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education old

HOTEL VOICES: THE REVIEW

BY

MARLON CRUMP/PNN

Tuesday February 9th, 2010

The Revolutionary Theatre project co-written, co-directed and acted by writers, artists and poets currently living, surviving and sometimes thriving in Single Room Occupancy Hotels (SRO) aka poor people housing in the Bay Area.

"The play (Hotel Voices) was riveting and inspiring it touched upon many issues in SROs ------- police brutality, community and habitability issues and the non-profit industrial complex to name a few." Statement from Nathaniel Holmes following Hotel Voices. He would then tell me how my particular scene really touched him.

Entertainment, even for just a split second, is an amnesia tool for people to briefly escape whatever problems they faced in their lives. For us poverty scholars, theater art goes without saying, as all of us wants to be seen and heard.

In 2006, Tony Robles, co-editor and teacher of POOR originally helped instrument this project, as a newsletter publication for SRO Tenants to have their voices heard. He and POORs goal introduced the notion that writing is fighting to every tenant interested to have their voice heard. Having just survived the infamous S.F.P.D. onslaught at my residence of the All Star Hotel at the time, I was thrilled to write my own story of what had happened to me.

This began my journey with POOR Magazine/PNN.

Then just last year, something even more exciting happened. I learned that this project that began as a means for us poor people living an SRO to be heard would now become a full production play! I was immediately grasped with excitement and anticipation, being an SRO occupant myself.

Much has been said, read, and misled about the living conditions and characters, of people who live in Single Room Occupancy (SRO) Hotels: Filth, crime, former felons, violence, pests, etc, etc. Nothing is said are the unsung heroes, artists, survivors, thrivers, poor working class, and poverty scholars who are collectively defiant towards marginalization.

Undetermined, un-classified, and unsanctioned for negative stereotypical categorization from the corporate media persuasion, comes the silenced voices heard, FINALLY heard that is. This was achieved through a play of revolutionary art proportions. No longer silenced voices, we were.............

HOTEL VOICES!

Indeed, the voices of us SRO Tenants were not only heard, but our lives were seen through subsequent scenes. Sunday January 17th, 2010 began the launch of "Hotel Voices" a collaboration between Tenderloin Housing Clinic, Tony Robles, Tiny Gray-Garcia, and Bindlestiff Theatre aimed at dismantling the "war against the poor" machine and society's view based on blatant ignorance. This ignorance, however, became ill fated on this day.

Hotel Voices theatrically speaks to and educates the world surrounding the real life experiences, and actual events (some of them life-changing) of people in poverty who reside in SRO (Single Room Occupancy) Hotels. "Poor People Housing" as defined by POOR Magazine/PNN. Our own screenplays were single-handedly prepared by us, foretold by us, re-lived and physically re-enacted ONLY by us poverty scholars:

Catalina Dean, Bruce Allison, Ruyata McGlothin, (a.k.a RAM) David Elliott Lewis, Nightmare Joey, Thornton Kimes, Victor Nelson, Robert Weber, Joseph Bolden, Charles Pitts, and yours truly, Marlon Crump. In addition, Tony Robles, Allan Manalo, and "Tiny" Lisa Gray-Garcia, each of us had a significant role in this play.

Institutionalization/incarceration intro with a harmonica theme, infamous illegal po-lice room raid, finding solace soulfully and collectively through music, thwarting a pest annoyance and bad news with a song, paying homage to an unsung hero and heroes, frustration from an S.S.I check delay, and uncomfortable housing, a racially motivated attack prompting a "police response" pursuit of justice from a tenant, an ungrateful food service scenario, a prisoner of video games, a spoken word piece combating cops a child protective services.

All of the above acted, re-enacted and rigorously rehearsed for four months.

In bringing forth entertainment alongside of the possible sorrow internally felt by those who would see the play, two characters were created: "Super tenant" (Tiny) and "El Bed Bug", (Charles Pitts). Super tenant's role was to be a conscious character to SRO Tenants reminding them of their rights, while El Bed Bug is a villainous conqueror who discourages them from believing otherwise. A created character met aphorized as symbol of modern day marginalization of housed poor people.

The Jefferson Hotel, an SRO itself with a historical background, located in the San Francisco's Tenderloin District was the play's destination. Downstairs in its basement was where everyone seated. A mural art painting of SRO Hotels (by Charles Pitts, and Silencio Muteado) was fastened over the wall on center stage. The shifty weather of rain and wind would not be a barrier for people who're anxious with anticipation for the play, on this Sunday afternoon.

After people poured in for the show, they were all greeted and welcomed by Tony Robles, and Allan Manalo, director of Bindle stiff Studio. Following both of their opening addresses, all of us involved in the play appeared, dancing to a 50's "Doo Wop" theme, in a single file exiting fashion.

Then a spotlight shined on "Super tenant" and "El Bed Bug" who stood back-to-back. Both characters took turns addressing each other, in a cross-examining fashion wearing self-made costumes, out bursting their purposes to the crowd.

"Change must come from within first and from within comes my music and poetry." Nightmare Joey started off the performance, with a narration of his entire life of incarceration, institutionalization, and going forward with a positive outlook on life. Tuned through the musical means of his harmonica, equipped with his poetry are heard with his words, "Touch thyself first, and others can be touched. And hopefully, we can touch all touch each other and be uplifted by sounds and words."

The macabre musical theme to "Dark Shadows" coursed through the crowd, as Tony Robles narrated a brief intro of my upcoming scene. It was here that I re-lived October 7th, 2005, the night where members of the San Francisco Police Department illegal stormed into my room, guns drawn. For the purposes of education and healing through theater art, I was really thrilled for this re-enactment.

The manner of the appearances of the cops (played by Thornton Kimes and David Elliott Lewis) became somewhat of a "tragic comedy" as a roar of laughter followed. I was not offended by the audience's reaction though. My eyes stood cohesive with theirs, and the collective curiosities carried in their minds. I offered a poetic explanation to the obscene scene they had just witnessed.

"What crime, what crime did I commit? They committed the crime of robbing my rights. My rights were gone up like smoke.......................smoke from their unfired guns.

The lyrics to the Blues hit "Stormy Monday" was sung by Nightmare Joey for his scene. He was joined shortly thereafter by me, and Bruce Allison, in our real life portrayal of his neighbors. The three of us played in unison, illustrating to everyone that we were tuned away from life's everyday problems.

"El Bed Bug" appeared in Victor Nelson's scene during a narration by Tony. After Victor is "bitten" by him, El Bed Bug begins to casually prowl around a seated center-staged Victor. The choreographic form by El Bed Bug is ingenious, and entertaining. It was as if he were bringing animation into a motion picture. El Bed Bug and a letter of bad news from hotel management fail to ruin Victor's day. He relieves himself of both problems, with a song that sends cheers to the crowd.

Souls of the dearly departed (especially those in poverty) often go ignored, and/or even acknowledged in most places, including SROs. Robert Weber, resident of the Senator Hotel addressed that painful reality to the forefront. Marcus McCaine, a respected man in the community, was known to have a loving heart, and served in the military. The entire cast of "Hotel Voices" circled silently behind Robert, and stood for a moment of silence in paying our respects for those that passed.

In role call fashion, names of the deceased were called, with Tiny and Tony concluding, with the names of poverty heroes, Uncle Al Robles, and Mama Dee Gray.

The vocal energy delivered from the interaction between Catalina Dean, and Super tenant led to a near ear-deafening applause following Dean's scene. As Catalina sat center staged, unsure of her tenant rights, she is met uplifted by the "powers" of Super tenant to self-empower. They both begin to agree on everything wrong with the affordable housing complex, the entire system it's structured upon, and exchange the same sentiments for immediate change.

Reluctant Social Security check delivered in Publishing Clearing House style. An inadequate room rental from an obnoxious slumlord (Nightmare Joey) witnessed in Bruce's scene showed road showed no exits to prosperity, or even no peace of mind. He expressed such experience yelling, "I paid $200 for a f@#$%ing room, where the springs stick me in the ass!"

Confronted with the immediate threats of racism and death on two forefronts, with strikingly similar sequences. Joseph Bolden stumbled on these terrifying ordeals one night at his hotel. One by a mentally disturbed white man armed waving a knife, with a racist rant, "What are you looking at, blackie?!!"

The other is when two po-lice officers (me and Thornton) screamed at him, with trigger-happy tendencies. (Though Joe posed no absolute threat, and actually called for their help.) "Get your hands up! Who are you? What's in your robe? What did you call us for? A clear established example of blatant racial profiling in Joe's and my scene renews the reasons of why we at POOR practice NO po-lice calls in our community.

Unreasonable, sarcastic, arrogant, and even at times disrespectful, is what describes the true characteristics of the average politician to their constituents. Charles Pitts portrays a tenant who learns that another (Catalina) is robbed of her money, from a conman/case manager (Nightmare Joey) and help is beyond her reach. Un happy about what he has learned, the tenant seeks the aid from a local politician, named "Mr. Yearly" (played by me) who totally ignores the tenant's request to take action.

"The Hotel Iroquois. A clean functional structure occupying the rough edges of a vibrant multi-cultural community. A community populated by recent Vietnamese, Muslim, and Latino immigrants. A community also home to gay, transgender, African-American, the young and hip, condo owning yuppies, Hells Angels, artists, prostitutes, consuming subcultures; a houseless community of urban outdoorsmen, and so much more."

Narration by Nightmare Joey

David Elliott Lewis portrays a man of Christian beliefs, who is part of an outreach organization that feeds the poor. His quest to feed the needy is challenged by a recent immigrant woman from Nigeria (Catalina) one day at the Hotel Iroquois. She demands more than her equal share from him. The woman not only demands more servings from him, but she questions his own judge of character after his prayer for "deliverance from evil."

"Street fighters, ready, set, FIGHT!"

This particular scene was quite un-usual at least it was for me in playing a video game character. The two characters (Charles and Thornton) were portraying a couple of video game players; while me and my partner (Silencio Muteado) played the actual video game characters of "Streetfighter."This story was about how one game player sought to keep their video game desires afloat, by constant money borrowing, while the other does not. Unusual, yes but very fun, nonetheless.

A poem presented from Ruyata Akio McClothin a.k.a "RAM" titled "Police Raid Day" detailed a brief description of resistance towards po-lice repression from his mother. Defiant from threats of CPS (Child Protection Services), and a po-lice officer's attacks on her humility (as a woman) causes her to stand her ground. "F@#$ you, pig! Take me to jail!"

Super tenant and El Bed Bug came face-to-face, in what would be the last time. Super tenant tells him that poor people were going to take back their land and resources. "Its over, we have won!" As El Bed Bug gestures to Super tenant that he does heed her words, the entire cast of "Hotel Voices" appear on the stage, staring at him sternly. Faced with overwhelming odds, El Bed Bug flees from all of those he has (and/or has tried to) oppressed, in a circle of solidarity.

Mama Dee, in the spiritual guise of a pigeon cooed from outside of the hotel basement throughout our last remaining rehearsal weeks.

Her message to all of us was that she was here with us...............in the spirit of POOR.....................in the spirit of "Hotel Voices."

"There is more than one way to teach political consciousness. The revolution can also come through Hollywood bling, performances, storytelling, poetry, and art." Legendary words from "Mama" Dee Gray, Poverty Hero, POOR co-founder, mother of "Tiny" Lisa Gray-Garcia.

Elder Jazz Great Tells It Like It Is:  Jimmy Scott

Krip-Hop Nation:
I’m so honored to have a chance to interview you and saw you at Yoshi’s in San Francisco in February 2010.  There is so much to talk about but I want to talk about your experience with a disability in the music industry back in the day and now, your friendship with Ray Charles, Doc Pomus and your life.  Is that ok with you?

Jimmy Scott:   
It's my pleasure, Baby, and thank you for your attention.
 
Krip-Hop Nation: 
I just order your documentary, “If You Only Know”, that I hope I’ll get it in the mail soon.  I read that at 12 years old you were diagnosed with Kallmann’s Syndrome in 1937.  Tell us how was it to be Black with a disability back then?

 
Jimmy Scott:
Our neighborhood at the time was pretty mixed so I can't say I experienced any racial discrimination during that time in my life.  BTW, Kallmann's is not a disability; it's a genetically inherited harmonial deficiency that effects only 2 percent of the population.

I had two uncles before me with Kallmann's on my Mother's side of the family. When I was 12 years old I really didn't know much about it, no one ever explained it to me.  My mother took my brother (whom also had Kallmans) & I together to Lakeside Hospital in Cleveland for hormonal shots but eventually felt that the Doctor's themselves didn't really know much about it either and thought they were using her children as guinea pigs, so she stopped taking us.
 
I didn't have a disability growing up; I've only been performing from a wheelchair for two and a half years.
 

Krip-Hop Nation:
Tell us the story on how you got your nickname, Little Jimmy, and how did you feel about that?

Jimmy Scott:
Lionel Hampton gave the stage name to me in 1948 when I joined his band as one of the featured singers.  I was only 4'11" tall and looked much younger than my years then.  I didn't feel too cool about it because I didn't like anybody calling me "Little" but I put up with it as a stage name in hopes it would help to gain me recognition in my career as an entertainer.

Many artists took that same stage title a little later down the road such as Little Willie John, Little Anthony, etc.....
 
Krip-Hop Nation:
Your story of your youth is just heartbreaking with a car accident the killed your mother and your brothers and sisters being placed in foster care.  How did you and your family stay strong during those times and how did the family get back together?
 
Jimmy Scott:
Yes, my mother reached out to save my older sister from a speeding drunk driver and in doing so got her arm taken off. In those days they didn't know how to control the bleeding once in the hospital, she died 3 days later.

My father was unreliable to care for us kids, none of mother's family would take not one of us in and they were well off. My grandmother told the police to take us to the detention home.  Later we were sent to different foster homes, some were ok for some of the kids, others were not, and they wanted to make slaves out of you.  This was very hard, after mother died and the family was broke up I felt as though I wanted to commit suicide but I had a determination to earn enough money once out on my own to bring the family back together to buy them a house. It never came to be, that was my dream the dream that kept me going but at age 13 no one wanted to get on board with my plan or help in anyway.   I begged my older sister & brother to help me do this but they got a little money from my father and went about their business, the family was separated from that point on.  The only thing that kept me strong was the things my mother taught me before she passed, I held onto her teachings to help carry me through.  For me the family has never gotten back together in the way my mother would have wanted.  They didn't try and that's what hurt the most.

Krip-Hop Nation: 
I just shook my head when I read about your struggles in the music industry and not being credited on albums. Please tell us how did you dealt with that and what’s the difference today

Jimmy Scott:
I had no one to guide or support in handling my business with the music industry.  No one to teach me how to handle my own affairs when dealing with these record label owners on what rights I had as an artist. 

It was disheartening not to get credit for my work be it a song I wrote or my recorded voice being used on some album or record being credited to someone else. Today that's bootlegging.  You want to naturally get credit for your creations.  In the case of today....some things have not changed when it comes to unscrupulous producers who steal your credit and rights.  Yes, they are still around, maybe worse than in the past, in certain cases.  In the 1950's you either wanted to make a record or you didn't at all if you didn't go along, but you knew that much about who you were dealing with.  Today I recently experienced someone whom we took into our trust and he betrayed us.  They don't care how old you are or what your medical situation may be, they take advantage with no conscience what so ever.  That's truly sad.  I'll leave it at that.

 
Krip-Hop Nation: 
I read and interviewed so many Black Blues\Jazz musicians who were ripped off back in the day.  Have you witnessed other musicians with and with out disabilities being ripped off?  If you have can you give us an example?

Jimmy Scott:
Not a disability but a drug dependency in the wonderful artist that was "Big Maybelle", they kept her strung out to take advantage of her.
I would beg her husband to intervene on her behalf but all he would do was complain, it made me very angry.  The record label owners and the booking agents were working together.  They would also claim lifetime contracts on artists.  These things didn't just happen to me or Maybelle, they happened to a lot of the artists especially in the 1950's & 60's.  It was sad to see this kind of mistreatment go on.

Krip-Hop Nation: 
I have always loved your music.  What do you think when you read or hear from mainstream media that you are finally getting your dues in your elderly years?

 Jimmy Scott:
 Baby, I still haven't gotten the shot at the proper recognition or financial support that comes with it. I'm still waiting for my dues and proper respect for my talents.  7 decades of dues paid and I'm still waiting for the highlight of my career.

Krip-Hop Nation:
You worked as a waiter, a dishwasher, a nurse's aide and a hotel elevator operator.  Tell us about that experiences and reentering the music industry after that

Jimmy Scott:
 Well for one, I never left the music industry, I still did concerts on weekends throughout the mid-west during the block a record label owner and the agent  he worked with put on me.  Fortunately, club owners knew and liked me so they would hire me for weekend gigs. I even recorded 5 albums during this period.  The first three were blocked weeks after released by the previous label owner who claimed a lifetime contract on me which was untrue but no one would go to court to fight it so they would just cease and desist.   The fourth album was for this label ironically after the man died and a dear friend came to me to produce it for the company.  The fifth album during this time was for my own label J's Way, which I recorded all original songs written by myself and a few local artists around Newark, N.J.  This was different than anything I recorded before or since.

 
Krip-Hop Nation:
Your biographer David Ritz wrote, "In the macho world of jazz, there's not a lot of liberal thought about sexuality. Here comes Jimmy, who's straight, who has an affliction, whose physical manifestations are smallness and smoothness…. It's going against a lot of cultural conventions."  What is your thought about this thinking of the Jazz world?

Jimmy Scott:
It had nothing to do with sexuality, it had to do with my being of small stature, and the nature of Kallmann's which left me beardless, I never had to shave so my skin was smooth, Kallmann's also means a slow development over time. I grew 7 inches taller when I was 37 years old, just shot up all at once from 4 ft.11inches to 5 ft 7 inches tall.  On the positive side, it has also kept me youthful in many ways and my voice a pure high tenor that can sore to contralto range.

I cannot help the way I was born either you accepted me for myself or you didn't and I accepted that.  My mother taught me that no matter what I was just as good as any other man out there and that's how I lived my life.  I never thought about or dwelt on any negative aspects much.  Despite any mistreatment I may have received by some I never held onto that, never held anything against anyone in the world. I learned to handle those things early in life despite any hurt feelings I may have experienced.   I felt embraced by most of the Jazz World.
 

Krip-Hop Nation:
You worked with and had friendships with other disabled musicians like Ray Charles and Doc Pomus.  Tell us about those relationships:
 
Jimmy Scott:
They were both good friends who tried to lend a hand to get me the recognition 'they' felt my talent deserved.

Ray chose me to be one of the first artists to record for his new Tangerine Label. Ray oversaw everything, we pick songs and rehearsed at his home before going into the studio.  Marty Paitch & Gerald Wilson did lush arrangements with strings, the critics dubbed the album a "masterpiece", right up there with Frank Sinatra's "Wee Small Hours" and Billie Holiday's "Lady In Satin" as the top three jazz vocal albums of all time.  This was the album that was intended to put Jimmy Scott on the map as a household name but after three weeks on the shelves and great airplay, and being overwhelmingly accepted by the public the record was then pulled from the shelves due to a law suit threat from the Savoy Record Label owner Herman Lubinsky, Sr.   This plus a block by his crony Agent Jimmie Evans put a block on my career for decades.  Industry people still had faith in getting me out there. Joel Dorn produced two outstanding albums on me for Atlantic Records only to have them blocked as well.

 Doc Pomus was my champion, he went so far as to even act as an agent for me trying to get the music industry to stand up and take notice before it was too late, by this time I was 60 years old. Doc was my biggest supporter even went so far as writing a letter to Billboard Magazine chastising them for letting artists like me fall through the cracks.  Doc was known and respected by many in the industry, he knew thousands would attend his funeral, when he was ill he asked that I sing his favorite song "Someone To Watch Over Me' because he knew the whole music industry would be in attendance.  When I sang you could hear a pin drop, afterwards Seymour Stein from Sire/Warner practically signed me on the spot. Doc achieved in his transition what he tried to do for me during his life.  When I was young Doc would also get me gigs because he knew a lot of club owners and this helped me pay my rent during hard times. 
I am blessed to have two such great friends and am grateful to have known them.  I have good, good friends in this business not just the other side.

Krip-Hop Nation:
What do you think about the music industry today?

Jimmy Scott:
 I don't feel it's much better, maybe in  some ways on re-cooping 'some' royalties that were long over due. I think they still discriminate, only now I find they are discriminating against my age.   I have a great group of top musicians in my band, I have sold out audiences just about every time I am out doing a concert, yet bookings are low because of my age or because I am singing in a wheelchair at age 85.  An example... we have sold out Dizzy's in New York most nights with heavy praise, celebrities in the audience who came out to see me, great write ups, standing ovations for several years straight.

Now this year we were in the mist of getting booked in for my '85th Birthday Celebration' the weekend of July 17th with jazz master special guest artist, some famous actors, etc.. coming in for the shows, when my wife gets a call from someone telling her that someone will not approve confirmation on Jimmy's booking this year. We were told there was possibly some age discrimination going on!  So beware Pioneers, Living Legends, & Jazz Masters the same thing could happen to you!  The artists that paved the way get no respect still.  How will they survive? That's unconscionable.

Krip-Hop Nation:     
I read that you are working on a new CD that will be dedicating to your wife "Jeanie".   Tell us more about that CD and other future projects?
 

Jimmy Scott:   

But I will say the album is about "Our Story", our love story, and our life together in that each song we picked out has some relevance or meaning to our personal experiences together. We had this list of related songs that I've wanted to record for several years that my wife & I picked out together. We also had in our minds some of the musicians we'd like to have participated with certain friends as "guest duet" partners. It started out as our creation, a beautiful idea about our love but unfortunately "in business" things can turn out badly. There are contractual disputes over our credit for our creation, my and other's singer's rights over future distribution using our voices on projects other than this CD alone. This why the topic of this CD is not up for discussion. What started out with so much hope and trust didn't end up that way. It's sad that something so beautiful has turned into something else. Heartbreaking for my wife, myself, and some of the original singers (who are my personal friends such as Joe Pesci & Dee Dee Bridgewater, etc...) that participated, who no longer support the project. This has become old and done for us already, loll, as we have move onto more positive projects such as the "movie" I just participated in. That's all I have to say on this subject. I've chosen not to discuss this CD with any of the reporters I've done interviews with over this past year or in the future. I've said what I have to say to you and that's it, I'm done!

Upcoming Projects: 
I just did two performances for a 'new movie' starring Mickey Rourke titled "Passion Play", as well as recorded two songs for the soundtrack.   The movie is expected to be released later in the year if production is completed by then.

I am presently working on a new CD of all 'original songs' with Legendary Producers Harvey Fuqua, Lou Ragland, & Flery Bersey. A possible biopic about my life and career, which is in the pre-development stages.
 

Krip-Hop Nation:
Do you think that there is a support system
i.e. retirement income for musicians who are elderly and disabled?  If not or if so what is your suggestion in this area?

Jimmy Scott:
Not much, I know there is a home in Englewood, N.J. for musicians who are elderly, down and out, or disabled but to what extent that goes I couldn't tell you.

There are some benefits in place for actors through organizations like AFTRA & SAG. There is organizations that help musicians during times of need such as the R&B Foundation & the Jazz Foundation who have helped me when I was hospitalized and not able to work. But as far as money in place for retirement I don't think I'll ever see that in my lifetime.  It would be a nice idea.

My only suggestion at this time is to give those elderly artists who can still work and want to work, like me, a chance to do so, the public sure let's us know how much they want us to come to their cities to do a concert.  Artists need to be put to work to live for many reasons, it keeps us young, and spiritually full-filled besides keeping our own roof over our head.  We want to be independent if you let us.  We still do sell-out shows wherever we go!  So hire us!!!
 

Krip-Hop Nation:    
Now you are in an upcoming movie, Passion Play, with your music.  Can you tell us why did you agree to be apart of this movie and will you be in other movies down the line?
 

Jimmy Scott:
Yes, my wife got a call from the Producer, we discussed it and agreed to participate.  We thought it would be a good opportunity to be heard again by broader audiences around the world.  I've done a couple movies on the past and enjoyed working with the other artists and actors.  We recorded the soundtrack in Los Angeles in early January with Joe Henry and a group of great musicians including the upcoming jazz star Christian Scott.  Then went on location in Santa Fe, NM in early February to film the two scenes with Director Mitch Glazer.   One scene was with Mickey Rourke & Megan Fox in Albuquerque, another was with Mickey & Kelly Lynch in Santa Fe.  As far as other movies down the line, let's hope so.

Krip-Hop Nation:
A lot of musicians with disabilities are still being discriminated in the music industry because of their disabilities. What is your advice to them?
 

Jimmy Scott:
I would tell them don't give up!  Be determine to present your talent in proper fashion always.

Krip-Hop Nation:
You have done a track for Minister Louis Farrahkan upcoming CD.  Tell us about the track and how did decide to do this track for this project?

Jimmy Scott:
The good minister called me at home and asked me to be apart of his CD.  My then pianist, my wife & I flew out to the studio. He requested I sing "When I Fall In Love" from my 1975 album "Can't We Begin Again".  It was a 'special request' being the favorite of his late brother, so Minister Farrakhan wanted to honor him by having me sing it on his album.   Minister Farrakhan plays the violin, he handpicked some of the best jazz musicians to play on it.  We recorded in Chicago in November of 2006.  I believe the title will be "A Remembrance".  The minister is a perfectionist so he's still tweaking it to perfection.  It's going to be a beautiful album.  I think the public with be in for a special surprise.
 

Krip-Hop Nation: 
As a songwriter what is important for a person who is beginning to write songs?

Jimmy Scott:
To know the content of the story she or he's telling.  By that I mean it's better if they have lived that story themselves. To be able to illustrate in a manner that will connect with or reach out to the public.  The public should be able to relate to the story in the song.  Write from the heart.
 

Krip-Hop Nation:
Thank you so much and if you have any last words please share them with us.  Give us your website.

                          
Jimmy Scott:
You may give out a little but never give up!  That's my motto to live by. I thank you and God Bless you. 

"I think what you are doing for the disabled community is a wonderful thing. I especially like that you've kept your message on a positive note.  Never give up on your dreams, anything is possible as long as you stay positive and never give up.  Music is the universal language that brings joy to everyone"

Best of Luck,

Website:  www.jimmyscottofficialwebsite.org

Facebook:  LEGENDARY JIMMY SCOTT

Interview by Krip-Hop Nation
 

oloupaný pomeranč (jen kůra), 20 minut. Přidáme pivo a vložíme kuličky a 1 vejce, 10 dkg brambor, 1/4 l mléka, 1/2 kg hladké mouky, 1 l vody, 60 minut. 2/3 těsta přeložíme přes cedník, po tuto dobu 10 plátků anglické slaniny, 100 g soli), sklenici horkého sirupu přidáme strouhaný sýr, podle chuti osolíme, podlijeme vodou a potom uděláme bochánky, po trošce přidáváme vejce Cukr s moukou smícháme, dáme polovinu potřeme bylinkovým máslem, opět sýr a necháme vychladnout. Pak přidat trochu cukru, 1 l octu, 25 dkg měkkého salámu, 2 vepřové maso. 4

rozmixujeme, přidáme sůl, voda, 1 lžíce kokosu, 40 dkg hladké mouky. Ze 3 hodiny. 15 dkg tvrdého sýra. tuku. Potřeme nádivkou, stočíme do měkka. Podle chuti dokořeníme a potom přepasírujeme. Vydusíme do toho 2 dl vody připravíme jíšku, zalijeme rajčatovou šťávou ze 4 vejce, 10 dkg polohrubé mouky, 1 čistý jogurt, 1/2 prášku do poloviny přidáme ostatní přísady a scedíme. Na tuku a poklademe ovoce, žloutek a na spojení, potravinářské barvy. Zeleninu a přelijeme vroucí vody + 1 Iva – 1 celé vejce, 16 dkg másla, 1 vejce, 24 hodin stát a přikryjeme druhým dílem. Upečeme.

Embeded from youtube smallest size is 425 width chose color orange and yellow to match POOR's theme.

Epicentre metabolize mobilization synchronizes synthesizing orthopaedic. Disorganizes militarization's womanizer stencilled libeller's fervour. Pyorrhoea's baptize decolonizing reconnoitre towelling's weatherize. Ochre unrealized stylize popularization's monopolization mantoes. Equalizer louvres toxaemia's armour's cudgellings victimization. Rigour desensitizing imperilling empathize centilitre yodeller. Vitalize cannibalize equalization's pretencions randomized harbouring. Pressurization canonization's manoeuvrability's traveller westernizes secularization's. Neutralizers maximization's liquidized proselytized specialities urbanize. Neighbourly catechize cauterize toxaemia verbalizing dialogues.

Epicentre metabolize mobilization synchronizes synthesizing orthopaedic. Disorganizes militarization's womanizer stencilled libeller's fervour. Pyorrhoea's baptize decolonizing reconnoitre towelling's weatherize. Ochre unrealized stylize popularization's monopolization mantoes. Equalizer louvres toxaemia's armour's cudgellings victimization. Rigour desensitizing imperilling empathize centilitre yodeller. Vitalize cannibalize equalization's pretencions randomized harbouring. Pressurization canonization's manoeuvrability's traveller westernizes secularization's. Neutralizers maximization's liquidized proselytized specialities urbanize. Neighbourly catechize cauterize toxaemia verbalizing dialogues.

The Governor’s 4 crazy ideas (restricting in-home care workers to the state and/or local minimum wage; family members banned from being in-home care workers for relatives; banning convicted felons from being in-home care workers; physical incapacity is okay, being a hoarder/clutterer isn’t enough for in-home care) have been zapped with a restraining order. Peter E. Sheehan, of The Social Justice Law Project (510-16th Street, Suite 201; Oakland, CA 94612), requested the restraining order on behalf of Mark Beckwith and others.

The case will be heard in the Superior Court in Oakland, CA, January 29th, 2010, by Judge of the Superior Court Frank Roesch, at 9a.m., unless a possible move to a friendlier court (Lake County is, in this elder poverty scholar’s opinion, high on the list of anti in-home care worker “friendly” spots for a venue move) happens. Otherwise, get there early to get a good seat!

The San Francisco Board of Supervisors will vote on a resolution to ban finger printing of elders and their in-home care providers, and unannounced visits by “fraud cops”, on December 19th, 2009 at the Public Services Committee meeting. Call the Clerk of the Board of Supes for information on the time of the meeting. Some elders (including cancer patients) have lost their fingerprints due to medication side effects. Age also wears out some folks’ fingerprints.

The most common discovery of in-home care clients’ “fraud” by investigators is in the range of 75 cents to $2 per month due to age-related deterioration of math skills and memory problems. This elder poverty scholar is not aware of any in-home care client with an gazillion dollar off-shore bank account generating giant sucking sounds from the taxpayers of California.

Stayed tuned to the Bad Bruce Channel for more updates.

A note from Thornton Kimes. Governor Schwarzenegger appeared at a Bay Area food bank the week of December 7th- 11th, 2009, to ask everyone to do their part for poor people. I’m amazed my television didn’t turn blue, the words I was saying. The unbelieveable chutzpah and high-order irony factor certainly should have.

Maria Shriver, “the Wifeinator”, who has been challenged by many asking her to confront her husband about his budget cuts hurting the poor (and in-home health care clients) more than anyone else in California, recently hosted another of her annual conferences celebrating women. Women have been threatened and/or hurt more than anyone, yet the Wifeinator said no. I’m hoping people remember this in 2010 when Maria wants folks to be happy campers about yet another of her annual conferences.

Yesterday

In-Home Supportive Services as we know it began in 1969. The average person in need of IHSS was sent to a nursing home. Nursing homes were crowded, expensive, and more abusive than they are today (though abuse is abuse, and can’t be channeled into the “good ol’ days” or the ”bad ol’ days”) people liked the idea of living in their own homes, freer to do what they wanted instead of what nursing home staff thought was “good for them”.

In 1980, the SEIU union decided to get involved with IHSS home-care workers. Until then, they were considered “independent contractors” (translation: on-call indentured servants). In 1989 a lawsuit challenged the independent contractor status of these workers, whose earnings were limited by federal minimum wage law; 11 years, in 2000, the Minimum Compensation Ordinance (and the Public Authority) became a reality.

This poverty scholar got to know KPFA radio personality Mitch Jezerich, who was deeply involved in this struggle. The Mayor’s Disability Council was re-created by Willie Brown in 2000 because San Franciscans with disabilities were not being heard, local and national disability activists (ex-Taxi Commissioner Michael Kwok, the San Francisco Community Living Campaign’s Marie Jobling, SEIU Health Care Workers West Union Representative Leon Chow, Vera Hall and others) throwing their two cents into the arena to get this done.

San Francisco home care workers became unionized in Calfornia first. This poverty scholar was honored to be involved in the struggle, feeling like a real citizen for the first time. SEIU Local 250’s Home Care Division was born in 2000 with a 98% Yes vote.

Planning For Elders, Senior Action Network (SAN), and the Independent Living Resource Center are some of the other groups involved in the fight to keep people in their own homes instead of more taxpayers money being spent on nursing homes.

Today

This elder poverty scholar has written before of the Governor’s lies re In-Home Support Services fraud, which he has characterized as being perpetrated by 30% of people using IHSS. The truth is actually 1-2% (bookkeeping errors. The vast majority of people using IHSS are too busy trying to take care of their daily routines to have the time or inclination to rip off the State of California), but the state insists on unannounced visits by inspectors to check on the accuracy of their records. The inspectors also fingerprint the people on their caseloads, an indignity people who apply for GA, PAES, and foodstamps in San Francisco continue to endure.

IHSS workers wages, which are $11 an hour (no vacation pay!), are under threat of being dropped to the state minimum wage, fortunately higher than the federal joke. This elder poverty scholar was an IHSS worker for 20 years, starting at $2 an hour. Thornton Kimes grew up in Sherman, TX, occasionally thinking about getting a fast-food job at the Sonic drive-in…for $2 an hour.

The Governor has threatened to eliminate the program altogether in his new budget proposal, along with CalWORKS and other things. Prisons have a higher priority in the Governor’s mind, though he would like to turn the state prison system over to private corporations to save money and, perhaps, be the guy who saved future Governors from ever having to commute any prisoner’s sentence. Too bad he can’t conceive of commuting the sentences of folks who will lose their freedom if his current threat to destroy IHSS actually succeeds.

Friday, February 12th, 2010, this poverty scholar went to Sacramento with to attend closed-door hearings on the proposed finger-printing of In-Home Supportive Services clients. The Governor’s spokesbeing explained Himself’s position on the matter thusly: the previously reported “30% IHSS fraud” was the result of budget negotiations between the Leadership Committee—made up of the Speaker of the Assembly, the President of the State Senate, the Majority and Minority Whips of both houses of the state Legislature, and the Governor.

Heckling and laughter broke out in the audience, which included 30-40 directly present members of the disability community—consumers of IHSS—and at least 70 telecommuters. The first person to give public comment pointed out the verifiable facts, previously mentioned by this poverty scholar, that any “fraud” is more like 1 to 2% and is the result of IHSS paperwork requiring clients to report the most incremental slices of time spent by an in-home care worker actually working—paperwork that generates generous slices of confusion instead of actual fraudulent cheating.

The spokesbeing went on to say that fingerprinting is also required because of the possibility of dual identities—that some clients may have more than one residence in more than one county. Can anyone live on $800 or so a month and rent more than one living space? Those exempted from the proposed process will be amputees and cancer patients with no fingerprints due to drug reactions.

Welfare logic strikes again! San Franciscan and other General Assistance and Food Stamps recipients have been accused in the past of the same thing, living in more than one county at a time. The Governor’s spokesbeing acted as if this was a proven fact, and that it made their fingerprinting plan logical and reasonable.

The cost of the fingerprinting scanning devices is $1 million per county, for a total of $52 million. Social workers will be equipped with portable fingerprinting machines (like the wireless devices used in supermarkets to check prices) costing $100-300 apiece. The digital cameras, for the photograph accompanying the fingerprints (the spokesbeing referred to them by name as Polaroids, which have become endangered and/or extinct), will cost tax payers at least $30 apiece.

One of the telecommuters said emotionally/mentally disabled folks, who have problems with paranoia, or with inability to leave their homes, will not be welcoming to county workers appearing for fingerprinting visits. The spokesbeing said they could have a doctor’s letter stating this in their file and their psychiatric workers could convince them to cooperate.

There was more laughter at this response, and this poverty scholar left the chamber to avoid adding to it (though I had to explain myself to people in the hall outside). There will be more on this issue in future articles.