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RIP Mr. Farris
I met his wife Mrs. Christine Farris (Dr. King sister) when I visited one of my female friends at Spelman years ago. Mrs. Farris is really a sweet person, and she said I looked handsome. I know she is going to miss her husband cause they were very close.
https://www.nytimes.com/2018/01/04/movies/daniel-kaluuya-get-out-racism.html
Daniel Kaluuya Isn’t Waiting for Your Approval
The breakout star of “Get Out” says he can relate to his character: “Being young, working class and black, everything you do is policed.”
LONDON — Daniel Kaluuya, the “Get Out” star whose huge, tear-spilling eyes have imprinted themselves on our collective consciousness, was looking rather less vulnerable on a recent wintry day than he does in that memorable scene in which he is hypnotized into terrified, regressive submission.
Crunching nuts and drinking water during an interview here just before Christmas, the actor was in turn frank, guarded and intense: a movie star who hasn’t yet acquired the smooth sheen of the experienced interviewee. Mr. Kaluuya, 28, is British and has been acting since he was in his teens, but “Get Out” — the Jordan Peele spine-tingler that has been described as a mash-up of “Guess Who’s Coming to Dinner” and “The Stepford Wives” — has thrown him into an entirely new kind of spotlight. Which he is sort of ignoring.
“I am definitely not a household face, and I don’t expect to be one” he said firmly. “I don’t think you become a name with just one job.”
Some might disagree. Mr. Kaluuya’s performance in “Get Out” as Chris, a black photographer on an increasingly nightmarish weekend visit to his white girlfriend’s parents, might as well be labeled “Break Out.” Both he and the box office smash have figured prominently on 2017 best-of lists and in Oscar-worthy conjecture, and his performance has already earned Golden Globe and Screen Actors Guild Award nominations. “He is victim and avenger, a surrogate for the filmmaker and the audience,” A. O. Scott wrote in The New York Times, adding, “He can’t believe his eyes, and you can’t take yours off him.”
Photo
Mr. Kaluuya in his breakthrough role as Chris in “Get Out.” Credit Justin Lubin/Universal Pictures
In person, Mr. Kaluuya seems physically tougher — he is built like a boxer, a role he has played — as well as warier than Chris, a photographer trying hard to believe that white people (probably? perhaps?) mean well. Born to Ugandan parents, Mr. Kaluuya grew up with his mother and an older sister on a council estate, the British equivalent of a housing project, in north London. (His father lived in Uganda, he said, and he didn’t connect with that side of his family until he was 15.) Although his mother wasn’t particularly interested in the arts, a primary schoolteacher noted that he was a “very busy” child and recommended acting as an outlet. “So, I wrote a play,” he said matter-of-factly. “The teacher said I was difficult, and I thought, ‘I’ll show you.’”
Continue reading the main story
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Complete coverage of the movie awards season from our reporters, editors and critics.
The play won a local competition and was performed at the well-known Hampstead Theater, where Mr. Kaluuya would later write and perform as a teenager. But after that triumph at age 9, he dropped theater for soccer, later finding his way back through improvisation classes at the Anna Scher Theater, a neighborhood institution that offered inexpensive drop-in sessions.
“Being young, working class and black, everything you do is policed,” Mr. Kaluuya said. “If someone hits you and you hit back, you are aggressive. If you cry, you are weak. You are kind of always pretending to be something. But in those improv classes, there was no pressure to be anything except honest, and that made me happy.” Although he knew he had “caught the bug,” he didn’t have the confidence, he added, to express a desire to act.
“If you are from the estates, you don’t say that,” he said. “Actually, the biggest problem is that you don’t know it’s possible. You don’t have the vocabulary, conceptually, to articulate that wish.”
Seeing fellow students get parts on television shows, he began to attend auditions, and at 16 won a role in the BBC drama “Shoot the Messenger,” starring David Oyelowo. Then came “Skins,” the BBC’s controversial, long-running series about hard-partying teenagers.
Mr. Kaluuya didn’t just co-star in “Skins,” he was also part of the writing team for the first two seasons, even as he was writing plays for the Hampstead Theater’s youth program and completing his A-levels, the graduating examinations in the British school system. (Drama was one of his subjects; his former teacher has written that he was the most talented actor he has ever come across.)
Mr. Kaluuya wanted to go to drama school but couldn’t afford it. Instead he kept writing for “Skins,” and in 2008 got a part in a play, “Oxford Street,” at the Royal Court. “That was a breakthrough for me,” Mr. Kaluuya said. “I couldn’t get seen for theater because I had no training. But that play led to ‘Sucker Punch,’ which changed everything.”
Photo
At 9, Mr. Kaluuya wrote a play that went on to win an award. “The teacher said I was difficult, and I thought, ‘I’ll show you.’” Credit Tom Jamieson for The New York Times
For “Sucker Punch,” written by Roy Williams, Mr. Kaluuya played one of the two leads, both young boxers. “I’d always been overweight and out of shape, but for this I trained for months and lost three stone” or more than 40 pounds, he said. “I gave it my all.” He won rave reviews and several awards, and drew the attention of a number of industry figures, among them the director Steve McQueen, who cast Mr. Kaluuya in his coming movie “Widows.”
“I had noticed him on ‘Skins,’ and then saw ‘Sucker Punch,’” Mr. McQueen said in a telephone interview. “He did this monologue while jumping rope which was amazing, and I was kind of mesmerized. He has that gift you don’t see often, a presence even in his stillness. You feel what he is feeling, you see what he is seeing. When I was casting ‘Widows,’ I knew it was him.”
After “Sucker Punch,” Mr. Kaluuya was cast in, among other things, the television series “Black Mirror,” but he felt frustrated by the response from the British movie and theater industry. “I wasn’t trained, I was too big, they didn’t want black leads, I don’t know,” Mr. Kaluuya said, clearly exasperated even at the memory. “You end up thinking, it’s just a glass ceiling, isn’t it?” He decided to set his sights on the United States, found an American agent and won a part in the 2015 thriller “Sicario.”
Before shooting “Sicario,” he read the script of “Get Out,” sent to him by his agent. “I was like, how do I make this happen?” Mr. Kaluuya recounted. “I totally loved it. I knew it spoke to me and my friends. That rage at the end; I know that.” He thought for a moment. “I was fortunate that I had acting,” he said. “If you had that anger on the street and let it out, you get arrested. I get applause.”
As it turned out, Mr. Peele had seen Mr. Kaluuya in “Black Mirror,” in the episode “Fifteen Million Merits.” In an email, Mr. Peele wrote: “It’s a soul-crushing performance in which he brilliantly performs the full spectrum of emotions I needed for Chris. Through most of the episode he’s restrained and subdued, but by the end his passion explodes into a primal unhinged monologue that is a thing of beauty.”
Although Mr. Peele was initially hesitant about casting a British actor instead of an American (a decision subsequently criticized by Samuel L. Jackson), he said that Mr. Kaluuya convinced him over a Skype conversation. “He put to bed my fears of any cultural rift in regards to race relations,” Mr. Peele said. “He really GOT the script in ways many didn’t. The risk excited him, where it made other American actors nervous.”
After Mr. Kaluuya flew to Los Angeles and performed the hypnosis sequence as his audition, the rest, Mr. Peele wrote, was history.
Photo
Mr. Kaluuya, right, with Michael B. Jordan in the forthcoming “Black Panther.” Credit Marvel Studios
Mr. Kaluuya sighed wearily when asked about the controversy over his casting. “It speaks to the fact you are still getting policed,” he said, adding: “Even in the positive there is critique that a white person wouldn’t get.”
The success of “Get Out” hasn’t immediately led to other roles, he said, although he is thinking about a script he likes. Meanwhile, he isn’t exactly idle; he is writing a television series, as well as a film that he workshopped at the Sundance Screenwriters Lab, and has two movies (“Widows” and the Marvel “Black Panther”) due in 2018.
“It’s still a hustle!” he said cheerfully. “You crack on.”
Daniel Kaluuya Isn’t Waiting for Your Approval
The breakout star of “Get Out” says he can relate to his character: “Being young, working class and black, everything you do is policed.”
LONDON — Daniel Kaluuya, the “Get Out” star whose huge, tear-spilling eyes have imprinted themselves on our collective consciousness, was looking rather less vulnerable on a recent wintry day than he does in that memorable scene in which he is hypnotized into terrified, regressive submission.
Crunching nuts and drinking water during an interview here just before Christmas, the actor was in turn frank, guarded and intense: a movie star who hasn’t yet acquired the smooth sheen of the experienced interviewee. Mr. Kaluuya, 28, is British and has been acting since he was in his teens, but “Get Out” — the Jordan Peele spine-tingler that has been described as a mash-up of “Guess Who’s Coming to Dinner” and “The Stepford Wives” — has thrown him into an entirely new kind of spotlight. Which he is sort of ignoring.
“I am definitely not a household face, and I don’t expect to be one” he said firmly. “I don’t think you become a name with just one job.”
Some might disagree. Mr. Kaluuya’s performance in “Get Out” as Chris, a black photographer on an increasingly nightmarish weekend visit to his white girlfriend’s parents, might as well be labeled “Break Out.” Both he and the box office smash have figured prominently on 2017 best-of lists and in Oscar-worthy conjecture, and his performance has already earned Golden Globe and Screen Actors Guild Award nominations. “He is victim and avenger, a surrogate for the filmmaker and the audience,” A. O. Scott wrote in The New York Times, adding, “He can’t believe his eyes, and you can’t take yours off him.”
Photo
Mr. Kaluuya in his breakthrough role as Chris in “Get Out.” Credit Justin Lubin/Universal Pictures
In person, Mr. Kaluuya seems physically tougher — he is built like a boxer, a role he has played — as well as warier than Chris, a photographer trying hard to believe that white people (probably? perhaps?) mean well. Born to Ugandan parents, Mr. Kaluuya grew up with his mother and an older sister on a council estate, the British equivalent of a housing project, in north London. (His father lived in Uganda, he said, and he didn’t connect with that side of his family until he was 15.) Although his mother wasn’t particularly interested in the arts, a primary schoolteacher noted that he was a “very busy” child and recommended acting as an outlet. “So, I wrote a play,” he said matter-of-factly. “The teacher said I was difficult, and I thought, ‘I’ll show you.’”
Continue reading the main story
Golden Globes 2018
Complete coverage of the movie awards season from our reporters, editors and critics.
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The play won a local competition and was performed at the well-known Hampstead Theater, where Mr. Kaluuya would later write and perform as a teenager. But after that triumph at age 9, he dropped theater for soccer, later finding his way back through improvisation classes at the Anna Scher Theater, a neighborhood institution that offered inexpensive drop-in sessions.
“Being young, working class and black, everything you do is policed,” Mr. Kaluuya said. “If someone hits you and you hit back, you are aggressive. If you cry, you are weak. You are kind of always pretending to be something. But in those improv classes, there was no pressure to be anything except honest, and that made me happy.” Although he knew he had “caught the bug,” he didn’t have the confidence, he added, to express a desire to act.
“If you are from the estates, you don’t say that,” he said. “Actually, the biggest problem is that you don’t know it’s possible. You don’t have the vocabulary, conceptually, to articulate that wish.”
Seeing fellow students get parts on television shows, he began to attend auditions, and at 16 won a role in the BBC drama “Shoot the Messenger,” starring David Oyelowo. Then came “Skins,” the BBC’s controversial, long-running series about hard-partying teenagers.
Mr. Kaluuya didn’t just co-star in “Skins,” he was also part of the writing team for the first two seasons, even as he was writing plays for the Hampstead Theater’s youth program and completing his A-levels, the graduating examinations in the British school system. (Drama was one of his subjects; his former teacher has written that he was the most talented actor he has ever come across.)
Mr. Kaluuya wanted to go to drama school but couldn’t afford it. Instead he kept writing for “Skins,” and in 2008 got a part in a play, “Oxford Street,” at the Royal Court. “That was a breakthrough for me,” Mr. Kaluuya said. “I couldn’t get seen for theater because I had no training. But that play led to ‘Sucker Punch,’ which changed everything.”
Photo
At 9, Mr. Kaluuya wrote a play that went on to win an award. “The teacher said I was difficult, and I thought, ‘I’ll show you.’” Credit Tom Jamieson for The New York Times
For “Sucker Punch,” written by Roy Williams, Mr. Kaluuya played one of the two leads, both young boxers. “I’d always been overweight and out of shape, but for this I trained for months and lost three stone” or more than 40 pounds, he said. “I gave it my all.” He won rave reviews and several awards, and drew the attention of a number of industry figures, among them the director Steve McQueen, who cast Mr. Kaluuya in his coming movie “Widows.”
“I had noticed him on ‘Skins,’ and then saw ‘Sucker Punch,’” Mr. McQueen said in a telephone interview. “He did this monologue while jumping rope which was amazing, and I was kind of mesmerized. He has that gift you don’t see often, a presence even in his stillness. You feel what he is feeling, you see what he is seeing. When I was casting ‘Widows,’ I knew it was him.”
After “Sucker Punch,” Mr. Kaluuya was cast in, among other things, the television series “Black Mirror,” but he felt frustrated by the response from the British movie and theater industry. “I wasn’t trained, I was too big, they didn’t want black leads, I don’t know,” Mr. Kaluuya said, clearly exasperated even at the memory. “You end up thinking, it’s just a glass ceiling, isn’t it?” He decided to set his sights on the United States, found an American agent and won a part in the 2015 thriller “Sicario.”
Before shooting “Sicario,” he read the script of “Get Out,” sent to him by his agent. “I was like, how do I make this happen?” Mr. Kaluuya recounted. “I totally loved it. I knew it spoke to me and my friends. That rage at the end; I know that.” He thought for a moment. “I was fortunate that I had acting,” he said. “If you had that anger on the street and let it out, you get arrested. I get applause.”
As it turned out, Mr. Peele had seen Mr. Kaluuya in “Black Mirror,” in the episode “Fifteen Million Merits.” In an email, Mr. Peele wrote: “It’s a soul-crushing performance in which he brilliantly performs the full spectrum of emotions I needed for Chris. Through most of the episode he’s restrained and subdued, but by the end his passion explodes into a primal unhinged monologue that is a thing of beauty.”
Although Mr. Peele was initially hesitant about casting a British actor instead of an American (a decision subsequently criticized by Samuel L. Jackson), he said that Mr. Kaluuya convinced him over a Skype conversation. “He put to bed my fears of any cultural rift in regards to race relations,” Mr. Peele said. “He really GOT the script in ways many didn’t. The risk excited him, where it made other American actors nervous.”
After Mr. Kaluuya flew to Los Angeles and performed the hypnosis sequence as his audition, the rest, Mr. Peele wrote, was history.
Photo
Mr. Kaluuya, right, with Michael B. Jordan in the forthcoming “Black Panther.” Credit Marvel Studios
Mr. Kaluuya sighed wearily when asked about the controversy over his casting. “It speaks to the fact you are still getting policed,” he said, adding: “Even in the positive there is critique that a white person wouldn’t get.”
The success of “Get Out” hasn’t immediately led to other roles, he said, although he is thinking about a script he likes. Meanwhile, he isn’t exactly idle; he is writing a television series, as well as a film that he workshopped at the Sundance Screenwriters Lab, and has two movies (“Widows” and the Marvel “Black Panther”) due in 2018.
“It’s still a hustle!” he said cheerfully. “You crack on.”
Oakland Gives Weed Convicts Opportunity To Open Marijuana Businesses As Reparations
CREDIT: Getty Images
Convicted weed felons are getting a fresh start. As reparations for the war on drugs, a number of felons who were imprisoned for charges pertaining to marijuana will reportedly have the opportunity to open legal weed businesses in the Oakland area, the National Post reports.
The Oakland city council unanimously approved its new initiative, the Equity Permit Program, last month. The new program will reportedly issue 50 percent of all licenses for medical marijuana facilities to previous felons and residents of six neighborhoods that police excessively targeted for drug arrests, the Post reports. “Communities of colour have been negatively and disproportionately impacted by disparate enforcement of cannabis laws,” and ordinance filed by the Oakland city council reads.
Distributing medical marijuana has been legal in the state of California since 1996. weed in 2016. Under the new program, all felons and residents must undergo a rigorous application process, Greg Minor, assistant to Oakland’s city administrator, said.
Although the application process won’t open until later this year, the news is undoubtedly a big win for felons who spent several years behind bars. In the past, both Pusha T and John Legend have pushed for the release of felons who were locked up for simple possession or selling charges. “What’s important to me is keeping people who are coming home, home,” Pusha T said in previous PSA regarding California’s marijuana bill. “If ending prohibition on marijuana reduces recidivism, then let’s do it.”
https://www.vibe.com/2017/07/oakland-weed-business-reparations/
CREDIT: Getty Images
Convicted weed felons are getting a fresh start. As reparations for the war on drugs, a number of felons who were imprisoned for charges pertaining to marijuana will reportedly have the opportunity to open legal weed businesses in the Oakland area, the National Post reports.
The Oakland city council unanimously approved its new initiative, the Equity Permit Program, last month. The new program will reportedly issue 50 percent of all licenses for medical marijuana facilities to previous felons and residents of six neighborhoods that police excessively targeted for drug arrests, the Post reports. “Communities of colour have been negatively and disproportionately impacted by disparate enforcement of cannabis laws,” and ordinance filed by the Oakland city council reads.
Distributing medical marijuana has been legal in the state of California since 1996. weed in 2016. Under the new program, all felons and residents must undergo a rigorous application process, Greg Minor, assistant to Oakland’s city administrator, said.
Although the application process won’t open until later this year, the news is undoubtedly a big win for felons who spent several years behind bars. In the past, both Pusha T and John Legend have pushed for the release of felons who were locked up for simple possession or selling charges. “What’s important to me is keeping people who are coming home, home,” Pusha T said in previous PSA regarding California’s marijuana bill. “If ending prohibition on marijuana reduces recidivism, then let’s do it.”
https://www.vibe.com/2017/07/oakland-weed-business-reparations/
Forward Press
As a Vietnam vet, former Black Panther, and father of a literary superstar, Paul Coates has lived a life reminiscent of the great literature he publishes.
Kenneth Stone Breckenridge - January 2018
Paul Coates has lived a rich life, but enter his name in a Google search and not much comes up. Sure, you’ll find that he’s the father of Ta-Nehisi Coates, the famed writer and intellectual, who has occasionally examined their father-son bond in his writings. But those accounts belong to the son, not the father. Dig a little deeper and you’ll probably find mention of Coates’ time as leader of the Baltimore chapter of the Black Panther Party in the 1970s and his connections to several controversial figures. But again, very little of the information is firsthand.
Persevere further and you might discover that Coates is the founder and director of Black Classic Press and BCP Digital Printing, one of the nation’s leading publishers and distributors of literature by and about members of the black diaspora. The press is celebrating its 40th year in 2018, and, during those decades, it has resurrected and distributed texts by seminal African-American scholars such as W.E.B. DuBois, J.A. Rogers, and Carter G. Woodson; published fiction by contemporary writers such as Walter Mosley; and championed little-known histories of ancient African societies.
But even though one of its goals is to rescue forgotten or overlooked black figures from obscurity, you’ll find nary a biographical sentence about Coates on the business’ website. Obscurity may not be okay for others, but it suits Coates just fine.
“I came from on the corners talking,” Coates explains. “One of the things that I fell into early on is I wouldn’t spend a lot of time talking. ‘They will know you by your work.’ It’s one of them things. I don’t like to talk unless there’s something to say.”
Sitting in his office, which is located in a nondescript office park in Arbutus, Coates cuts a thoughtful, professorial figure. The rhythmic hum of printers resounds through the walls as he parleys and reflects on a life that has had few constants, save literature.
“The largest preoccupation with my time is reading,” he acknowledges. “I get immense pleasure. It’s comparable to sex. Almost.”
Coates was born in 1947 in West Philadelphia to Douglas Cryor and Edna Coates. Cryor was a violent alcoholic who fathered at least 14 children with several women, including three sisters. As a result, Coates grew up with aunts who also doubled as stepmothers. His neighborhood was equally chaotic. His refuge was the nearest library, where the young bookworm plowed through comics, crime novels, and history titles. At the earliest opportunity, he quit high school and joined the Army.
“The service gave an option to see the world,” he says. “It [also] had to do with the military feeling safer than being on the street. You talkin’ about friends getting shot down.”
His time in the Army was uneven at best. He faced nonstop harassment and racism. One incident, a run-in with a fellow soldier, changed his life forever.
“I’d had a conflict with a Native American guy who folks used to call Chief. One day Chief . . . calls me nigga . . . so we get to rollin’,” he says. “We got separated, [and] I’m really upset. I went into [a] room, where I paced. I saw this book that said Black Boy. I figure, somebody’s f-----’ with me. I ended up . . . going back to my room and reading it.”
Black Boy by Richard Wright is a memoir detailing the author’s early life in the Jim Crow South. For the first time, Coates had found a book that spoke to his experience as a black man in America. It was an awakening.
“It occurred to me that this was a whole genre,” he says, gesturing as if holding a book.
From there, he discovered the works of black writers such as Malcolm X, Dick Gregory, and James Baldwin.
In 1965, Coates was sent to Vietnam, where he worked as a military policeman in a K-9 unit. He served 18 months, and was discharged in 1967. While at war, he corresponded with his sergeant’s niece, a Baltimore woman. Soon after his return from Southeast Asia, he relocated to Charm City and married her. By 1968, Coates was living in Cherry Hill with a wife and child, and he had procured a job as a baggage handler at what was then Friendship International Airport.
Then, as now, the city was a hotbed of racial strife and poverty with trust in law enforcement at a low ebb, particularly in black communities. Coates, newly socially aware, sought to do his part for Baltimore. He began volunteering in a community breakfast program run by the Black Panthers, the legendary black nationalist and socialist organization that was created in 1966 to witness interactions between the police and citizens and address economic and social inequality. Though he was not then a member, Coates shared many of the group’s ideals.
“I admired what they stood for. I wanted to be identified with that,” he says.
His affiliation with the Panthers—however initially tenuous—was not without risk. Then-FBI director J. Edgar Hoover had declared the Black Panther Party a national threat and directed undercover agents to infiltrate its chapters. This adversarial dynamic led to the shooting deaths of several Panthers and law enforcement officers across the country. Gradually, pressures mounted on the Panthers, internal divisions grew, and some party members turned on each other, resulting in more homicides. The party dissolved in 1982.
In 1970, Coates, still not yet a member, found himself caught in the middle. He was helping several Panthers load rifles into his car—a legal act then and now—when police swarmed and arrested everyone. Tensions had been running high in the city because a police officer had just been murdered and three local Panthers were charged—spuriously, some said—with the crime. Coates suspects the raid was an attempt by law enforcement to intimidate the Panthers and drain their financial resources.
“There was no basis for them to arrest us,” Coates says, noting that the guns were for self-protection and unloaded. “There was nothing wrong with transporting guns. We were concerned that the police were going to come and kill us. We did not want to die like that.”
About a week later, Coates and the others were released on bail. Shortly thereafter, John Clark, the leader of the Baltimore chapter, was taken by a bail bondsman to California, where he faced outstanding charges. Clark’s absence left a power vacuum in Baltimore, giving rise to internal disputes. Coates reported the group’s status at regional Panther headquarters in New York.
“They asked me who was left, and I told them, ‘Nobody.’ They said, ‘Nobody but you.’ I said, ‘Yeah, I’m not a Panther.’ And the brother looked at me and said, ‘You a m----f-----’ Panther now!’ I didn’t want to do it. I had a family. The last thing I wanted to do was be in charge of the Black Panther Party.’”
Reluctantly, he became defense captain of the Baltimore Black Panthers, managing all activities in Maryland.
“We started a free clothing program [and] free food programs. We’d help people with their rent. Whatever the pain was . . . we would try to intercede,” Coates remembers.
He also ensured that the Panthers, who preached a philosophy of armed self-defense, maintained a physical presence wherever blacks felt threatened.
“I never will forget; a woman from Dundalk was afraid to go to the store because she was harassed by white folks,” he says. “We sent folks down there to make sure she didn’t get f----d with.”
Coates emphasizes that, contrary to popular misconception, the Panthers were not anti-white. In his view, capitalism was the great evil. It brought about racism, which resulted in oppression.
“The last thing I wanted to do was be in charge of the Black Panther Party.”
“The people who benefit the most from manipulating those factors are the people who control the lines of capital. [They] bring the most pressure to bear on blacks, such as myself, and even whites,” he says.
In the winter of 1971, as legal troubles put pressure on imprisoned Black Panther members, Coates traveled to the Panthers’ Oakland headquarters for help. It would be a momentous trip.
“I’d gone to California to get aid for the guys who were in jail,” he says. He pressed to speak to the leadership, but to no avail. Disillusioned, he vowed to leave the group.
“When I came back, I was no longer with the party,” he says. “[But] the people that were in jail in Baltimore, including Eddie Conway, I still felt responsible for.”
Marshall “Eddie” Conway was one of three Baltimore Panthers convicted in 1971 for killing Baltimore police officer Donald Sager. The case against Conway, who has always maintained his innocence, rested largely on police testimony and circumstantial evidence. Conway was released in 2014 after an appellate court ruled his jury had been given faulty instructions. He and Coates remain close.
“I’ve had, over my 44 years [in prison], people come and go. I could always, no matter what, depend on Paul,” Conway says, speaking from the offices of The Real News Network, where he is a producer and host. “That was one of the things that kept me stable because, obviously, in the middle of prison there’s so much instability . . . Without his support when I got out, my life would have been a lot different than it is now. We’re brothers.”
It’s mid-October and Coates strides through his printing factory, books stacked high on shelves, ready to be boxed and shipped. The efficiency and solidity of the operation belie its humble beginnings, which can be traced back to an initiative Coates developed with other activists in 1972 called the George Jackson Prison Movement. The idea was to bring progressive and Afrocentric literature to inmates in an effort, as Coates says, to “retrieve the souls and minds of the incarcerated.” The program was run out of a bookstore Coates owned first on Pennsylvania Avenue and later on North Avenue called The Black Book. By 1978, the store had closed and the program had morphed into Black Classic Press. BCP Digital Printing followed in 1995.
Coates says Black Classic Press’ largest milestone came in 1997, when Walter Mosley, a black novelist known for crime writing (including the award-winning Devil in a Blue Dress), granted it the domestic and foreign rights to his latest novel, Gone Fishing.
“He wanted to do it with an independent black publisher,” Coates explains. “We’re very good friends.”
Though Coates knows he has made an important cultural contribution, he has never made a fortune. Most of the company’s revenue—some 90 percent, Coates estimates—comes from the digital printing side, which churns out fliers, posters, brochures, and the like for clients ranging from libraries to online customers.
“We have to print a lot of stuff . . . so Black Classic Press can be the voice that it is,” Coates notes. “But brother, you’ll know us through our actions—and that’s the way it is.”
Coates’ acceptance of this stems from the fact that, more than 40 years after leaving the Panthers, he holds economic views similar to those he held as a revolutionary.
“I think of myself as a communalist . . . One of the first things we did was organize ourselves as a union. I hold that the principles of unionism are closer to the fair view that I have of community,” he explains.
For Coates, family is at the center of community. He used the G.I. Bill—which paid veterans to attend college—for income while working toward a bachelor’s degree from Homestead-Montebello Center of Antioch University, later to become Sojourner–Douglass College. He then earned a master’s degree in library science from Atlanta University that he would put to use working in Howard University’s Moorland-Spingarn Research Center, where he would comb the stacks for out-of-print black literature. Another perk of this position was that his children received reduced tuition. Coates is the biological father of seven children by four different women. Two were wives and two were women in the Panthers. He is currently married and has two additional adult children through this marriage, bringing his total brood to nine.
“My family is the family I created,” he says simply.
All of his children—Kelly, Jonathan, Malik, Menelik, Ta-Nehisi, Darius, Jared, and Damani and Kristance, who both work at Baltimore Classic Press—have earned their father’s pride. Ta-Nehisi, of course, is the most widely known, writing for The Atlantic and receiving—among a host of other honors—a MacArthur “genius” grant in 2015. When asked about Ta-Nehisi’s success, Coates answers with cautious approval.
“As long as he’s not doing it to convince the world he’s cool. He comes from a tradition, and he is very connected spiritually to that tradition. That’s what gives him the power that he has. It ain’t that I raised him,” he says.
That said, Coates does think he made at least one important paternal contribution.
“I think I’ve opened up a path that all of my children have an awareness and a curiosity. I have absolutely accomplished that . . . with the help of their mothers, their grandparents, [and] the help of the community that helped to raise them,” he says.
Leading the way out of the factory, Coates points to the framed art bedecking the office walls and hallways. The array includes a portrait of Ta-Nehisi, African-themed paintings, and other works created by some of his 10 grandchildren.
“I’m connected to a tradition of black people speaking for themselves,” he says. “That’s what gets me up in the morning! I’m clear on why I do this. I’m real clear what I’m responsible for. That’s what Black Classic Press is, brother.”
http://www.baltimoremagazine.com/2018/1/2/paul-coates-ta-nehisi-coates-father-on-black-classic-press