded a Minority Scholar-Athlete Admissions Program at U. C. Berkeley, ~Had completed 1.5 years of 2 year MBA program before entering Stanford Graduate School of Business as a result of Undergraduate Business Degree from Cal Berkeley, ~Started own business while at Stanford and still operates it as a corporation today over 35 years later, ~Founded the “Community Food Bank” through the Margaret & Aaron Wallace Foundation to provide food and meals for the needy in 1992 to continue a similar program started by his father in the 1950’s.
Beauford Delaney’s Abdul-Jalil al-Hakim, c.1971, in Paris, France
OF NOTE:
~ In 1971 Abdul-Jalil had his portrait painted by world renowned artist Beauford Delaney-“Portraitist of the Famous”, the most important African-American artists of the 20th century! He has painted portraits of Emperor Halle Selassie of Ethiopia, W.E.B. Du Bois, John F. Kennedy, Salvadore Dalí, James Baldwin, Louis Armstrong, Duke Ellington, Josephine Baker,Langston Hughes, Robert Kennedy, Marian Anderson, Jacob Lawrence, Ella Fitzgerald, Pablo Picasso, Charlie Parker, James Jones, Jean Genet, Ethel Waters, Cab Calloway, W.C. Handy, Countee Cullen, Henry Miller, Jean-Claude Killy, Herb Gentry, Alain Locke, Cy Twombly, Sterling Brown, Georgia O’Keeffe, Augusta Savage, Stuart Davis, Richard A. Long, John Koenig, Jackson Pollock, Vassili Pikoula, Henri Chahine, Lawrence Calcagno, Elaine DeKooning, Palmer C. Hayden, Darthea Speyer, Herbert Gentry, Ed Clark, James Jones. Henry Miller, Richard Wright, Jacob Lawrence, among other famous people. The portrait hangs in the museum in Montmartre, once considered ‘The Harlem of Paris,’ a thriving district of African American artists, musicians, historians and political exiles during the 20’s and 30’s, mirroring the artistic expression and activism of the Harlem Renaissance in New York.
Delaney was a respected elder of the Harlem Renaissance crowd. His intimate portraits from this period show his beliefs of love, respect and equality between all people. In this time he became a “spiritual father” to writer James Baldwin; a rare kindred spirit who was both African American and gay. Delaney’s biographer David Leeming observes, ”’He kept his life in compartments – safe politics with most whites, strong race identification with blacks”
Delaney, whose life appeared to symbolize the mythical artistic existence of privation and relative obscurity, that show a retrospective of “uninhibited colorist (though never an unintelligent one)” that is “apotheosized” and whose talent and “free, open and outgoing nature” engendered admiration from everyone whom was fortunate enough to encounter him as he was THE darling of the international culture scene in New York and Paris. James Baldwin called him his “spiritual father.”
THE Great, amazing and invariable Beauford Delaney’s masterpieces are trumpeted as cutting-edge work in Black aesthetics, stylistic evolution from representation to pure abstraction, with new and radical theories with his techniques and expression of the politics of Black arts, affording him his very own, singular serious stature among abstract expressionists, transforming the critical landscape into a growing interest in his creation of “Black Abstraction”!
For more than a decade, Delaney showed compelling, vibrant images of energetic life: produced engaging abstract works, portraits, landscapes, and abstractions celebrated for their brilliance and technical complexity with his dramatic stylistic shift from figurative compositions of life to abstract expressionist studies of color and light, powerful works of art and culture, illuminate some of Delaney’s most innovative years and firmly place his work among the dominant art movements of the day.
The fascinating Beauford Delaney is a Modern artist who produced engaging portraits, landscapes, and abstractions celebrated for their brilliance and technical complexity with his dramatic stylistic shift from figurative compositions of New York life to abstract expressionist studies of color and light following his move to Paris in 1953, illuminate some of Delaney’s most innovative years and firmly place his work among the dominant art movements of the day!
I AM ETERNALLY GRATEFUL!!!
Abdul-Jalil
SPORTS:
Lettered in Football, Basketball, Track and Field in High School. Lettered in Basketball, Track and Field at University of California. N.C.A.A. Champions in Track and Field in 1971.
FOUNDER, PRODUCER:
“The Evening of Elegance” Oakland, CA, 1997-Host; CMS Community Food Bank, Oakland, 1996; “The Stars”, Cable TV Show, Oakland, CA, 1974; Montgomery Wards Pre-Reserve Training Program, Richmond, CA,1974; Montgomery Wards “Super Sunday”, Richmond, CA,1974; Montgomery Wards “Men Only Night”, Richmond, CA, 1973; Bay Area Black Expo, Oakland, CA, 1972-77; Congress of Athletes For Alternatives to Youths, 1972; Martin Luther King Basketball Classic, l972; California Fashion and Beauty Pageant, 1975.
ASSOCIATION MEMBERSHIPS:
~ National Lawyers Guild, ~ Muslim Bar Association of New York, ~ Houston Muslim Lawyers , ~ National Muslim Law Students Association, ~ Association of Muslim-American Lawyers, ~ Associate Board Member- University of California, Berkeley, Haas School of Business East Bay Alumni Network
* * TESTIMONIALS ON ABDUL-JALIL * *
“The Man who turns hits into MILLION$.” – The Tribune. “You really are the best.” – L. BOSTOCK, California Angels. “GOD sent me an Angel” – M.C. HAMMER. “Smart Youth, most intriguing, has the Baseball world at his feet.” – N.Y. POST . “I don’t know what I would have done without you!.” – J.C. WATTS, U.S. HOUSE of REPRESENTATIVES. “Thanks for directing me to the Sonics.” – GUS WILLIAMS, NBA. “Imaginative, foresighted, some pretty impressive credentials. His I.Q. QUALIFIES HIM AS A GENIUS.” – UPI . “That’s the finest promotion job for an unknown athlete that I have ever seen.” – N.Y. JETS. “I’m so happy!! I’m full of money!!” – C. ROBINSON, NBA. “He is personable, unafraid, confident. and athletes are attracted to him” – D. MAGGARD, U.S. Olympic Committee. “You have never been wrong” – EMANUEL STEWARD, Boxing “He told me what he wanted, we shook hands. We made the deal in 5 minutes.” – B. BAVASI, California Angels
****** The Aaron & Margaret Wallace Foundation
The Aaron & Margaret Wallace Foundation (A&MWF) is a non-denominational, multi-cultural,100% volunteer financed and operated relief organization that provides FREE food, medicine, clothing, educational and employment opportunities, mental and physical health referrals, legal aid, shelter and other necessities to individuals, children, families, and organizations who lack these essentials for any reason. We provide private school and college admissions educational opportunities; assists with referrals for job training and placement; rental assistance; social services assistance; homelessness assistance; mental and physical health assistance; medical assistance and legal aid assistance referrals FREE for ANYONE whom has the need at the Aaron & Margaret Wallace Foundation website.
Providing The Necessities For Success In Life
A&MWF, a public services organization based on GIVING AND SHARING, has created a 100% volunteer self-operated, self-supported, self financed model defined by developing the marketplace of a network that features high-performing results in the invaluable areas of: youth development; elementary, secondary and college education; poverty alleviation; mental and physical health medical services; social services, as well as other economic-empowerment programs for individuals, families; and small businesses.The Aaron & Margaret Wallace Foundation provides food; clothing; private school and college admissions educational opportunities; assists with referrals for job training and placement; rental assistance; social services assistance; homelessness assistance; mental and physical health assistance; medical assistance and legal aid assistance referrals for ANYONE whom has the need at the Aaron & Margaret Wallace Foundation website. A&MWF delivers food, medicine, clothing and other necessities to over 30,000 individuals- children, families,and organizations per month who lack these essentials and is pioneering a new trend, as government and community funds grapple with the recession and the challenges of raising funds, WE have forged an awareness and sustained an effort to connect those in dire need with service providers, donors, volunteers and nonprofit groups with these causes. We have taken community foundations and moved into social networking, reaching beyond static “bricks and mortar” to interactive Web sites to serve as a dynamic virtual clearinghouses or “town square” that holds conversations between those in NEED and their local charities, citizens, donors, and volunteers. A&MWF has made it easy and effortless for service providers, donors, volunteers and nonprofit groups to connect with those in NEED, as we have received more individuals needs profiles submitted on this site. The profiles include their contact information, information about their needs, desired solutions, pleas for their need satisfaction, and a listing of opportunities to achieve their solution. We also have profiles submitted of individuals as prospective donors or volunteers, include information about the causes that interest them. Anyone can register by submitting an online request form in a strictly confidential submission and they can also feel free to call the number (510) 394-4101 as well. From the great success that we have had with our Free Food Programs established in the 1950’s by my Parents, Aaron and Margaret Wallace, we have since been instrumental in the founding and supplying of other free food service organizations around the country. With the demand for our help in creating these organizations being driven by the skyrocketing need for the services, we have decided to open up our efforts to all interested in starting a food pantry for the needy. We can provide access to the training necessary to qualify your organization and partner you with the local organizations and businesses that can support your efforts. Contact us and we will help you through theRED TAPEand push your program to success! Here’s some new videos for the Aaron & Margaret Wallace Foundation Social Services Programs. The first is the Aaron & Margaret Wallace Foundation Free Food Program Celebrity Giving Back
The second one is Aaron & Margaret Wallace Foundation Kids Celebrity Gift BackPacks.
You can view the following Santa Fe Elementary School’s Peace March with Aaron & Margaret Wallace Foundation, SemiFreddi’s, Trader Joe’s, Little Ceasar’s Pizza, Marshawn Lynch’s “Fam1ly F1rst” and Leon Powe’s “Fresh Start Oakland”:
Santa Fe Elementary School’s Peace March with Aaron & Margaret Wallace Foundation
Santa Fe Elementary Little Caesars Pizza Part 1
Santa Fe Elementary Little Caesars Pizza Part 2
You can listen to or download many of the Public Service Announcements for our partners that were broadcast over national radio on the page “A& MWF Supports Inter-Faith Multi-Cultural Events”. We have provided and we have produced videos from some of them as well. We will do one for any of our partners that work with us. Thanks again for the opportunity to serve you and let’s ALL do more and better for those less fortunate.
You can click on any highlighted word to view or download that item
The Aaron & Margaret Wallace Foundation
and
¿eX-whY AdVentures?
Presents:
James Ahmed Rasheed’s “Entourage” with Trader Joes’s Capt. Randy Holland on drums in a “Tribute to Legends of Jazz” Show!, May 26, 2012, 2:00 PM to 4:00 PM at Trader Joes’s, 2742 Pinole Valley Road, Pinole, CA.
Trader Joes’s, one of our strong supporters and 20 year partner in our Community Free Food Program allowed AMWFT and ¿eX-whY AdVentures? to produce an In-Store promotion with a Live Jazz performance by James Ahmed Rasheed’s “Entourage” with Trader Joes’s Capt. Randy Holland on drums! The response was incredible with many customers turned fans, dancing in the isles while shopping! Outstanding!
The many standing ovations and applause echoed throughout the store as the mellow jazz sounds were accentuated by the ringing of the cash register! The customers-turned-fans and store staff were caught totally by surprise as the Pinole store Capt. (manager) Randy Holland sat in on drums for the second set with the Jazz Trio! Everyone was simply BLOWN AWAY!! And the Dude has chops, he can flat out PLAY!
The customers-turned-fans shamelessly testified how the shopping experience was soo much greater, more intimate and engaging, as they stayed while shopping longer and bought more! They unanimously requested that the in-store promotion be held at least weekly and perhaps over the weekends! The store staff was trilled with the event success and asked that Corporate institute it as a weekly promotion.
This was The Aaron & Margaret Wallace Foundation’s “Thank You” to Trader Joe’s for 20 great years of providing us with the ability to serve over 30,000 a month of those most in need in the Northern California Community from our 14 locations from Fremont in the south to Fairfield in the north.
Watch the video performance of “Entourage” with Randy Holland in Trader Joes’s “Tribute to Legends of Jazz” Show!
AMWF Friend Spencer Haywood at USA Men’s Basketball Olympic Team Practice
Spencer Haywood at USA Men’s Basketball Olympic Team Practice with Carmelo Anthony and LeBron James
Spencer Haywood at USA Men’s Basketball Olympic Team Practice with Kevin Durant
Posted via email from ¿eX-whY? AdVenture
July 13, 2012
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(OH), michigan, microsoft, microsoft anti spam, mid-tempo, mid-tempo groove, miibeian, Mike City, Mike D'Antoni, Mike Krzyzewski, Mike Tiger, millions of dollars, Minnesota Timberwolves, Minority, Miriam Makeba, Miss Saigon, Mission Street, Missy Elliott, mit, mixes, mixx, MJM, MJM debut album, MO, mobile interaction, mobile phone marketing, model, modern R&B, money, Montclair, Montclair Women’s, Montclair Women’s Big Band, mood, mood-setting number, Moore, more rampant corruption, morning-after, Morris Chesnut, mortgage rates refinancing, mos def, most are reacting, mountain, move the concerned, moved to New York after High School, Movement, movie, Movies, mozilla, MPC, MSN, MSN Search Insider, MTT, much to the chagrin of the Nigerian government, Muddy Waters, Muhammad Ali, multi-cultural membership, multi-faceted, multi-racial, multimedia, multiple styles, multiply, murder, museum, Music, Music Director Michael Tilson Thomas, music from the great Ellington songbook, music that will make you want to dance in the aisles, music video, musical, musical film, musical message, musical roots, musicals, music’s mainstream, Musicians, Must Resign, MWBB, My First Love, my struggles as a man, my the admissions made by District Attorney Nancy O’Malley to him, My Thoughts, mybo, MySpace, mysql, Nancy, narod, NASA, Nate McMillan, National, National Public Radio, nationalgeographic, natural creative force, naturally, nature, N’dambi, NBA, ne.jp, Nepotism, Net, netscape, netvibes, Network, network-security, networkadvertising, networking, NEVER return, Never thought it would happen for me, new, new compositions, new heights, New Orleans Hornets, new school, new team, new technology, new voice of ghetto soul, new voice of modern soul, New Year’s, new york, new york city, New York Knicks, New York University, New York’s most illustrious venues, News, newsvine, NFL, Nicole Sherzinger, nifty, night, Night Life, NIH, nikon, Nina Simone, ning.com, no, NO MORE, No. 4 hit, noaa, non profit debt consolidation, non-profit, nor represent, north carolina law lemon, notes, Nothing in This World, Novellus Theater, November, now famous, Now or Never, now the whole world is chanting the same tune, now we have to show more action, NowTruth.Org, NPR, number one syndicated show, nursery rabbit, nyc, nytimes, O, O'Malley, Oakland, Oakland City Attorney John Russo, Oakland City Attorney Resigns, Oakland City Councilmen, Oakland Interfaith, Oakland Interfaith Gospel Ensemble, Oakland Mass Choir, Oakland Mayor Jean Quan, Oakland Police Department, Oakland Police Department has FAILED to comply with the Federal Mandate to meet MINIMUM agreed upon standards to fight corruption, Obama, Obie, Occupy, Occupy Communities, OCCUPY Movements, OCCUPY OAKLAND, OCCUPY RE-EVOLUTION, OCCUPY WALL STREET, Occupyers, ocean, ocn.ne.jp, ODC, ODC/Dance, of, Office, Oil, Oklahoma City Thunder, old paris, Olivier, Omar Sosa Afreecanos Quartet, Omarion, omg, Once you hit a plateau, one of America’s most exciting contemporary dance companies, one of the most formidable jazz ensembles on the West Coast, one of the presumed reasons for Oakland Police Department Chief Anthony Batts resigning, One question being asked now, ongoing case, ongoing evolution, Online, online community, online-games, open for, open-source, opensource, opera, or his music, Oracle, Orchestra, orchestral, ordered al-Hakim, org, organizing, orginal 5-member band, Orgone, original instrumentals, original keyboardist, originally, originating the lead role, orlando, Oscar Grant, other producers, Outer Critics, outgoing links, outstanding soloists, over a million people came to the funeral chanting, overall Minority Youth Community, overblog, owned and controlled by developers, P-Funk, painting, paintings, pairing up, pakistan, parallels, Parents, park, partner, partner in crime, partnered with, party, pattern, Paul Saenz, pay per click affiliate, pbs, Peabo, Peabo Bryson, peace, Pentagon, People, people they do not talk to, perfect amount of holiday cheer, perfomance, performance, Performers, performing in a hip-hop act, performing traditional Christmas favorites, peritoneal mesothelioma, personal injury lawyer, personal injury solicitor, personals, personnel, Peter Apfelbaum, Philadelphia 76ers, philosophy, phoca, phone, phonebank, photo, photobucket, Photography, Photos, photoshop, php, phpbb, physics, pianist, Piano Jazz, pictures, pink, pink floyd, Pinole, pioneered Afro beat music, pirates, place amongst today’s elite female soul artists of the world, planet, platinum, platinum-certified albums, played together for years, playing music together virtually since they were all still in diapers, playlists, playwright, Please be advised that Fela! 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QR codes, urban, urban radio, us, usa, usatoday, USDA, Usher, vacation, Van Ness Ave., vasectomy reversal, vegan, Velveteen Rabbit, versatile, Verve, Verve Forecast, very successful session musician, veteran producer, Vibe, victim, Video, video games, video of al-Hakim, Videos, vimeo, vintage, violence, vioxx, vioxx class action, vioxx lawsuit, vivid cast, vivid storytelling, vkontakte, voicemail, void, voter, voterregistrationdrive, w, w3.org, waiting for a meeting, Wake Forest, Waking up late with you on my mind, Walking on Water, want-to-be-leaders, wants the injunction/curfews, war, was initially going to be a doctor, Washington, washingtonpost, Watch the story with video and documents, Watch video of al-Hakim, water, way, We are ALL Oscar Grant, weather, We’ve been used to, Web, web design, web development, webs, Website, wedding, weebly, weird, well received from the start, well-worn, western, WGCI, what eventually became known as his own distinct, what you write to people, what’s going through my head, When I’m with you, Where Did We Go, which continued to infuriate the government, while al-Hakim, white, whitehouse, Who are they protecting and why, who attacked the commune where Fela lived, wholesale, wikimedia, wikipedia, wikispaces, Will Bernard, Will Smith, Williams, Williams College, Williamsburg, Williamstown, Windows, winter, wired, wisconsin, without sacrificing, without sounding boring, wix, Wiz Khalifa, woman, woman’s desire, women, women for obama, Women’s Big Band, won a MacArthur Genius Award, Wordpress, worked with, workshop, world, world-class ensemble, woven into the fabric of this country’s artistic legacy, writes, Writing, wrote the play book, wsj, Wyatt, xanga, XII album, xinhuanet, xrea, xzwhy, Yahoo, Yahoo Directory, Yahoo! Buzz Index, yandex, YBCA, yellow, Yelp, Yerba Buena, Yerba Buena Center for the Arts, yet claim to bargain and speak for them, Yoshi's, Yoshisjazz, you can watch, You don’t want to let your fans down, you know it’s a lie, You Mean that Much, you want to stay relevant, You won’t know it, young hip-hop duo, young player, Youth, youtu.be, YouTube, Yvonne Line, Zeitgeist, Zion I, ZONGO, Zongo Junction equity loan, zoo . Author: Abdul-Jalil . Comments: Leave a comment