Arts and Culture

“Audacity: How Barack Obama Defied His Critics and Transformed America ”

Published

7 years ago

January 17, 2017

By Terri Schlichenmeyer, The Bookworm Sez

If you can’t say something nice…

Sometimes, it’s hard to say nothing at all. There are times when you need to speak out, to confront, share your opinion, rant, or vent. And then there are times, as in the new book “Audacity” by Jonathan Chait, where you must praise.

For perhaps the last few months of Barack Obama’s presidency, media outlets have debated about something that definitely matters: was he one of the best presidents, or one of the worst?

It’s the former, says Chait, even though he admits there are times when it looks like the latter. Obama, he says, however, absolutely succeeded at what he set out to do, and this book follows that argument.

Though the Civil Rights movement was forty-some years prior to the day a Black man moved into the White House, racial issues keenly split the country over the last eight years, not along lines of race, but on political lines.

White America often denied it, but Obama forced a harder soul-search on racism.

He reportedly had a large agenda upon taking office in 2009, but it quickly became clear that his work would be to avoid, rather than fix, another Great Depression. He succeeded, but no President gets kudos for things like that. Instead, says Chait, there was – and still is – criticism about his actions, economically.

Health care legislation insured millions of Americans who otherwise would have no coverage, thanks to Obama and a surprising number of ideas that first came from the Republicans. As a new President, Obama boosted the economy by spending money on green energy, with an eye toward global climate concerns. He helped restore America ’s world-wide “standing”; and foresightfully recognized China and India as budding superpowers.

So why is anyone questioning his audacity, or the legacy he leaves behind? The answer to that lies in the recent past, and in the history of Twentieth-Century American politics. Understanding both, and what happens from here, is enhanced by learning what’s inside “Audacity.”

Just know first that there’s a lot to absorb.

Because author Jonathan Chait is also a political columnist, the goings-on behind-the-scenes in Washington are presented in great detail in this book. That can be both a good thing and a bad thing: good, because Chait is clear in reasoning and thorough in fact-finding, in favor of arguments for a stellar Obama legacy; bad, because this thoroughness becomes quite heavy at times.

That could turn away readers with a lesser palate for politics, although one wouldn’t have to look hard to see why persevering is important: Chait explains how Obama’s tenure as President ultimately turned out as it did, and why many voters are still, perhaps wrongly, disappointed in his work. Chait then goes on to clearly illuminate what happened at the last election, and why.

Give yourself time for a careful read of this book, especially if you might disagree with its author. There’s argument in here that may – or may not – change minds; either way, “Audacity” might at least give you something nice to say.

“Audacity: How Barack Obama Defied His Critics and Transformed America ” by Jonathan Chait, c. 2017, Custom House / William Morrow, $27.99, 272 pages.

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Arts and Culture

Kedrick Armstrong: New Music Director for the Oakland Symphony

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director. In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Published

6 days ago

April 20, 2024

Oakland Post

Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.

By Post Staff

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director.
In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Armstrong is the successor to previous music director and Conductor Michael Morgan, who passed away in 2021 after a 30-year tenure at the Symphony.

Armstrong will open the Oakland Symphony 2024-2025 season on October 18.

Armstrong, who is 29 and hails from Georgetown, South Carolina, is currently the creative partner and principal conductor of the Knox-Galesburg Symphony.

The Chicago Tribune has praised Armstrong for his ability to “simply let the score speak for itself.” He enjoys a wide range of repertoire, spanning early music to premiering new works, using his joy and curiosity for all music to cultivate understanding and collaboration within diverse communities.
“I am deeply honored and grateful for the opportunity to serve as the new music director of the Oakland Symphony,” Armstrong said. “As a Black conductor, I find it humbling to stand on the shoulders of both Michael Morgan and Calvin Simmons,” the most recent and the first African American music directors of the Symphony, respectively.

Armstrong led three programs at the Symphony between 2022 and early 2024, which showcased his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.
On his Oakland Symphony subscription debut on Feb. 16, Armstrong led the world premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

Armstrong was selected unanimously by the Oakland Symphony’s board of directors and musicians after an extensive two-year search. “The search committee was overwhelmed by Kedrick’s scholarship and curiosity about all kinds of music, from classical and jazz to gospel and hip-hop,” said. Dr. Mieko Hatano, executive director of the Oakland Symphony. “We are thrilled to have him join us at the Oakland Symphony.”

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Arts and Culture

Faces Around the Bay Dr. Carl Blake, Pianist

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999. One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Published

1 week ago

April 17, 2024

Oakland Post

Dr. Carl Blake

By Barbara Fluhrer

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999.

One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Blake obtained a Bachelor of Music from Boston University and continued post-baccalaureate studies in Jamaica before earning a Master of Arts in Music at San Jose State University. He was the recipient of two Fulbright residencies in Honduras and completed a third residency at the University of St. Petersburg in Russia. He has a Doctor of Musical Arts from Cornell University.

At age 19, Blake, then an undergraduate piano major at Boston University, was “discovered” by Impresario Dr. W. Hazaiah Williams, who is the Founder and Director of Today’s Artists/Four Seasons Arts.

Williams honored Blake by awarding him the first Marian Anderson Young Artist Award. Anderson personally presented the award at the Masonic Auditorium in S.F. Subsequently, Blake was presented by Dr. Williams in his San Francisco debut at The Herbst Theatre. Williams subsidized a year of study abroad for Blake at the Paris Conservatory of Music. Additionally, Williams sponsored Blake’s New York Weill Hall debut, where he has performed twice since. Blake performed several times at the Yachats Music Festival in Oregon.

Blake continues to perform nationally and abroad. His hobbies are reading, baking and travel. He says, “I’m still pumping ivories, as Belgian pianist Jeanne Stark described the disciplined practice of concert piano.”

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Arts and Culture

Oakland Jazz Great Offers Master Class as City Declares “John Handy Day”

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city. Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

Published

2 months ago

February 24, 2024

Oakland Post

(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.

By Conway Jones

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city.

Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

“John Handy is a jazz icon and an inspiration to musicians everywhere,” said Ayo Brame, a 16-year-old Oakland tenor saxophone player who is enrolled at the Oakland School for the Arts.

In celebration of this day, the reception in downtown Oakland at Geoffrey’s Inner Circle was a gathering of artists, young and old, coming together in his honor and celebrating his 91st birthday.

Handy presented a Saxophone Colossus free masterclass for musicians. This class afforded a rare opportunity to learn about the saxophone from an aficionado. The class was free and open to all – saxophonists, vocalists, aficionados, students, and casual listeners.

“As a longtime friend for over 60 years, and fellow musician who has had numerous opportunities to share the stage with John, it has always been a pleasure performing with him and hearing his creative interpretations of the music and his gift of ease inspiring the next generation of jazz musicians,” said Roger Glenn, a multi-instrumentalist.