HBM140: The New Black Wall Street

/

A man surveying the damage of the Tulsa Race Massacre in 1921 with a sun rising and pillars of smoke billowing. Original image from the collection of the Oklahoma Historical Society. Digital collage by Jeff Emtman.

 

There used to be a neighborhood in Tulsa where Black people were wealthy. They owned businesses, built a giant church, a public library. Some Black Tulsans even owned airplanes. Booker T. Washington called it “Black Wall Street.” Others called it “Little Africa” and today, most call it “Greenwood.” 

Content Note: Descriptions of racial violence, several mentions of a suicide, language.

In the early 1900s, the neighborhood was prosperous and thriving, but Black Tulsans were still a racial minority in a young city that already had a reputation for vigilante justice. A local chapter of the KKK was starting to form. 

In the Spring of 1921, a Black shoe shiner named Dick Rowland was brought into custody for allegedly assaulting a white woman. Over the coming night and day, a huge mob of white Tulsans burned and looted and murdered in Greenwood and the surrounding areas. Dozens or possibly even hundreds of Black Tulsans died, thousands became homeless. 

But authorities never held anyone responsible. In fact, they detained many Black residents, some for up to a week. And insurance claims made in the aftermath were denied, as the insurance policies did not cover “riots.” 

 
 

In the decades that followed. Records of the event went missing, some fear they were destroyed. The mass graves have yet to be found. And many Black Tulsans believed they could face retribution for speaking out about the event. It wasn’t even taught in school until recently. 

As a result, a lot of Tulsans still don’t know the history of Greenwood. 

Local rapper Steph Simon was one of them. He grew up near Greenwood, and he went to middle school there. But it wasn’t until his 20’s when he stumbled upon a documentary about the massacre on Youtube. From there, he became obsessed with learning more about the true story of Tulsa. And in 2019, he released an album called Born on Black Wall Street where he reintroduces himself as “Diamond Dicky Ro” in homage to the young shoeshiner whom white mobs tried and failed to lynch on that night in 1921. 

In 2011, an Oklahoman journalist named Lee Roy Chapman wrote an article for the publication This Land. Chapman’s story, The Nightmare in Dreamland, was a devastating re-telling of the life’s story of an Oklahoman legend--a “founder” of Tulsa named Tate Brady. Brady was well known as an oil tycoon and hotel owner who ran in the elite circles. However, buried by history was Brady’s legacy of violence and racial animus. He was a defender of the Confederacy, he was credibly accused of tarring and feathering some IWW union members, and for part of his life, he was in the Ku Klux Klan. And on the night of the massacre, Brady was there, acting as a night watchman. He reported seeing several dead black people in the streets in or around Greenwood. 

With these revelations, a movement started to remove the Brady name from Tulsa. That movement succeeded partially, but the Brady name is still a part of the Tulsan landscape. 

When Steph Simon shot the cover image for Born On Black Wall Street, he wanted to incorporate the symbolism of Tate Brady. So he went to Brady’s former mansion—a house modelled visually after the house of Robert E. Lee’s, with murals of the Confederacy painted inside and big stone columns out front. It sits on a hill overlooking historic Greenwood. And he stood on the front steps of the mansion only to see a childhood friend driving by. It was Felix Jones, an ex-NFL running back. The two grew up together. To Simon’s surprise, Jones revealed that he’d just bought the mansion. And he invited Simon inside. 

 

 

Together they thought up ideas on how to transform the legacy of the house from something hateful to something loving. So Simon invited about a hundred Black kids to come have a party on the lawn while he filmed the music video for his single “Upside”. 

After that, Simon and Jones started throwing concerts there, drawing huge crowds and starting the slowly re-contextualizing the house into something positive. They renamed the house “Skyline Mansion.”

As this transformation took place, another local DJ and producer, Stevie Johnson woke up in a cold sweat one night. He’d had a dream about rebuilding Black Wall Street, figuratively and literally. He opened his laptop and wrote down his ideas frantically, trying to remember his vision. And soon after, he started to act on it. 

His first step was Fire in Little Africa: a commemorative rap album to mark the 100th anniversary of the Tulsa Race Massacre, featuring nearly sixty artists from Oklahoma. And over the course of a weekend in early 2020, rappers and community members and businesses filled Skyline Mansion to record dozens of tracks for the album. 

Fire in Little Africa will be available in February of 2021. Their podcast is out now. They’re also curating spotify playlists of the featured artists, and they’re accepting donations via the Tulsa Community Foundation. 

 
 

On this episode of Here Be Monsters, Taylor Hosking visits the former Brady Mansion to talk to the musicians who are looking to build a new Black Wall Street in Tulsa. Taylor also published an article in CityLab called Avenging the Tulsa Race Massacre With Hip Hop.

A lot of people and organizations helped make this episode possible. We’d like to thank Steph Simon, Verse, Stevie Johnson, Keeng Cut, Written Quincy, Bobby Eaton, Felix Jones, Dan Hanh, Mechelle Brown, Chris Davis, Shruti Dhalwala, Brandon Oldham, Ben Lindsey, John DeLore, The George Kaiser Family Foundation, The Oklahoma Historical Society, and The Woody Guthrie Center. 

Producer: Taylor Hosking (Instagram) (Twitter)
Editor: Jeff Emtman
Music: Steph Simon, Verse, (see embedded YouTube playlist 😀☝) The Black Spot

Also heard on this episode: recordings from Black Lives Matter protests made by Neroli Price of Seattle, Washington; Bryanna Buie of Wilmington, North Carolina; and Bethany Donkin of Oxford, UK. 

More About the Tulsa Race Massacre:

- Official Report from 2001 which describes the events of 1921 in detail and with context. 

- Educational comic about the massacre published by the Atlantic and sponsored by HBO’s Watchmen. 

- Riot and Remembrance By James S. Hirsch

 

HBM139: Acceptable Pains

/

Image by Jeff Emtman.

 

Hedonism seems pretty appealing right now—seeking pleasure and avoiding pain. On HBM137: Superhappiness, the hedonist philosopher, David Pearce imagined a future free of the systemic harms we currently experience: poverty, oppression, violence, and disease. 

But David thinks that even an idyllic, egalitarian society wouldn’t ensure universal happiness. He thinks that the only way to make everyone blissfully happy is to use technology and genetic engineering to make physical and emotional pain obsolete.

“I'm a mammal, just like an aardvark is, just like a possum is. And they don't get epidurals.”
— Ashlynn Owen-Kachikis

HBM producer Bethany Denton doesn’t fully agree. She thinks that heartbreak, homesickness, grief can all be good pain, pains that can make us better and kinder people in the long run.

So what should the role of pain be in society? And further, what about the pains that we opt into, the pains we volunteer for?

On this episode of Here Be Monsters, Bethany interviews people about long distance running, unmedicated childbirth, and voluntary crucifixion in the Philippines.

Will James is a reporter for KNKX Public Radio. Ashlynn Owen-Kachikis is a special education teacher. Carlo Nakar is a social worker and recurring guest on HBM.

Producer: Bethany Denton
Editor: Jeff Emtman
Music: The Black Spot, Flowers, Olecranon Rebellion

 

HBM138: Did Neanderthals Bury their Dead?

/

Foreground: Flowers drawn by 16th century naturalist Ulisse Aldrovandi. Midground: The reconstructed skull of Shanidar 1. Photo by James Gordon. Background: View from mouth of Shanidar Cave, photo by Graeme Barker. Digital composite by Jeff Emtman.

 

There’s a large cave in the foothills of Iraqi Kurdistan. It looks out over green and yellow fields and a river far below. Starting in the 1950’s, the American archaeologist Dr. Ralph Solecki led a team who excavated a trench in Shanidar Cave, discovering the remains of ten Neanderthals who died about 50,000 years ago. 

Dr. Solecki’s discoveries helped ‘humanize’ Neanderthals, a species of early humans often thought of as the brutish, stupid cousins of our species. In sharp contrast, Solecki believed Neanderthals to be nuanced, technologically adept, interested in art and ritual. Solecki suggested that the bodies at Shanidar Cave were intentionally buried. 

Many of Dr. Solecki’s theories on the complexity of Neanderthal minds seem to be correct. But he also made a famous claim about one of the bodies, named “Shanidar 4.” This individual was found with flower pollen around the body. Solecki suggested this was a ‘flower burial’, an intentional death ritual where flowers were laid on the body, possibly to signify the passing of an important member. This interpretation was not universally accepted, as others pointed out there are several ways for pollen to wind up on a skeleton. 

Half a century later, Dr. Emma Pomeroy from Cambridge University went back to Shanidar Cave with a team of archaeologists. They kept digging, hoping to help contextualize Solecki’s findings. To their surprise, they found more bodies. And their findings seem to support Solecki’s theories. The bodies were likely intentionally buried, and they were discovered in soil that contained mineralized plant remains, meaning that the pollen in Solecki’s findings couldn’t have come from modern contamination. 

 
 

It’s possible that Shanidar Cave may have been a significant spot for Neanderthals. But Dr. Pomeroy believes that further work is still needed. Currently, their excavations and lab work are on hold due to the current coronavirus pandemic. 

Dr. Pomeroy admits to imagining the lives of the Neanderthals she studies. She wonders how they spoke to each other, and what they believed about death and the rituals surrounding it. These things don’t preserve in the fossil record though, so we’re all stuck interpreting from clues, like the source of a bit of pollen or the maker of a tiny piece of string.  These clues have the ability to teach us the “humanity” of some of our closest evolutionary cousins. 

Producer: Jeff Emtman
Editor: Bethany Denton
Music: The Black Spot, Phantom Fauna

Sign up for our HBM Summer Art Exchange!

 

HBM137: Superhappiness

/

David Pearce on a Zoom call with producer Bethany Denton. Image by Jeff Emtman.

 

David Pearce thinks it's possible to end suffering. He’s a philosopher* who studies “hedonic zero”, the state of being which is completely neutral--neither good nor bad. He believes that, despite our momentary joys and sadnesses, most of us have a set point we tend to return to. And that “hedonic set point” falls somewhere on the spectrum of positive to negative. 

For David, his set point is negative. He’s always been melancholic and he has depression. He remembers his interest in philosophy sparking in his teenage years, when he felt an outcast.  He’d sit in the dark, and listen to pop music and try to figure out how to end the world’s suffering. 

He bought a book that introduced him to the concept of wireheading, which is the artificial stimulation of the brain.  The wireheads could experience instant bliss with nothing more than electricity. This concept was huge for David: promise of a concrete mechanism to elevate his mood, instantly and without drugs. 

Since then David has dedicated his life to understanding hedonic set points and how to manipulate them through physical interventions (like wireheading), gene manipulation (which is arguably already being done with IVF babies), medication, and the eventual transition to post-humanity. 

In 1995 David wrote The Hedonistic Imperative. He is the co-founder of Humanity+ (formerly the World Transhumanist Association).  He currently sits on their advisory board.

Producer: Bethany Denton
Editor: Jeff Emtman
Music: The Black Spot, Circling Lights, Flower Petal Downpour

*David Pearce’s philosophy aligns him with transhumanism, negative utilitarianism and soft antinatalism.

 
HBM138-01.gif

HBM136: Jacob's Lost Biography

/

Image by Jeff Emtman

 

In 2012, Jacob Lemanski started writing his autobiography a few words at a time when he signed his name on the digital card readers at the grocery store. He read somewhere that the credit card companies keep the signatures on file for seven years. He thought he might report his card stolen in 2019 so that some grunt at Mastercard would find the story of his life...or…more likely he thought it was a project destined to evaporate and never be seen by anyone. 

His inspiration came from an email forward containing a certain Kurt Vonnegut quote about making art for the sake of making art—whether it’s singing in the shower or writing bad poems. Vonnegut argued that art is one way to make the soul grow. 

Jacob considered turning this into a lifelong project. At the time that he and HBM producer Jeff Emtman first talked, he was four entries into the project. On this episode, Jeff checks back with Jacob about his grocery store autobiography. 

Jacob is a retired ant farmer living in Boulder Colorado.

Also on this episode, voicemails from listeners, who share stories about their bodies, sounds from the world around them, and the things that make them feel guilty. Call us anytime (765) 374-5263

Producer: Jeff Emtman
Editor: Bethany Denton
Music: The Black Spot, August Friis 

 

HBM135: Dying Well

/

3d image by Jeff Emtman. Cloth Texture by Simon Thommes’ Weavr.

 

We live in a culture of “death denial”. That’s what Amanda Provenzano thinks. She sees it when medical professionals use euphemisms like ‘passing away’ instead of ‘dying’. She sees it when funeral parlors use makeup to make it look like a person is not dead but sleeping. Most often she sees it when her clients’ loved ones insist their dying family member is going to pull through, despite all evidence to the contrary.

Content Note: Language

Amanda is a death doula, someone who provides practical, emotional, and spiritual support to people who are about to die. Sometimes this means that Amanda helps dying people and their families sort out their end-of-life paperwork and advanced care directives; Sometimes she helps dying people plan their own memorials. And sometimes she sits with people as they die. She says the tasks she performs are different for every person, but that her goal is always the same: to advocate for the wishes of the dying.

Amanda says that, in her experience, death is often harder for the loved ones to accept than it is for the person who is dying. “It’s almost like, in Western culture, it’s not OK to die… Like we guilt the dying person into trying to keep them here longer, with medicine and medical procedures because we, the survivors, are not capable of letting go of that person.” Because of this, Amanda recommends that people grieve by holding and touching the bodies of their loved ones after they die. She believes that talking about death openly will help people be less afraid.

Producer: Bethany Denton
Editor: Jeff Emtman
Music: The Black Spot