Art
Calvin Macon’s battle from addiction to published author
THE BIRMINGHAM TIMES — Macon started out smoking marijuana, eventually used cocaine and then crack cocaine. After retiring from the military, he was mostly using crack. When he realized he was addicted, he tried several ways to quit smoking the drug.
By Erica Wright
To this day, Calvin Macon regrets the condition he was in when his parents last saw him.
“I was struggling,” he said. “I had a house and I was married, but I was still struggling with drugs. My parents died within about a month of each other [in 2004], and then my uncle died. I remember my dad telling my mom when she was really sick, ‘The only reason I’m here is for you.’ He died shortly after she did.”
Macon said his father had diabetes and an abscess on his toe. He went to the hospital to have it removed, which resulted in a blood clot that led to his death.
Macon, 62, a retired U.S. Navy veteran, sculptor, and recent author recalled the day he was getting ready to smoke crack cocaine at home—then he saw the light and knew it was time to quit. That was six months after he lost his parents, and he has been clean for the past 15 years.
Resisting temptation hasn’t always been easy: “I can see a cigarette lighter and think about when I used to smoke, or I can be driving somewhere and think about it because there are so many places I’ve been around Birmingham where I would go and buy drugs and smoke it or whatever,” he said.
Faith
Macon’s faith in God’s redemptive power is much stronger than his urge to do drugs, though.
“I believe in God, Jesus Christ, and I always knew I was supposed to be doing something else. That’s how I ended up writing my book,” he said. “I wrote my book in like a week and a half. I had written a couple of poems before, but when I decided to do this, I did it in hopes that it would help somebody because if I can do it, then they can do it.”
Part of his trusting God meant he had to end friendships that were not good for him, he said.
“I had to cut people off because they weren’t real friends anyway,” he said. “They’re friends while you’re smoking, but you just have to let folks go and you can’t be around it.”
Macon said he focused on sculpting, which he has done since serving in the Navy from 1975 to 1999. While serving on his first ship, he hand-carved a sculpture out of a wooden pallet.
“After we got supplies, I would find pallets or … any kind of wood available, [such as] broom handles, to make mobiles, coffee coasters, pipe holders, whatever,” he said. “Then in 1997, I started [working with] stone. I was stationed in Japan, where I met a stone sculptor. He gave me a chunk of soapstone, and I gave him a piece of ebony. Since then, I’ve been [working with] stone.”
Macon said it usually takes a month to shape a piece. Though he has done work for others and some galleries, he now mostly creates works for himself.
First Book
Macon began writing his book last year. He was inspired by some of his sculptures and would write poems to go with the pieces, then decided to put those poems in a book.
“A word or a phrase [would come to me], then I would write a poem around that word or that phrase and put it on Facebook with a picture of my work,” he said. “People would tell me I should copyright [the poems and pictures I put on Facebook].”
Macon got in contact with a publisher about writing a book. A few weeks later, the vice president of acquisitions called and said they were interested. It took Macon about a week and a half to put together material for his recently released first book, “I Can See the Light,” a compilation of pictorial poems that accompany his sculptures and illustrate how he overcame his struggle with drug addiction.
“Some poems are related to a specific carving in the hope that the artwork will add texture to the poem. Some poems reflect my thoughts and feelings as an addict, [as well as] interactions with my family, friends, and other addicts. Some are based on [my] post addiction reflections on the general revelation of God and how I see things today,” he said.
Recently, Macon recited some of the poems from the book at Bards and Brews, a poetry performance and beer tasting hosted by the Birmingham Public Library (BPL) at the Birmingham Museum of Art.
Birmingham Native
Macon grew up in Birmingham as one of eight children; he has four older siblings and three younger siblings.
“I was a middle child, so I was pretty much on my own,” he said. “The older kids got stuff and the baby kids got stuff, but I was in the middle, so I was kind of by myself most of the time. [Even] when I would come home from the military, no one would even notice.”
His father worked at the Greyhound Bus Station in downtown Birmingham and Dickey Clay Pipe Company in Fairfield. His mother cleaned houses in Mountain Brook.
Macon’s family grew up in the Acipco-Finley and Hooper City neighborhoods and moved to Hooper City by the time he was in fifth grade, which he began at Lewis Elementary School before transferring to Eagan Elementary.
“We had to change schools and went to Eagan, [where] we were one of two black families,” he said. “We had to fight our way home every day.”
Macon attended Phillips High School, where he was in one of the first few classes to integrate the school. After graduating in 1975, he enlisted in the Navy for advanced electronics.
“I was the only black in the class out of 50-something guys that went through,” he said. “There were plenty of black guys in the Navy, but they weren’t in advanced electronics or air controllers; they were on deck jobs and things like that.”
Macon was stationed in several different U.S. locales, including Memphis, Tenn.; Norfolk, Va.; Jacksonville, Fla.; San Diego, Calif.; Monterey, Calif.; he also served in Japan. While enlisted, he earned a bachelor’s degree from a State University of New York (SUNY) school.
“The Navy had instructors riding on ships, so you could take some of your basic classes onboard,” he said. “The way the program is set up, you could take the classes, or you could take the tests if you thought you could pass. Then [your work would be] submitted to the university, which would give you credit. That’s the way I did it.”
For Those Who Suffer
Once he retired from the Navy, Macon returned to Birmingham and worked as a receiving manager at a home-improvement store. While working, Macon was a self-described “functioning drug addict.”
“I probably started using drugs in the 1980s, when I was still in the military,” he said. “When I wasn’t around it, I was fine. Whenever I would come to Birmingham, I would be in trouble until I could get back up to Memphis, [where I was stationed], and then I would be fine. Once I retired, [though], there was no control of it because I was retired and getting a check, and I had my own house, so it was hard.”
Trying to Quit
Macon started out smoking marijuana, eventually used cocaine and then crack cocaine. After retiring from the military, he was mostly using crack. When he realized he was addicted, he tried several ways to quit smoking the drug.
“I would carry only certain amounts of money. I couldn’t call anybody I would smoke with,” he said. “None of that worked until I just said, ‘Lord, help me, just help me!’ Somehow it worked, kind of like that let-go-and-let-God thing. [At the time], I didn’t know what that meant, but now I do. … I used to just pray for one day, for Him to just give me one good day to quit.
“It’s extremely difficult for people who smoke crack or use any other opioid to stop. They may tell themselves, ‘I’m just going to do a little bit,’ but you can’t do just a little bit. No one starts out to be an addict; they just get caught up in it. Once they’re hooked, the world collapses because they can’t get out.”
Macon was finally able to get out—and he knows his parents would be glad to see that their son has now seen the light.
“I Can See the Light” (Covenant Books) is available at Amazon and in bookstores, including Barnes and Noble and Books A Million.
This article originally appeared in The Birmingham Times.
Art
BLACspace Cooperative Invites Bay Area to Experience Oakland’s Black Cultural Ecosystem Through a BLAC Map Tour + Party
BLACspace Cooperative invites the Bay Area to experience Oakland’s Black cultural ecosystem through its BLAC Map Tour + Party on October 2. Presented as part of the Museum of the African Diaspora’s Nexus: SF/Bay Area Black Art Week, the event offers a guided field trip through creative and cultural spaces, followed by a celebration. Guests will explore the people and places shaping Black arts and culture across Oakland. The tour highlights BLACspace’s interactive guide to spaces stewarded by its members. Read more to learn about this unique event.
Presented as part of MoAD’s Nexus: SF/Bay Area Black Art Week, the October 2 experience takes guests inside the spaces, practices, and relationships that keep Black arts and culture rooted in Oakland
What does Oakland’s Black cultural ecosystem look like from the inside?
On Friday, October 2, BLACspace Cooperative will bring its BLAC Map to life with The BLAC Map Tour + Party, a two-part experience connecting artists, cultural workers, community partners, funders, and arts lovers with the people and places shaping Black arts and culture across Oakland and the greater Bay Area.
Presented as part of the Museum of the African Diaspora’s Nexus: SF/Bay Area Black Art Week, the day begins at MoAD at 685 Mission St. at 12 noon with a guided field trip through creative and cultural spaces connected to the BLACspace ecosystem.
Guests will travel together by bus from San Francisco to Oakland, stepping inside studios, cultural hubs, creative businesses, and gathering places while experiencing artist talks, exhibitions, film, music, movement, ancestral practice, and opportunities for conversation.
The Tour is an extension of The BLAC Map of Oakland, BLACspace’s interactive guide to creative and cultural spaces stewarded by members of its ecosystem. The map makes visible a network of people and places working to keep Black culture rooted in a city where displacement, rising costs, and shrinking arts funding continue to threaten cultural permanence.
“We call this work Cultural Reforestation,” said Zakiya Harris, Vision and Leadership steward of BLACspace Cooperative. “It’s about repairing, replenishing, and rooting Black arts and culture where it has been displaced, and creating the conditions for our cultural ecosystem to remain for generations to come.”
The Tour will move through several Bay Area cultural spaces, including Minnesota Street Project, The Barn, B-Love’s Guest House, Koo Labs Production & Design Center, BAM House, and BlaQyard, with experiences featuring members and collaborators across the BLACspace ecosystem.
At 5 p.m., the field trip gives way to The BLAC Map Party, a celebration of the ecosystem the Tour spent the day exploring. The evening invites the wider community to gather for music, food, art, cultural activations, an opening Ring Shout ceremony, and connection among Black artists, cultural workers, organizations, and the people who support their work.
The experience reflects BLACspace’s larger belief that the future of Black arts and culture requires cooperation.
As a Black arts and culture-promoting cooperative, BLACspace brings together artists, cultural workers, creative businesses, and organizations to share resources, relationships, knowledge, and stewardship.
Through membership, holistic business coaching, mutual aid, consulting, storytelling, and advocacy for cultural spaces, the cooperative is building infrastructure intended to strengthen Oakland’s Black cultural economy for the long term.
EVENT INFORMATION
The BLAC Map Tour + Party
Friday, Oct. 2
BLAC Map Tour: 12–5 p.m.
Begins at the Museum of the African Diaspora (MoAD)
685 Mission St., San Francisco
BLAC Map Party: 5–8 p.m.
Oakland, California
Party location provided to confirmed RSVP guests.
Tickets, RSVP information, and additional event details are available through BLACspace Cooperative at ABOUT BLACSPACE COOPERATIVE
About BLACspace Cooperative:
BLACspace Cooperative connects and cultivates an ecosystem of artists, cultural workers, creative businesses, and organizations shaping Black arts and culture. Through holistic business coaching, values-aligned consulting, shared stewardship, and advocacy for cultural spaces, BLACspace works to create the conditions for its ecosystem to remain rooted and thrive.
Its work is grounded in Cultural Reforestation: strengthening what is here, restoring what has been displaced, and building toward cultural permanence in Oakland and beyond for the next 100 years.
Adéniké Amin is the storytelling steward for BLACspace Cooperative. For media and other information, please reach out to adenike@blacspace.coop
Art
Misty Copeland Shapes Ballet’s Tomorrow
THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.
This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.
Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.
That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.
Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.
The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.
The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.
The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.
For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.
Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.
The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.
Based on reporting by The Positive Community.
Art
BOOK REVIEW: Never Tell a Black Girl How to Black Girl: Essays
Growing up in North Carolina, she Black Girled her hair her entire life. Her grandma made her sit for box braids when she was small, telling Brown that she was “tenderheaded.” Later, Brown had relaxed hair until she “went broke” and couldn’t afford the process anymore. That was when she got acquainted with her natural hair – although she returned to box braids at least once, and loved them all over again.
Author: Amena Brown, Copyright: c.2026, Publisher: Tiny Rep Books, SRP: $30.00, Page Count: 320 pages
Some things can really make you cross.
People telling you your business, for instance. People asking questions they have no reason to know the answers to. Folks who criticize your hair or clothes or life. These things would set anyone off; they’d be the last straw for anybody. As in the new book, “Never Tell a Black Girl How to Black Girl” by Amena Brown, some folks just cross the line.
In a way, it’s a matter of grammar.
Depending on how you say it, “Black Girl is a noun and a verb,” says Brown. A Black Girl can be a Black Girl… and she can Black Girl. Brown herself has done it “in six countries.”
Growing up in North Carolina, she Black Girled her hair her entire life. Her grandma made her sit for box braids when she was small, telling Brown that she was “tenderheaded.” Later, Brown had relaxed hair until she “went broke” and couldn’t afford the process anymore. That was when she got acquainted with her natural hair – although she returned to box braids at least once, and loved them all over again.
As the child of a strict Pentecostal mother, Brown was a “late bloomer.” She didn’t drink alcohol until she was in her twenties. She was chaste while dating and a better church girl than a party girl. After she left the church, she began experimenting with wine first, then cocktails. She learned to cook, reasoning that the path to finding love started in a kitchen, one that happened to be her grandmother’s. And yes, love did eventually come in the form of a red-headed White man who was her friend before he became her boyfriend — and before he became her mother-sanctioned, grandma-approved husband.
Overall, says Brown, there is no single right method for doing this.
“There are so many ways to Black Girl, which means the way you Black Girl is beautiful, and the way I Black Girl is beautiful too.”
Looking for a collection of addictive, can’t-read-just-one essays that’ll make you laugh but that also feel like author Amena Brown is peeking at your life? Want a book that speaks to every corner of your existence?
Yeah, then you want “Never Tell a Black Girl How to Black Girl.”
You know how it is when you spot something so profound, so right, that you just have to call your friends and read it out loud to them? That’s what you’ll find here: truth told with humor that’s also oozing with warmth. Add honesty that’s smart and bold and practically begging for a “Heck, YES!” and you’ve got your new favorite book.
The essays here are short enough to read in a few minutes, but compelling enough to make you want more, so give yourself room.
This is a book for twenty- and thirty-somethings, but also for their mothers and grandmas who can handle respectful irreverence and surefooted playfulness. Can men enjoy “Never Tell a Black Girl How to Black Girl”? Sure, but it’s more for women, cross your heart.
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