JUNE IS BLACK MUSIC MONTH

“Black Music Month

June 2019

WHEREAS music is a powerful vehicle for cultural expression that expresses joys and sorrows, shares perspectives on social issues, and builds community while breaking down barriers. Nowhere are these hallmarks more clearly heard than in Black music.

Toronto’s rich history in Black music has helped shape our city’s culture, carrying history in the lyrics and heritage in the melodies. The Underground Railroad brought Black musicians to Toronto, where religious songs provided hope to those who had escaped the horrors of slavery. Immigrants from the Caribbean added to Toronto’s foundation of iconic Black artists, such as jazz pianist Connie Maynard, drummer Archie Alleyne, and guitarist Sonny Greenwich. These jazz roots paved the way for the growth of a rich array of sounds, including soul, calypso, reggae, and music from the African diaspora.

In our time, hip hop and R&B have come to define “the Toronto sound” around the world. A few decades ago, rappers and R&B artists like Michie Mee and Maestro Fresh-Wes created fresh music that incorporated immigrant and Black culture, setting the stage for artists like Jully Black, Kardinal Offishall and K-OS, who built on this tradition. Today, the songs and personal stories of global stars like Drake and the Weeknd are inextricably linked with our city’s identity, while newer artists like Tory Lanez, Jessie Reyez, and Jazz Cartier are adding to the legacy of black music in Toronto with new sounds that captivate audiences worldwide.

Toronto’s music scene is among the very best in the world. Black musicians have played a key role in shaping that scene, and continue to innovate and thrive in this diverse and talented city.

NOW THEREFORE, I, Mayor John Tory, on behalf of Toronto City Council, do hereby proclaim June 2019 as “Black Music Month” in the City of Toronto.”

 Murphy Browne © June 1-2019

JUNE IS BLACK MUSIC MONTH

June has been recognized and celebrated as “Black Music Month” since June 7-1979 when then President Jimmy Carter designated June as Black Music Month at the urging of “Black Music Association” founders Kenneth Gamble and Ed Wright. It was not until June 2000, that the United States government officially recognized Black Music Month after the African American Music Bill (House Resolution 509) was passed.

The impetus to have June officially recognized by the government of the USA came after Dyana Williams co-founder of the "International Association of African American Music Foundation" was informed by the White House that even though President Carter had declared June “Black Music Month” in 1979, he had not signed a presidential proclamation in 1979. Through her efforts and the support of Congressman Chaka Fattah and William Franklin Goodling, each President since 2000 has signed an official proclamation declaring June “Black History Month.” On June 6-2000 when House Resolution 509 was presented, even William Franklin Goodling, a Republican member of the U.S. House of Representatives from Pennsylvania was moved to say: "African American music has influenced all aspects of our society in the form of dance, fashion, language, art, literature, cinema, media and advertisements.  All in all African American music has made a positive impact on and a broad appeal to diverse groups both nationally and internationally."

African American music has been appropriated by non-Africans over the centuries (from 18^th century blackface minstrelsy to 21^st century pale imitations) so it has not always been recognized that R&B, soul, rock & roll, jazz, gospel, funk and rap/hip-hop etc., owe their existence to African rhythms. An article published in the June 2003 edition of Ebony Magazine with the headline “Why White stars are ripping off rap and R&B” says it very well. “Al Jolson did it in the 1920s. Sophie Tucker did it in the 1930s. Elvis Presley did it in the 1950s, and the Beatles and Rolling Stones did it in the 1960s. This disturbed a number of people who said, with Langston Hughes, ‘You've taken my blues, and my jazz, and my gospel, and gone.’ And the taking is not over. For in 2003, White singers and performers are still looting the historically Black music sanctuary of hip-hop, R&B, soul jazz and the blues. Dwight Edwards, associate professor of music at Atlanta's Emory University, says it's shamefully ironic that throughout the annals of time, White artists with limited talent and vast resources have become fast millionaires by impersonating Black performers, whereas some of the greatest Black artists, performers and lyrical geniuses die practically penniless.”

Making music was one of the few pleasures that enslaved Africans enjoyed, that helped them to retain some of the culture that was brutally torn from them by the White slave holders in their attempt to dehumanize the Africans. The spirituals that were used as a coded language by many enslaved Africans when planning their escape is a testament to the power of our music. Music has sustained Africans dealing with myriad oppressions as expressed by the African American poet Paul Laurence Dunbar (1872 - 1906) in his poem “Sympathy” (published 1899) “I know why the caged bird sings, ah me, When his wing is bruised and his bosom sore,— When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core, But a plea, that upward to Heaven he flings — I know why the caged bird sings!” In 1971, Bob Marley and the Wailers released their Soul Revolution album with the single "Sun is Shining." The lyrics included: “Sun is shining, the weather is sweet

Make you want to move your dancing feet

To the rescue, here I am

Want you to know, where I stand

When the morning gathers the rainbow

Want you to know I’m a rainbow too

So, to the rescue here I am

Want you to know just where I stand

We'll lift our heads and give Jah praises.”

The world would be much poorer without the melodies and lyrics of Bob Marley, the Mighty Sparrow, Joe Arroyo, Hugh Masakela, Dionne Warwick, Celia Cruz and many others. Africans whether from the continent or the Diaspora have greatly influenced world music for generations. The influence of Africa on calypso, reggae, soca and zouk is recognized; however, music from mostly “Latin American” countries is not afforded the same recognition.

During centuries of enslavement, Africans influenced the cultures of the societies through their music which in turn influenced other art forms including dance. This is a reality even in countries like Argentina, Brazil, Chile, Colombia and Mexico where there has been a deliberate effort to whiten or Europeanize the population and erase the face of Africa. However, the influence of Africa is present in the music, dance, religious practices etc. The samba, the rumba, meringue, salsa all owe their existence to African rhythms and in his 2011 published book "Black in Latin America" African American professor Henry Louis Gates writes that he was surprised to learn from a Mexican ethnomusicologist that the fandango in Mexico owes much to African influence.

In 2009, President Obama declared June “African American Music Appreciation Month.” Some have taken issue with renaming the month as exclusively recognizing African American music and not also recognizing music from the Diaspora. However, in his declaration the former President did recognize Africa and the islands of the Caribbean. Part of his proclamation read: "Throughout our history, African-American music has conveyed the hopes and hardships of a people who have struggled, persevered and overcome. Through centuries of injustice, music comforted slaves, fueled a cultural renaissance, and sustained a movement for equality. Today, from the shores of Africa and the islands of the Caribbean to the jazz clubs of New Orleans and the music halls of Detroit, African-American music reflects the rich sounds of many experiences, cultures, and locales." The former President omitted African musicians from Central and South America. The most recent US Presidents seem to be lacking in knowledge of the history of Africans in the Americas. It was widely reported that a former US President visiting Brazil, did not know that there were "Blacks" in Brazil and probably could not fathom that Africans have lived in every country in the Americas (Central America, North America and South America) for centuries. Perhaps each US President should be compelled to read Ivan Van Sertima’s 1976 published book "They Came Before Columbus."

It is important that we all recognize that “Black Music” which includes music from the continent and the Diaspora is African music. It is important for our children to know their history; one of the children’s books on the subject is "The Sound that Jazz Makes" written by Carole Boston Weatherford and illustrated by Eric Velasquez, published in 2000. The book traces the history of popular music’s indebtedness to Africa. 

From ancient African culture through forced migration to the Americas and following its painful progress through slavery, Jim Crow oppression to modern day racism, African rhythms gave rise to R&B, soul, rock & roll, jazz, gospel, funk and rap/hip-hop etc. Even though not everyone may be eager to learn about the history and the contributions of Africans to the music we enjoy today, we need to encourage our acquaintances, relatives and friends to learn about our history. The Honourable Marcus Mosiah Garvey (one of the greatest influences on Bob Marley's music) said: “A people without the knowledge of their past history, origin and culture is like a tree without roots.” A tree without roots, is like tumbleweed, blown hither and thither by the slightest breeze. In the 21^st century, during this 5^th year of the “International Decade for People of African Descent,” (2015-2024) we surely do not want to live like tumbleweed with no roots.

Murphy Browne © June 1-2019