1970_04 The Daily Collegian April 1970

              2    THE DAILY COLLEGIAN   Monday, April 27, 1970
commentary
Sister Sadie says —
The dozens ain't
for weak women
or little boys
l think 1 told yo aU once before
that I was through goln round try-
In to make the unhip hip or, as
my dizzy friend say, educate the
educaUble. It been my experience that people w
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this such an absurd
this hearing and all I
got to say something.
hearings and the fact t!
»as just a fig-ment ln
i mind'' The only thing
detained was Walker's
id   nothing  else.  That a
five people Is being affected by
And the fact that all theadmlnis-
rlght or contradicted each other
make me feel that these people
was Just trying to provoke a situation   where   they could slap a
That hearing panel ain't got r
choice - if they want to be rlgh
teous - but todlsmlssthecharg
es against the students. And the:
seeing as how walker have e)
posed hlsself ti
e defens
make Walker dro
reaten* by. Imagine what he'll
;o faculty members who so far
t together enough to threaten
*hat anybody
l. they don't never lose
y cool. (Osby Davis can low-
e you so good - without usln
1 M.F. — that a person don't
k away from him cause they
.F. fo ty
■   fifty   I
Yeah, this v
I  full
parts ls mo foolish t
Take Walker accusing Osby Davis
of calUn him an M.F. forty or
fifty Umes. Now, it ain't reaUy
Important that the strongest cuss
.  w6>d 1 heard Osby use Gee Whiz
*ondits
gaOWBLUttFTS
Cedar a Shields   Ph. 227-33C4
forty or fifty M.F.s
has got to be the product of an
outta sight family tree and the
cat hlsself must really be something else. But Walker was offended by that A I guess there
Is some folks ln the world that
Just wants to be ordinary, run of
the mill white people. You know,
you average Cracker types and I
guess Walker ls one of these
folks. But you plnnln, ain't you,
that even though he was offended
by aU these M.F.s the cat didn't
do nothing about it. Either his
guardian angel was holdln him
back or else them students didn't
even need to question Ms virility
and masculinity. Walker done already proved what kind of woman
If   the   racist  dogs,   North
they rant and rave ln defense of
segregation, they would tuck ln
their tails and run for some place
to hide!! The barriers that are
erected against the black man
are a dead give-away because
these same barriers act in such
a way as to remind the segregationist of what ls behind them.
In further analogy we can see
that the basis of segregation ls
attraction rather than repulsion.
If one ls repelled by an object
or person, walls and barriers are
not necessary because one could
trust himself to stay away from
the object or person. Thewlne-o
trying to get the monkey off his
back   has   to  give away all
the pull It
man with no addiction to liquor
can keep It In the house all the
So segregation was really Implemented to keep the white man
away from US!! But Uke his
democracy It only works ln theory
and rests on hypocrisy. Dig It:
He copies our music, / namely
blues, rhythm £ blues, Jazz; related examples Include toe Beatles, Blood Sweat & Tears, John
Mayall.    He copies our dialogue
groovy, out of
.   cool 4  hip.    He lays out
-assed In the sun trying to
cop artificial and temporary'pig-
feeds his lust on black women.
(I guess he isn't hip to Johnny
Taylor's "Who's Making Love.*)
So really the man's segregation
is truly no more than assimilation
and   It   shows   he doesn't really
What segregation 4 discrimination boll down to ls that the
man doesn't have to compete on
equal terms for anything: that ls
socially, educationally, political -
economlcally.    And when
ompeUUonand
arranges   r
have to compete, the obvious Interpretation ls that he ls afraid
he can't win. Because the white
man ls such a chump he deals
black people from the bi
s winning.
We get the real picture of the
white man when we realize that
self-hate and self-contempt are
the psychological foundaUon for
hatred of others and feelings of
fear, inadequacy and self-hate
are often resolved by clinging to
derogatory beliefs about others.
The man ls afraid of black people. If he really believed all
the Invented myths and anecdotes
about us he would not have had
to go through all those changes
from the glt-go!!
A brother ln exile
Monday, April 37, 1970    THE DAILY COLLEGIAN   3
Ethnic Studies stresses
5F5 logic and expression
n to Honor **^
By Vivian D.Jones
The fate of the Ethnic Studies
staff and the program Itself ls
stlU undecided. Its fate lies ln
the hands, of the uninformed and
unconcerned administration who
question whether or not it's relevant. Sherley WHUams, a member of the Ethnic Studies staff,
feels that It ls very Important.
Miss Williams    has been a
J&C
HOUSE OF RECORDS
LEATHER VESTS,
Jazz - Soul - Pop - Gospel
Phone 485-3221
Fresno, Calif. 93706
teacher for three years. She ls
originally from Fresno. One of
the reasons that she sUU remains
here ls that she Ukes being
near home. More Importantly,
she wants to help bring about a
much-needed change ln Fresno.
One of the courses Miss Williams teaches ls Expressive
Writing. In this course the students are taught various forms^
of written expression. 'One of
the main objects,* states Miss
Williams, Ms to get students to
express themselves ... ln varl-
ways ln a logical manner, at
all tl
She ■
(Continued on Page 3, Col. 1)
THE DAILY COUEGIAN
Nathan Heard speaks on.....
By Nathan C. Heard
I think this ls the last Ume I'U
say anything about Phll-Llp-
never-tell-a-Ue^Walker. He has
begun to stick ln my craw, turn
sour ln my stomach... and my
recent case of constipation ls
making me paranoid about him.
I could have stood to give him a
bit more Infamy had It not been
for his 'performance* at the
Fresno Five' hearings. But I
began to see a different man
called Walker(MISTER WALKER)
at the hearings.
I saw a man without a real
sense of pleasure and happiness
about his life; I saw a program-
,mcd robot. 1 looked Into the
depths of a misery which could
only be matched by the slavery
of my foreparents.   I saw a hu-
of martyrdom about It. He looked
like a man who constantly lived
a victim of the Honky Flu. That
little dent ln the back of his head
his back seemed to grow three
Inches larger as he sat spewing
lnconslstancles   a
der If there was any validity to
the story of PInnochlo. I could
see why he had verbally castigated two or three girls (who
worked for the college newspaper
because of the articles by and/-
or about me) rather than confront
me personally—except, of
course, to not recommend me for
retention.   But he knows that his
e worthwhile to try
Lest anyone Jump to false conclusions from the lines that follow, let me state from the outset
that I'm all for the new freedoms
that are taking place ln Jazz and
rock music. I have a rhythmic
affinity for it and enjoy playing it
as well as hearing it.
Of course, not all of It Is good,
nor ls all of It free, despite the
•Freedom* In art Is many times •
a euphemism for chaos ln the
mind or lack of talent ln the artist. This ls something that seems
generic to the art-forms produced by so-called sophisticated
societies. It has happened with
painting, sculpture and architecture, and It ls now happening
Sophisticated societies gener- -
ally being what they are, 1 suppose It ls to be expected that art
and artists Uve by and for pubUc
recognition, and don't seem to
know which they prefer and so
produce frauds and mediocrities
with the same alacrity and dlU-
gence that go Into the making of
masterpieces. 1 doubt that fraudulent art could ever thrive ln
prlmlUve societies because there
the art ls the expression of the
total experience of life rather
than the selfish expression of
Culture (a signal note of sophistication) which It has become for
•clvlUzatlon*
black
faze me ln the least,
EngUsh, his act ls a punk act.
a slsslfled way of trying to corn-
There will be, however, no relief for Walker, for when and If I
go there will be others to take my
place. Black people will make
sure of that. There ls nowlnnlng
for people Uke Walker because
people with principles and a true
sense of fair play keep on rolUng
along Uke old man river. They
can't be stopped. It's only the
Walkers who will be damned and
I would have had pity for him at
the hearings but I Just couldn't
swallow my contempt for him ...
As 1 said, he sticks ln my craw.
I was kind of glad to be Instrumental In exposing him as an enemy of black people—not that
It wasn't known by black people
on campus, but now aU of West
Fresno knows about Phll-Up
and It's always good to
s enemies. That's what
"lettln' it all hang out.*
id now. on to something
So •
* has c
the mode of many jazz musicians
— but far too many of them carry
false   credentials. They are not
novators seeking to free themselves (and man) through their
art; they are merely chasing fame
and the dollar, which drives them
(and man) deeper Into bondage
. . . slaves to chimera . . . false
values . . . things.
Unlike some of our Jazz musicians  who've spoken out ln defense   of rock (Justifying their
desire for more fame and money
playing It), 1 don't classify
valid m
walker-
It being an art-form — for
hasn't made any contribution to
art. Thl»v is not to say that It
won't eventually spawn some artists. To those who'd scowl at the
sounds of Rock I'd advise a thorough digging of the music before
coming to a final Judgment; and,
to those who'd call It art because
the Supremes and the Beatles can
sing songs Uke'Thoroughly Modern MUiie* and 'Yesterdays,*
I'd remind that theese aren't rock
Ethnic Studies
(ConUnued from Page 2)
dents to begin to see the significance of their own experiences
and the experiences of others,
•and to be able to see the underlying theme of those experiences
so that they can Ue them together
and come out with some kind of
logical conclusion about them.'
Miss Williams also teaches a
Black Literature class. The main
purpose-of this class is to establish a sense of tradition about
Black Literature and the experience from which it grew. *We
talk about the positive side of
our experience as well as the
negative side and come out with
an underlying theme... The students will at least have some kind
of sense of tradition aad history
and heritage of black people ln
this country.*
She goes about obtaining these
objectives In a number of ways.'
One of these ways Is by having
Studies  classes.     The students
,   are then able to apply what they
learn tn her class to what ls
being taught ln other Black Studies classes. The students have
also learned to write "blues" lyrics as a different form of expression. In the Uterature classes,*
she says, "I try to bring black experience and black culture Into
tbe foreground when we talk about
tbe different books that we read,
so tbe students get the idea and
understand that black writing is
not something which is created
ln a vacuum, that it ls something
which grew oat of a very definite
experience, a very definite tradition.*
The concept of Black Studies
here at Fresno State CoUege ls
to teach academic skills and to
enlighten people, to teach people
that 'black ls Indeed beautiful*
and to see that black people have
contributed a great deal to this
country.
•The kind of relaxed atmosphere that ls maintained In the
classroom,* says Miss Williams,
"allows us more of a feeUng of
being and belonging together
helping each other.*
songs simply because the groups
are known as primarily rock
groups. Joan Baez singing *Mls-
tu* would not make'Misty* a folk
Jazz musicians who try to defend today's rock from an artistic
point of view are hypocrites in
the most profane meaning of the"
word, for, while searching for
greater fame and fortune, tbey
delude their audiences as to toe
real worth of rock. This ls unforgivable ln one who would be
an artist. Musicians blended the
best of East and West, North and
South, to give birth to jazz, and
It stands today as an art form:
the only art form Indigenous to
the United States, created and
brought to fruition over hundreds
of years and standing now as
legitimate music. Rock dipped
Into rhythm and blues with a
puerile hand and a misunderstanding that was monumental
- because of parochial Ideas concerning sex and clvlUzatlon that
proclaimed music to be a prissy,
•pure* esthetic of the mind, an
indulgence granted a female while
the male squirmed uncomfortably
and fought sleep. Their music
never allowed for a soul-stirring,
ass-shaking freedom from ln-
hlblUon.
Yet, despite Its borrowing from
other forms, rock falls to give
birth to art because so far no one
has been able to raise It above
the status of a musical parasite.
I venture to say that it cannot
grow, because It would no longer
be rock If It did - as some of
the songs have proved, along wlto
the new names Its purveyors had
to come up with to describe It.
It seems to me that rock serves
a social rather than artistic purpose; such a purpose, especially
at the present Ume, cannot be
under-rated. Moreover, rock ls
ln tune with art ln this purpose,
for art, too, must have a social
purpose. It ls the most glorious
of man's Ues and one for which
suffered from a lack of proper
Because of rock the youth of the
U.S. have been brought together
on a far greater scale than anything art of law has done since
the beginning of this country's
history. These songs along with
radio, TV, magazines and books
(not so much the movies) have
made whites the ldolators of
blacks just as Inexorably as these
media (expeclally movies) made
blacks the ldolators of whites.
Rock brings a human harmony,
rhythm and scale where once
none existed. When I was released
from prison In 1966 I was quite
frankly surprised at some of
the adoration displayed by white
youths for black rock groups (I
can Imagine the effect this must
have on some white parents) and,
aside from the fact that so many
people enjoy it, this social significance of rock ls enough to Insure its ralson d'etre.
Still, we have those hungry -
or greedy - Jazz musicians who
are afraid to merely say tbey like
rock and play It for that reason
(because they jeel it would detract from their artistic postures) and try to raise It to a
stature it never claimed tor Itself. Where ls toe essence that
would raise this primarily Juvenile expressionistic play-toy to
tbe level of art? Nowhere, Just
like those musicians who feel toe
need to Justify playing It. Even
when rock does make it musically, the nonsensical and more often
downright stupid lyrics negate
any artistic claims. Notice toe
nursery-rhyme quality and the
slUiness that pervades so many
Rock songs. Some have actually
had me near to vomiting.
Fame ls a lady capable of attracting anyone and artists are
clans, some of whom are artists
of toe first rank, would do well
to remember that art has always
lartty. Because mass media—Indeed, Instead of greater recognition the rejection of art may
be greater. Instead of having
one's work misjudged and misused by a thousand dopes, It may
not be misjudged by a million.
Those who can't stomach this rejection perhaps aren't artists
after an. Perhaps they're merely'
talented Uke, well, Uke some of
the rock 'n rollers.
I do not hold tbe fear of rejection or toe focus on tbe dollar
against the musicians, but I do
hold their unjustifiable Justifications against them. I know they're
trying to put me on and I resent
It. I don't want to be bored wlto
their esoteric or esthetic reasonings for playing rock - play
It, baby, that's good enough for
me. If it moves me I'll clap my
hands and pat my feet ... I
might even buy toe record, which
was their purpose for making It
ln the first place.
Let me take the Ume here to
throw a' stone at a myth. The
term *soul* with all of Its ramifications streaking through the
Afro-American experience is
forever closed to white Americans. That ls the myth. The myth-
makers are saying that whites
have soul, but the fact ls that
they don't. Whites are precluded
from soul not because of their
white skins but because they are
hopelessly caught up lnthe "white
man* syndrome. This syndrome
has come to symboUze aggression, oppression, white supremacy and the whole host of negatives that go along with these
acts and attitudes toe world over.
The white man can't have soul
not for WHAT he ls but for the
WAY he ls. He cannot have soul
as long as he denies freedom to
blacks.
Souls ls not a thing; It ls not
even a state of mind, but rather
It ls all of the conditions which
have led to the stale of mind that
ls exclusively Afro and uniquely
American. Whites do not know toe
black experience so how are they
to acquire black soul: tbe very
apex of that experience? BeUeve
me, you rock 'n rollers, It ls so
much more than mere music.
Between the two absolutes of birth
and death It permeates one's entire being by a process of racial
try. All t
even ln toe /
haring Uved to the United States.
There are whites who resent
being told that they have no soul,
and I wonder about them. They
seem to take it toe same way
some Afros do when told that
they can't join a certain country
club. It ls far from toe same
thing and I suspect they know It,
but tbey wlU readily accuse one
of reverse prejudice (as if any
American ls totally exempt.). Yet
these whites wouldn't want to be
forced to Uve as Negroes, which
ls toe prerequisite for having
soul. Soul ls toe only thing in toe
U.S. that belongs completely to
the Afro; It's toe only thing the
white man can't invade, buy,
gerrymander or destroy. Some
whites are foolish enough to think
they can usurp these generic
qualities, some are even moreso
foolish to resent being told they
can't have them.
Musically speaking, whites
can't get soul by imitating toe
Motown sound — no matter bow
skillfully. Soul preceeds and supercedes Motown (which by tbe
way, to lately Imitating whites
lmltaUng Motown. How's that for
a switch?) So long as Afros are
of humans white people will be
denied soul . .
condlUoos   are
dependent upon
whites because Afros have never
tried   to  deny
which may have
been one of oor
big mistakes. S
111, the fact re-
mains that white
s,ln building this
land (by whattn
blindfolds  over
It ls therefore
that they can't
hiding places they built Into It.
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