Kim Bass is one of the most well respected and prolific writer/producers in the nation. He achieved TV gold as writer and producer on three of the most well known and inspirational TV shows for black audiences: In Living Color, Sister Sister, and Kenan & Kel.
UrbanFaith sat down with him to discuss his newest film Tyson’s Run which is in theaters everywhere March 11.
More information on the film is below:
When fifteen-year-old Tyson attends public school for the first time, his life is changed forever. While helping his father clean up after the football team, Tyson befriends champion marathon runner Aklilu. Never letting his autism hold him back, Tyson becomes determined to run his first marathon in hopes of winning his father’s approval.
With the help of an unlikely friend and his parents, Tyson learns that with faith in yourself and the courage to take the first step, anything is possible. In theaters nationwide on March 11, 2022. Find tickets at TysonsRun.com
WASHINGTON (RNS) — The Rev. Melech E.M. Thomas attended two seminaries and graduated from the second, a historically Black theological school, in 2016.
That academic journey has put him in the pulpit of an African Methodist Episcopal Church in North Carolina.
But his pursuit of a Master of Divinity degree also left him about $80,000 in debt.
“The tuition was less, but I still had to live,” he said, describing other seminary-related costs after his transfer from Princeton Theological Seminary to the Samuel DeWitt Proctor School of Theology at Virginia Union University. “I’m in seminary full time. And I got to make sure I’m paying rent, that I’m eating, all those other expenses.”
Thomas traveled to the nation’s capital in early February for a meeting with other graduates, leaders and students of Black theological schools to discuss possible solutions for the disproportionately high debt of Black seminarians.
Delores Brisbon, leader of the Gift of Black Theological Education & Black Church Collaborative, said it’s important for leaders to understand the sacrifices being made by students who pursue seminary degrees in historically Black settings.
“We need to address this issue of debt,” she said, opening the collaborative’s two-day event, “and determine what we’re going to do about it.”
According to data from the Association of Theological Schools, debt incurred by Black graduates in the 2019-2020 academic year averaged $42,700, compared with $31,200 for white grads.
Data shows 30% of Black graduates in the 2020-2021 academic year had debt of $40,000 or more, compared with 11% of white graduates.
Thomas, 34, said his debt, necessary to achieve his degree and gain ordination, has led to a church appointment that “pays me enough to pay rent,” but not his other living expenses. Yet, Thomas said he knows he’s in a better situation than some other graduates of historically Black seminaries.
“I’m grateful,” he said. “But it’s extremely tough.”
The collaborative includes five Black theological schools — Hood Theological Seminary, Interdenominational Theological Center, Payne Theological Seminary, Samuel DeWitt Proctor School of Theology and Shaw University Divinity School. Lilly Endowment Inc. has given three grants between 2014 and 2020 totaling $2.75 million to the In Trust Center for Theological Schools to help facilitate coordination and increased mutual support between the schools, including the recent meeting about student debt.
The Rev. Jo Ann Deasy, co-author of a 2021 report on the ATS Black Student Debt Project, told the dozens gathered at a Washington hotel that the project came about as researchers discovered how “Black students were just burdened by debt more than any others.”
She said ATS is seeking to help change perceptions about what the project calls the “financial ecology of Black students” as seminarians seek training to become religious leaders, churches hope to hire them and theological institutions consider expanding financial networks to aid them.
“We’re trying to help people shift their understanding of finances from really individual responsibility to a broader systemic understanding of how finances operate in our communities and in our churches,” she said. “This is just a part of that shift toward understanding that it’s not the students’ fault but that this is a bigger issue that we need to address together.”
The report described “money autobiographies” of students who sought financially stable circumstances as they attended theological schools, whether historically Black, white or multiracial.
“They noted the disparities in financial support, particularly from congregations and denominations, between themselves and their White colleagues, a disparity that was often not seen or acknowledged by their peers or the institutions they attended,” the report states.
The average annual tuition for an M.Div. — before any scholarships are considered — is $13,100 for free-standing Protestant schools and $12,500 for Protestant schools related to a college or university. Chris Meinzer, senior director and COO of ATS, said that, on average, it takes students about four years to complete an M.Div. degree.
Seminary graduates who attended the Washington event spoke of having few scholarship options and having to take out loans to pay for expenses including or beyond tuition.
“It’s the cost of being enrolled and the cost of student fees along with your books,” said the Rev. Jamar Boyd II, senior manager of organizational impact at the Samuel DeWitt Proctor Conference, which supports African American ministries. Depending on the class and the number of books required, it could amount to as much as $600 to $700 in a semester, said Boyd, 27, a graduate of Virginia Union University’s theological school.
“If you’re a full-time student taking three or four classes, that’s a paycheck,” he said.
Minister Kathlene Judd, a theologian in residence at an Evangelical Lutheran Church in America congregation in North Carolina, said she eventually chose debt over the mental stress of working, studying and supporting a family at the same time.
She worked in information technology as she went through seminary and continues that career as she pays off her debts after originally hoping to pay for seminary without taking out loans.
“If I’m being fully transparent, I had no idea what I was getting myself into,” said Judd, 38, who graduated from Shaw University Divinity School in 2020.
She said it was a “big decision” to borrow money to continue the education she felt God called her to pursue.
“But honestly, it came down to my mental and emotional health,” she said.
Many students and grads, like Judd, are at least bivocational.
The Rev. Lawrence Ganzy Jr. is in his fourth year at Hood Theological Seminary, where he attends a track that allows him to pastor an African Methodist Episcopal Zion Church in South Carolina while taking classes on Friday nights and Saturdays. During the week, he’s an admissions officer for Strayer University.
Prior to seminary, his work through the Carolina College Advising Corps, a government program for University of North Carolina-Chapel Hill graduates to counsel low-income high school students, helped him afford the start of his theological studies.
“That paid for my first year of seminary,” said Ganzy, 26. “Then when I got to the next year, that money was gone.”
Keynoting the opening night of the collaborative meeting, the Rev. Michael Brown, president of Payne Theological Seminary in Wilberforce, Ohio, pointed to the portion of the Lord’s Prayer that says “forgive us our debts as we forgive those who are indebted to us” in the Gospel of Matthew.
“Debt keeps us chained to the past and it doesn’t open up possibilities for the future,” he said, “and so the idea of the forgiveness of debt in the Lord’s Prayer is that it releases you to do things for God.”
During the event, graduates spoke of the additional financial struggles they faced, such as debt affecting their credit scores as they try to purchase a car and escalating rent, sometimes in historically Black neighborhoods that have been gentrified.
Brisbon pointed out that Black theological schools may have small endowments and may not get support from their alumni, in part because of the often-lower salaries received by their graduates.
“Black preachers may love their school as much as somebody else but they can’t give money that they don’t have,” she said.
The ATS report noted that a 2003 Pulpit & Pew study found that, on average, Black clergy salaries were about two-thirds those of white clergy. In a 2019 Christian Century essay, scholars noted that a study by the Samuel DeWitt Proctor Conference found that one-third of Black pastors believed they were “fairly and adequately compensated as a professional” while 67% said that they had “particular financial stress” at that current time.
The Rev. Leo Whitaker, executive minister of the Baptist General Convention of Virginia, told Religion News Service that some clergy in the more than 1,000 churches in his Black state denomination are often “bivocational if not trivocational” to make ends meet, especially when they are located in a region like the state’s Northern Neck rather than the city of Richmond.
Whitaker suggested to collaborative members that they look to U.S. government programs that offer debt forgiveness to educators and doctors who serve in needy communities, noting they should offer the same for seminary grads. He hopes collaborative members will discuss his idea with seminary and education officials.
“You’re serving a stressed community and you’re financially stressed yourself without the ability to make the necessary funds and it’s not about them having a choice of where they choose to serve,” he said, noting that Methodist bishops appoint clergy and Baptist clergy go where congregations have called them to serve. “In ministry our location is not always assigned to us by choice.”
Bishop Teresa Jefferson-Snorton of the Christian Methodist Episcopal Church, a historic Black denomination, said laypeople and clergy may not be aware of the sacrifices made by seminarians and recent graduates as they pay seminary tuition that is far more than what she paid 40 years ago.
“Most of our highly organized denominations don’t really have a grasp on what they are actually doing or not doing to support theological education,” Jefferson-Snorton added. “Although in many cases we promote it, we encourage it. But we don’t resource it and I think that needs to be brought to the attention of the church.”
RNS receives funding from Lilly Endowment Inc. RNS is solely responsible for this content.
2 “How long will you go on like this?
You sound like a blustering wind.
3 Does God twist justice?
Does the Almighty twist what is right?
4 Your children must have sinned against him,
so their punishment was well deserved.
5 But if you pray to God
and seek the favor of the Almighty,
6 and if you are pure and live with integrity,
he will surely rise up and restore your happy home.
7 And though you started with little,
you will end with much.
8 “Just ask the previous generation.
Pay attention to the experience of our ancestors.
9 For we were born but yesterday and know nothing.
Our days on earth are as fleeting as a shadow.
10 But those who came before us will teach you.
They will teach you the wisdom of old.
20 “But look, God will not reject a person of integrity,
nor will he lend a hand to the wicked.
21 He will once again fill your mouth with laughter
and your lips with shouts of joy.
22 Those who hate you will be clothed with shame,
and the home of the wicked will be destroyed.”
In the journey of life, there are moments that will come where life will be difficult. Things will not make sense. It could be a hardship season for you. When those seasons come, it is easy to resort back to a place of fear, second guessing our faith, and wondering if God is really alive.
This scripture Job 8:5-8 reveals the power of prayer while seeking God in those difficult life seasons. What does seeking God look like? How do you seek God in a time of trouble?
Do not be afraid to ask Him if you need help. A lot of times, there is a sense of guilt or fear wondering whether God can handle your situation. But the reality is seeking Him reveals He cares and acknowledges the effort you make
Praying and asking for wisdom until you get the assurance that God has heard you. He will provide what you need. Assurance may not automatically come to you in prayer. However, as you seek Him regarding the situation, His peace will manifest that assures you He hears and will attend to you
Be alert as you pray for the instructions that will accompany the prayers. God may impress on you to forgive an offense, or do something that may not seem relevant to what you are inquiring about in prayer, but obey even if it does not make sense to you in the moment.
You should never judge yourself in your expression of pleading with God in prayer. The posture of pleading should not be misconstrued with begging. If you have been begging God to answer your prayers, your viewpoint of Him may be one of trying to convince Him you are worthy of a breakthrough or an answer. Pleading with God is making an earnest appeal to Him from a posture of faith. Your faith in God’s power and sovereignty pushes you to appeal to Him for your breakthrough.
Pleading often pulls from an established testimony with God. You have seen His power and miraculous grace and you are confident in what He is able to do.
This scripture also reveals the power of knowing the history of God’s work in the world. Finding out what God has done from previous generations, allows us to see the continuous integrity of God’s ability to provide and take care of His own. During a time of need, you may pull on the God of your parents or grand-parents or someone who is dear to you, who has walked with the grace and power of God in such a way that it convinced you of His existence. When you know this beautiful history, it can be used to affirm your faith in the moments you need prayers answered.
I have learned that in this life, there will be trials and tribulations that you will go through. Prayer will make it possible for you to live life with hope. When you get to those seasons, may you be reminded that prayer works, a history with God is powerful, and your faith can give you the confidence to make an appeal for what you need from Him.
He is able to restore you to a prosperous state. That is something you should always desire.
Prayer
Dear Father,
I thank you today, for those who came before me, who consistently served you and established a history of faithfulness with you. I know I am an answered prayer for someone else. As I pray, help me to build a history with you, that others will be inspired by, that will make them believers in your Presence. I release any form of guilt that makes me feel afraid to appeal to you. By faith I believe, as I am seeking you earnestly, you will restore me to my prosperous state.
Mary Lou Williams inspired Duke Ellington and a generation of future jazz legends. But it’s her sacred jazz, and journey of faith, that captivated my spirit.
The brilliant jazz pianist and composer Mary Lou Williams, who died in 1981 at age 71, was a prolific artist, writing and arranging hundreds of compositions and released dozens of recordings. Along the way, she worked with jazz giants such as Duke Ellington and Benny Goodman and served as a mentor to other seminal figures, including Dizzy Gillespie and Thelonious Monk.
Williams, who often stated that she wanted to be a force for emotional healing through her music, began focusing on faith-based compositions during the 1960s. From 1963 until 1970, she composed a number of hymns and three Mass settings that garnered attention within the American Catholic church as well as from the Vatican. Her liturgical music even inspired Ellington to write his own Sacred Concerts.
As I sit in my Manhattan apartment, I am surrounded by the spirit of Mary Lou Williams: the record cover photo from her 1978 Montreux Jazz Festival solo concert looks out from above my computer; recordings dating back to 1938 sit on a CD shelf devoted strictly to Williams’ music; and my own sheet music scores are all over the living room futon as I finish putting together a songbook to accompany my own sacred jazz recording, From This Place.
Even more important than these physical items is the recognition in my own spirit of an affinity, a sense that I am continuing in Williams’ legacy of bringing together jazz and liturgy, whether I am literally playing her compositions with my trio or playing my own pieces in a local or faraway church. Why does Mary Lou Williams matter, and how has she given so much inspiration to me?
Rather than give a complete chronological overview of Williams’ work (which has been done with great aplomb elsewhere), I’d like to briefly recount Williams’ journey of faith — her conversion to Catholicism, her liturgical music — and how my own personal journey has been influenced by this bold woman’s inspiring path.
The Roots of Conversion
In 1952, after a career that had included being principal arranger, composer, and pianist for bassist Andy Kirk’s Twelve Clouds of Joy in the late 1920s and 30s, writing big band arrangements for Goodman and Ellington, orchestral arrangements of her original pieces, and playing extended trio engagements at respected New York jazz venues, Mary Lou Williams set sail for a nine-day performance tour in England. Her nine-day tour turned into a two-year European sojourn.
Williams’ conversion to Christianity had its roots in Paris. While she had experienced many successes in her career, she also had many disappointments, both in business affairs and in her desire to take care of those less fortunate than herself (often members of her extended family). Her brilliance as a forward-thinking composer and performer belied the lack of opportunities she was afforded to record as a bandleader. Her family in Pittsburgh had the impression that Williams was a wealthy woman (and she indeed often sent money home to aid her relatives); however, Williams struggled all her life to survive financially as a jazz musician. During her sojourn in Paris, she began to feel a growing depression, a sense that music held little meaning for her.
While in Europe, one of Williams’ patrons, an American expatriate and practicing Catholic named Colonel Edward L. Brennan, introduced her to a church with a garden. It was of this place that Williams later remarked that she had “found God in a little garden in Paris.” Around this same time, she began seeking solace in prayer and in reading the Psalms. She also grew more reclusive as she questioned her career as a musician and attempted to find a way to get close to God.
Returning to the States in late 1954, Williams began withdrawing from the performing world. She did several radio and television appearances, and also recorded the important chronicle of jazz music, A Keyboard History, but turned down offers to perform in nightclubs, feeling that their environments were sinful. She continued her inward spiritual search, briefly attending Harlem’s historic Abyssinian Baptist Church before embarking on an austere diet of prayer and service that began at Our Lady of Lourdes, a Catholic church in her Harlem neighborhood. Williams reportedly made lists of up to 900 names of people she would pray for every day: she would spend hours in the church in prayer, then return home to attend to family members (who had moved in with her from Pittsburgh), some of whom had addictions to drugs. Even though she needed money, she continued to turn down performance offers.
In 1956 and ’57, Williams met two priests who proved influential in her spiritual formation and her return to public performance. Father John Crowley met Williams’ close friends Dizzy and Lorraine Gillespie while working as a missionary in Paraguay. Crowley, a jazz lover, met with Williams when he returned to the East Coast. He urged her to stop taking in musicians and family with addiction issues. He also suggested that she offer her music as a prayer for others, nudging her towards her eventual decision to re-enter the jazz scene as an active performer.
A Jesuit priest, Father Anthony Woods, was introduced to Williams by Barry Ulanov, the great jazz writer who had himself converted to Catholicism from Judaism. Woods, who was based at the large St. Ignatius Loyola Church on Park Avenue, gave catechism classes that Williams attended with Lorraine Gillespie. Woods helped Williams learn how to pray for others without writing out each name on her lengthy prayer lists. Perhaps most important, he encouraged her to return to her music. In 1957 both Williams and Gillespie were baptized and confirmed in the Catholic Church.
A Marriage of Jazz and Faith
Williams’ conversion began a ten-year period of bringing together jazz and liturgy, from 1962 to 1972. In ’62 Williams composed “Hymn for St. Martin de Porres” for the Dominican lay brother who was the first person of color to be canonized in the Catholic Church. The piece appears on the 1964 recording Black Christ of the Andes, released on Williams’ own record label, Mary Records.
In 1964 Williams convinced the Pittsburgh bishop, John J. Wright, to help sponsor the first Pittsburgh Jazz Festival. At that festival, which included Art Blakey, Thelonious Monk, Ben Webster, and others, Melba Liston arranged much of Williams’ original material (including “St. Martin de Porres” and “Praise the Lord”) for a 25-piece band.
Pittsburgh was also where Williams composed the first of her three Masses. In 1967 she was hired by Bishop Wright to teach music at Seton High School, a Catholic girls’ school in the city. Williams began writing her first Mass (simply entitled Mass) during her teaching: according to Williams, she would write eight bars at a time and then teach the new material to the students. In July of the same year, her complete Mass was performed in Pittsburgh’s St. Paul’s Cathedral with a small choir of thirteen voices and piano.
In 1968 Williams was commissioned by the New York Catholic Diocese to compose a Mass for Lent. Mass for Lenten Season was performed for six Sundays at the Church of St. Thomas the Apostle in New York in 1968. The instrumentation included saxophone, flute, guitar, piano, bass and drums (or bongos). These first two Masses have never been recorded in their entirety.
That April, following the assassination of Dr. Martin Luther King Jr., Williams composed two tribute pieces for the civil rights leader. “If You’re Around When I Meet My Day” and “I Have a Dream” were both performed by a children’s choir on Palm Sunday of 1968.
In March 1969 the Pontifical Commission on Justice and Peace commissioned Williams to write the Mass for Peace. This papal commission was an opportunity that Williams had dreamed about for years.
This third Mass, which combined jazz-rock and gospel, is the best known of the three Masses. Williams self-released the work on Mary Records and premiered Music for Peace in concert at Columbia University’s St. Paul’s Chapel in April 1970. She presented the piece in churches and schools for several years before it was performed as part of a Mass at St. Patrick’s Cathedral in New York in 1975. She also expanded the Mass for Alvin Ailey, who choreographed and performed the work, now known as Mary Lou’s Mass. (See the video above to hear my interpretation of “Gloria” from Mary Lou’s Mass).
From 1977 to 1981, Williams was artist-in-residence at Duke University, where her history of jazz classes had long waiting lists — Williams’ love of educating young people made her an extremely popular teacher. She formed the Mary Lou Williams Foundation just prior to her death on May 28, 1981.
Traveling with Mary Lou
My own journey with Mary Lou Williams began two decades ago.
In 2000, Dr. Billy Taylor asked me to lead my group at the Mary Lou Williams Festival at the Kennedy Center. I was excited and felt a huge responsibility to learn about Williams — at that time, I did not yet know any of her work. I had heard Williams’ name, and knew that she had been a pioneering jazz musician who had mentored Charlie Parker, Bud Powell, and Thelonious Monk — but I had not yet listened to that much of her music.
Fortunately, I found ample resources with which to begin my research: trumpeter Dave Douglas had recently released the recording Soul on Soul, a tribute to Williams; author Linda Dahl had recently released her biography of Williams, Morning Glory; and I visited the wonderful Mary Lou Williams Collection at the Institute of Jazz Studies at Rutgers University.
The revelation about Williams’ sacred output was especially of interest to me, as I had moved from Chicago to New York in 1997 to accept a position as music director at All Angels’ Church, an Episcopal parish on the Upper West Side. While at All Angels’, I composed the beginnings of two Mass settings, Psalm settings, and new music for old hymn texts. After leaving that position in 2000 (right around the time of my Kennedy Center performance). Inspired by Williams, I realized that I had a book of music that might have a life outside of one congregation.
Like Mary Lou Williams, I began making contacts with churches when I would travel, and started presenting my sacred music in the context of worship services, something I do to this day. Like Williams, I feel passionately that jazz has much to offer the church: its life, richness, and ability to move hearts is sorely needed as part of the musical palette offered in worship music today. Like Williams, I converted to Catholicism. (I was received into the church in 2009.) While my decision to convert was not because of Williams, her courage to follow the leading of God’s Spirit — both in music and in faith — provided me with constant encouragement, comfort, and sometimes a kick in the pants to move forward.
Going back and rereading portions of Morning Glory, I resonate even more deeply with Williams’ struggles as a bandleader and composer. At times, I have felt discouragement, confusion, and loneliness as I have wrestled with where God is leading me. I have wondered why my path does not seem to be conventional. But then I look at the photo of Williams above my computer, and I’m reminded that I’m not alone. This strong, talented, sensitive, passionate woman has laid the groundwork for me and many others who follow in her wake. How could we not be emboldened by her remarkable example?
•Deanna Witkowski’s website features video clips of her musical seminar Moving With the Spirit: The Sacred Jazz of Mary Lou Williams.
In Print:
Historian Tammy Kernodle’s biography Soul on Soul: The Life and Music of Mary Lou Williams gives ample attention to Williams’ spiritual conversion and liturgical music. And the aforementioned Morning Glory, by Linda Dahl, is another significant biography of Williams:
Williams’ non-liturgical recordings are also noteworthy and substantial. Two of Deanna Witkowski’s personal favorites are Live at the Cookery and Zodiac Suite. In addition, Nite Life includes a half-hour spoken commentary by Williams.
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Whoopi Goldberg, co-host of ABC’s “The View,” set off a firestorm when she insisted on Jan. 31, 2022 that the Holocaust was “not about race.” Hands outstretched, she went on to describe the genocide as a conflict between “two white groups of people.”
As someone who writes and teaches about racial identity, I was struck by the firmness of Goldberg’s initial claim, her clumsy retraction and apologies, and the heated public reactions.
Her apology tour on her own show the next day, on “The Late Show with Stephen Colbert” and on Twitter
raised more questions about her views on race, antisemitism and the Holocaust. Goldberg also seemed unaware of the non-Jewish victims of the Nazis. By the end of the week, the president of ABC News described Goldberg’s remarks as “wrong and hurtful” and announced that she was suspended from the show for two weeks.
How did a conversation about the controversial banning of the Holocaust graphic book “Maus” by the Tennessee Board of Education, which Goldberg opposed, turn into such a media spectacle? And what does it tell us about the social norms guiding how we talk about race and violence?
Filling the void
Sociologist and American Civil Liberties Union attorney Jonathan Markovitz defines “racial spectacles” as mass media events surrounding some racial incident that is passionately debated before dying down.
In the absence of sustained national dialogue, shows like “The View” and comedians like Goldberg can easily become lightning rods. The American public often overestimates their ability to unpack complicated social issues. Are they public intellectuals or entertainers? Critics might also ask why someone like Goldberg, who has already demonstrated odd thinking about racial identity and a willingness to defend racist acts, would have such a huge platform in the first place. But this isn’t just about Whoopi Goldberg.
Let’s clear up a few points: Race is an elastic social category, not a fixed biological one; Jewish identity and experience are not synonymous with whiteness; and Jewish people have historically been treated as a distinct racial group. The Holocaust was the systematic genocide of some 6 million Jews from 1941 to 1945, fueled by the Nazis’ belief that they were an inferior race. Other victims included Poles, Roma, gay men, lesbians and others.
The Holocaust is one of the most extreme and tragic examples of what sociologists Michel Omi and Howard Winant referred to as “racial projects.” In their work on racial formation, they used that term to describe how racial categories are formed, transformed and destroyed over time. In other words, the fact the Jewish people themselves may disagree over whether they are a racial or ethnic group does not undo their long history of being categorized and marginalized as such.
Still, it is unsurprising that an American, perhaps especially a Black one like Goldberg or myself, would think that race is about skin color given how it plays out in our lives. As a graduate student studying racial violence and collective memory, I was stunned to learn how ideas about racial difference varied wildly across societies and how those ideas could morph within the same society over time.
I learned that race is a social idea that is propped up by observable traits, only one of which is skin color. The racialization of Jewish people may not be about complexion, but physical markers are still often used to differentiate and stereotype the Jewish body.
It is also important to understand ongoing antisemitism in the U.S. and efforts to deny that the Holocaust even happened. Goldberg’s remarks were clearly the sort of “excitable speech” that gender theorist Judith Butler writes about, disorienting us by bringing violent histories to bear on us today. The way we talk about the past matters – as does the way people are held accountable for misrepresenting it – because so much of it helps to explain the contours of existing conflict.
Another lesson
At the same time, dismissing Goldberg’s comments and the backlash would mean missing an opportunity to appreciate what can result. For example, in light of the recent controversy, the Anti-Defamation League announced it will revise its definition of racism to include both race and ethnicity.
In this moment, people are talking about Jewish identity, racism and a violent history we’re meant to “never forget.” But they’re also talking about Blackness.
What can we make of the frenzied rush to chastise and publicly ridicule a Black woman for talking about race in the wrong way? On the one hand, this is similar to other celebrities condemned for racist speech whose apologies get scrutinized.
Yet, the Goldberg affair feels different to me. It reignites a recurring suspicion that Black people, while oppressed, suffer from twisted bigoted racial thinking – that Black people are not innocent victims after all. When a Black celebrity makes racist remarks, suspicions reawaken that perhaps it is a collective failing. This sort of projection of individual acts onto an entire group as if it were a shared trait is anti-Black.
Yes, many of us think Goldberg got it horribly wrong. And yes, her apologies made matters worse. There are better ways to think and talk about race and racism.
But observers shouldn’t be surprised when these conversations go awry, considering how little time is spent openly having them in the first place.
Mary Lou Williams inspired Duke Ellington and a generation of future jazz legends. But it’s her sacred jazz, and journey of faith, that captivated my spirit. 
In 1952, after a career that had included being principal arranger, composer, and pianist for bassist Andy Kirk’s 
