Black Horizons; 2224; Harambee II

You Welcome to Black Horizons I'm Chris Moore. Here in Pittsburgh minority construction workers and trade unionists are facing what some see as an increase in incidence of racial discrimination. In a moment we'll find out more about it. Then we'll profile a great tenor from Menongahela, Paul Spencer -Adkins. We'll also find out more about a Black Arts Festival coming up in August. And for all you Spike Lee fans will give you a preview of his new film, Mobeta Blues, and give you a chance to win

some passes to see it. We'll begin today's program with a look at minority discrimination. More specifically the discrimination of construction workers and contractors. Joining me are two men from the NAACP's Labor and Industry Committee Walter Anderson and Cody Bowden. Welcome to our program gentlemen. Thank you. Mr. Anderson in the last three months you have seen a rise in complaints with the NAACP's Labor and Industry Committee both from construction workers and contractors is that correct? Yes it has. It has been a terrible increase. In what ways what kinds of complaints? Mostly through the union not giving the workers the jobs. Can you be more specific? Well they can't get into the union and tradesmen program without working. They have to work to pay for these union dues and proceed in the construction business. So it's a sort of catch 22 situation. Sure you can get in

if you can pay the dues but we're not gonna give you any jobs. Are you saying that's the complaint? That's right. That's most of the complaint. The union is not pushing these people through the procedures. Are you saying that that's just effects black workers and it doesn't happen to white? More so yes. And it's just the complaints that you base that on. Yes. If you had any talks with construction companies to try to work that out or see if those statistics. Well they send us letters for referrals but we don't feel that they're using the referrals. So you actually send them referrals back and the people come back and say no they didn't call. No that was the biggest complaint we had at the July 12th meeting down the Hill House. Okay can you tell us a little bit more about this meeting that you saw a number of complaints and the NAACP and some others called the meeting? Yes. And what happened? And the biggest complaint was that they are not going through the union. You

know proceeding through the union steps that going through getting jobs and getting into the union's journeyman programs. Okay that affects construction workers. Mr. Bowling you are more or less concerned with contractors. You're a contractor yourself. Yes that's correct. Contractors I'm the president of the Black Contract Association of Western Pennsylvania. What I have took the initiative to do is to get all Black contractors together and and form a coalition so that we can talk out a lot of our grievance. Number one thing that we've come up with we felt that we must start in our own backyard which is our own community. We seem to have a lot of problem in our own community. Now can you be more specific what are you referring to? I'm explaining to that we can in our own community we submit bids to prime contractors and

trying to work as a subcontractor and we don't even get called to work on the job. You're talking about contracts that are led in the Black community on Black construction jobs. That's correct. Are you talking about any of the contracts that have been led to some of the churches in the Black community? That's correct. I'll give you a prime example. We're speaking of the two Black churches that took places in East Liberty. They were all subcontractors were all white subcontractors. They didn't implement us no way. We tried to sit down the table. We don't have anybody here to answer whether or not that there are Black contractors on the job from their point of view but you are saying you have done a survey and there are no Black subcontractors on either of those two jobs. They are now after we went down to after we had shut them down there was no Black subcontractors at the beginning of the jobs of those two churches. We are working hard and diligently with the project manager of Mount

Airch Church and so far we're making progress in that field but when we go to the Lord Man's Church that there's no progress made there. We don't see no progress there. There's no reports. Who do you thought? I felt the owner. I felt the owner. The owner is the one that is paying the bill. He can you say in that the Black church in this particular case Lord Man's Church is it fault because they have white contractors and white subcontractors and they're not willing to listen to you and employ any more Black subcontract. That's correct and we can go a little bit further than that. We can go as far as the workers. You know when you live in a Black community we're looking for a dignity these days. This is 90s. We're not common laborers. That's a great pool. We went through the 70s. I'm one of the boys that came out of the craft locals. I learned to trade. I come out in 85 to

open up my own business. We got a pool of a lot of good craftsmen out here that learned to trade. Now they're entrepreneurs. Now they got to go another one more step further and the doors seem to steal to be not open for us. Okay what are the complaints do you have besides those specific ones within the Black communities aren't white construction companies also at fault for not getting Black subcontract? Well well that's correct but I think what happened to the white contractor is that what he does he when it comes down to giving the money out he don't want to give nobody none of the money unless he is mandated to do that and I think that what what is taking place in the city and the county and also at the state level and the federal level what we have to do now we have to monitor it to make sure that we get a piece of the pie. Several years ago there was doing all the construction downtown during the Renaissance the NAACP negotiated an

agreement whereby I think the figure was 15 % of the work would at least go to minority contractors. I heard a lot of talk that that was never fulfilled. Is you go to the county controller which is Tom Flaherty asked him to give me a breakdown on how much money the city spent and how much money was trickled down to minority contractors. I haven't got I got the figures and it was something like 1%. So 1 % only 1 % went down to minority contract? 1 % and it's just as bad for construction workers too? It's this is bad for construction workers because if you take if people will just open their eyes and look they can see. You mean if I went to one of these worksites and started counting heads I can see how many black people there work in and that will answer all your questions and I think that what's taking place that we gonna have to try to find a way somebody is going to have to find a way

to let us get in there if we are not implemented in the construction industry which hire more people than in the industry in the city or the state than construction then those jobs we have to get the jobs if we don't get the jobs then where are we because we don't have no bacon and eggs. At this meeting and we only have about 30 seconds or so at this mass meeting that was held at the Hill House on the 12th. What were the results? What's your next step going to be? Our next step is going to be at the Hill House that we we we took to stand that we're going to bring in a screening committee and we're going to not let nobody pick up city contracts county contracts without without compliance that they can get minorities on that job and if we don't get the minorities on the job then we're going to hit the street and we're going to start picking them. So

you see a return to the days of the 60s and 70s and and picketing construction sites and actually closing them down unless people will respond to your demands that's correct. All right gentlemen thank you for joining us we appreciate you're being here. If you feel that you've been discriminated against please contact the Pittsburgh chapter of the NAACP at 471 -1024 that number again 471 -1024. When someone talks to you about the town of Mananga Hela what thoughts come to mind the steel industry the need for revitalization I'm sure that many things come to mind but probably not great singers. Well this week's profile looks at a man who was born in Mananga Hela and has since gone on to the world of opera. Let's take a look at the great tenor Paul Spencer Atkins and his work. The smooth tenor voice that you hear is none other than premier opera

performer Paul Atkins. Born and raised in Mananga Hela, Paul began singing in the church choir. His first choir instructor was Mrs. Annelly Dowling. She remembers the first time she heard Paul sing. I remember when he first came he had the most beautiful soprano voice. He sang higher than my daughter did and he and my daughter were the main sopranos in the choir and then three months later after vacation we came back and I said okay but I wanted to sing this says I can't sing it it's too high. What do you mean it's too high you just sang it three months ago he had become an Alta so he and my daughter sang Alta the next year he became a baritone and before the year was out he was singing the bass in the choir in just about a year's time his

voice had changed completely. New Black performers since the hey day of renowned opera star Roland Hayes have been able to enter the operatic arena so successfully. Roland Hayes also is drunk tenor was the first African American tenor to have a major international career as a concert singer. He was able to transcend race, religions, cultures in a time that was never it was not thought could be done. This was an African American man in the 20s and 30s and this was a long time before 1965 and here's this man just setting the world on fire with peace and love and beautiful artistry. Paul is grateful to Roland Hayes for his work and accomplishments. His love and admiration for Hayes' music led to

a television special that was a musical tribute to Hayes. I was in the business as an opera singer and had no idea of the man was alive or existed or that he did any of the great things that he did so history had not been kind to him and I thought it's important that young people really realize who was first. The program featured Paul Atkins performing some of Hayes' greatest works. Paul feels that many of the doors now open to him are due to the contributions and sacrifices made by Hayes. For example in this scene Paul sings opposite soprano Evelyn Delarosa, a Caucasian woman something that never would have happened during Roland Hayes' time. We're doing a scene from Masone Manon and it's digger here a priest about to become a priest is being lured away from a church by his lover Manon. I'm very privileged to be able

to perform this scene because it shows that his path has continued and has worked. People who know Paul say he's a man without limitations. His love for singing allows him to reach audiences of all ages. He once appeared on Mr. Rodgers' neighborhood where you play the half moon. And that's for you Kitty. Each time Paul returns to this area he finds time to encourage young people to sing. Walter Rieber, a voice teacher notices talent immediately. I remember Paul started out as a low bass singing deep river a low D this young fellow had at 14.

Now I'm listening to him sing La Dona Immobile with a high C that Pavarotti sings. It just shows you oftentimes these young voices if they really study hard they go straight up in its amazing what they can accomplish. He's a tenor and he's in great demand now. Paula Marche's busy schedules have never stopped in keeping in touch. The most exciting thing about students I was 21 or 22. Paul was 12. I'm 47. He's 38. He's not my friend. He's my peer and it's just outstanding to relate on that kind of a level. It's important for me to give something back because so many people have given to me and I think that one of the things we have to realize in our whole life's work is that we're put here for a purpose and it may take us many times many years and a long time to find out what that purpose is but I realized when I was 29 years of age that my purpose here on earth was for more than singing. I think what I would like most for people to remember about me is that

I'm a caring human being and I happen to be an opera singer. The talents of Paul Spencer Edkins are a shining example of true art. I'd say black art. Some other terrific examples of black art and entertainment will be coming up in August. It is August, isn't it? Yeah. Well, I'll be coming up later this month at the Harambe 2 Black Arts Festival. This year's festival is said to be the largest ever. Joining me now to tell you more about it, Artsabira Bushra and Gail Austin. Ladies, welcome to our program. Thank you. This is the seventh annual. Seventh one. I can't believe it. Time goes on and it gets easier and easier to do every year, right? No, it actually gets harder because every year we try to double our efforts and it's just a bigger and bigger event that becomes more and more

taxing on its members. But we enjoy doing it. And it's a grand affair too. I know I've enjoyed it almost every year that I've been in town to go to it and it does get bigger every year. What are the big attractions going to be this year? Our national entertainment this year is South African jazz trumpeter, Hugh Messicaela, who will be the closing act for our August 18th. I want to feel the music from Seraphina. We hope so. Oh yeah, that'll be great. And the Seraphina is going to be here with the Civic Ligot Opera in January and Hugh Messicaela, who we have in as our headliner, did all the music. So it's real exciting. It's coming at a very opportune time for us. That's great. Well, I hope people know that know about the Broadway play Seraphina and the young children in South Africa and the experiences they have. And the music is just excellent. I had a chance to go to the Carnegie to see voices of Seraphina and I just cried all the way through it. I was moved. Well, that was one reason why we want to Hugh Messicaela. You know,

one of Herambe's themes is we don't separate the aesthetic from the social. And aside from being a recording star and well known for his music prowess, he's also very socially conscious. And that's what we try to do with Herambe is try to whenever possible to get a musician who not only is artistically talented, but also has the kind of social consciousness that Hugh Messicaela has. And you succeeded with other artists that you're bringing this year also, right? Yes, we're also bringing contemporary jazz artists Roy Ayers. He's been in a business for about 20 years. I'm sure he's very well known in Pittsburgh. Reverend Herbert Dottry is the keynote speaker for the Festival and he's the National Advisor for the National Rainbow Coalition. So he's going to give a rally address and it's the first time we've ever had a keynote speaker agree to speak outdoors. So that's going to be a nice event. I'm sure it will. Other things that are going on, you're going to have a lot of vendors there as always, lots of food and crafts and stuff.

That's my favorite part. Okay, so that's the reason. This time I promise I'm going to eat you on the festival. We work so hard that when our valuation comes around we realize that we don't see individually most of the festival, but the vendors play a major part in creating the mood and the climate of the festival. You know you've been there always see you around the food booths. So we'll have about 80 vendors. I'm sure last year we had 65, so I'm sure this year with Hugh Messicaela and Roy Ayers as attractions. Pittsburgh is really not a vending kind of town, is it? No, it's not. A lot of our vendors come from as far away as Atlanta, Georgia, and we do have local vendors who support the festival. Pittsburgh isn't a vending community, but we have noticed that the vending in the city is developing and we're trying to encourage that with the festival. I bet you're outside vendors look at the prices that you charge and say, boy this is a real bargain. Yeah they do. That's why they come from such a distance where they not only have to pay a vending fee but they have to pay for two nights

usually overnight at a hotel or motel. So the profits to be made for professional vendors are very great and because Pittsburgh isn't a vending community we keep our prices especially low because to secure Hugh Messicaela and Roy Ayers and present them free in an outdoor concert has to be offset by revenues that Harambe brings in. So there's a certain amount of vendor dependence in everything else that's going on in the festival. A lot of certain amount. It's pretty much what Harambe means working together. It's a Swahili word. The vendors support Harambe who's able to pay artists. We are intent on making sure that local as well as national artists get paid. We don't generally always able to pay them their regular fee but we do feel that artists should get paid. I guess that's part of the social responsibility of the artists too because they know what you're trying to do. Yes that's true. But this year aside from the community rally we're having a poetry dramatization on stage. This is going to be real exciting. We never had that on the main stage to this extent.

Outdoors? Outdoors. Now how do people react in the community to that? We'll know after on August the 18th. You know poetry. Yes but you think of rap for instance. Rap is nothing but poetry. But if you say poetry to the average festival goal who's looking to hear a band and see some art and buy some food you know they may be who I don't know poetry. Well this won't be both a lair and Walt Whitman. This is going to be Pittsburgh's best and I'm glad you bought it rap because we're going to have a rap concert and I'm getting into rap. I'm really starting to enjoy it. If you listen to some of the you know NWA and probably again in some of those other folks who have that social conscience of the artists that you spoke of before then you know that all rap is not bad and not too loud. It's not most of it. There's some bad jazz. There's some bad R &D. I think we're much more critical of rap musicians based upon the content of their music

than we are in making other musicians and artists feel a ton of cultural conscience. That's because the older folks always criticize the other folks. Exactly and we're the ones that have the newspapers and the radio stations that you can do that. But we'll have gospel which I know is your love. Yeah. So we always have a gospel concept. Who's going to be there? Voices for Christ. You like them? Yeah. Yeah. What about the rising sun? Oh, sing it. All right. So that'll be Sunday, a four to five. We're going to have it all be rocking by this. Okay. In addition to the live entertainment we have four local artists from Pittsburgh that always put together one of the best art exhibits in the city. So that'll be housed that community college and everyone should get a chance to see that the art exhibit will be open from one to eight on Saturday and Sunday. You're also looking for more volunteers to come out in and help out you read that, right? For anyone who's interested in volunteering for the festival or who would like information about vendors, applications or

social service applications because we have a number of social service agencies who come to the festival and share information about their services. They need to call 362 -8217 and we have an answering machine. We'll get back to you as soon as possible. We can provide you with any information that you need. And there was 322 what? No. 362 -8217. Okay. Well, thanks for being here and indeed working together, we can make it happen. We always do. We always do. And this is going to be about 10 to 12 ,000 people to work with. Okay. Thanks a lot. We appreciate it. Again, the Harambe 2 Black Arts Festival will be held August 18th and 19th on the corner of Homewood Avenue in Kelly Street in Homewood for more information on how you can get involved. Call 362 -8217. The number again is 362 -8217. If you haven't heard about our latest QED special, then you'll want to play pay close attention. It's called Wale Avenue Days and it's a one

hour documentary about Black Life in Pittsburgh. Each week on Black Horizons, we've asked viewers to give us a call if you have any old photos, newspaper clippings, scrapbooks or home movies. If you haven't called us and you would like to get involved, please let me hear from you. 622 -1388 or write to Wale Avenue Days, 4802 -5th Avenue, Pittsburgh, PA 15213. Call Monday because soon it'll be too late. Now, I want all of you Spike Lee fans to get ready because we're going to take a look at a clip from his new film, Mo Better Blues. In the movie, Denzel Washington plays Bleak Gillum and immensely talented in self -centered jazz trumpeter, unlike those at Harambe, who is forced to open his eyes and heart to the world around him. Spike Lee plays giant his manager, who's heart but not always his money seemed to be in the right place. In this scene, Bleak finds himself musically intimidated by his band saxophonist. In order to overcome these feelings, he prepares to do musical battle.

And he's a chocker, man. He comes off the bench shooting. Bleak, now you're never going to see no past from this guy. This guy's a selfish ball player. Now you need to get rid of him. Your team is your band, you're the coach, virus ass. Every night, three hours alone, Bleak, what's up? It's your band. This guy, he's got the end play. Great. Bleak, just talk to the guy, right? Talk to him. Oh yeah, they're

jamming. Mo better blues open yesterday and can be seen at Showcase Cinemas, North, East and West. If you would like to get a pair of passes to see the film, any Monday through Thursday, here's your chance. All you have to do is give us a call at 621 -5808 and correctly answer the following trivia question. And the question is, what realize South African character did Denzel Washington play in the film, Cry Freedom? We have 10 pairs of tickets. So if you know the answer, go to the phone and give us a call. The number again is 621 -5808. We're waiting to hear from you right now. Y 'all don't go home and call, okay? Don't you say the answer, don't you say the answer? Believe it or not, we're at the end of another full half hour. Thank you for joining me this afternoon. You won't want to miss next week's program when we'll take a look at discrimination on the pro golfers tour. For all of us here at Black Horizons, I'm Chris Moore. Have a positive week. Bye.