Category Archives: Art, Black Men, African American, Artist

1001 Black Men #732

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I met this friendly guy at the checkout counter at the grocery store. He was with a co-worker, and they were buying a few hot bar items to eat during their dinner break. It was late afternoon, and they were on their way to work a late shift at the Southwest Airlines terminal of the Oakland International Airport. It was Memorial Day weekend, a holiday weekend for the company, but they’d been called in because they’d put themselves on the list of employees who were willing to work holidays in exchange for double pay. The man in this drawing explained that he was also willing to work on Christmas, Thanksgiving, New Year’s Eve, and New Year’s Day.

He was friendly and eager to talk about his workplace options and the decisions he’d made. Something about his enthusiasm, his friendly smile, and his willingness to chat with a total stranger made an unforgettable subject for my latest sketchbook post.

Ajuan Mance

1001 Black Men #731

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This tall brother with the peaceful expression is modeling one of the many different varieties of the rather unfortunately-named Mohawk hairstyle. Recently, I’ve seen several people wearing this ‘do, and it strikes me that here, in California, the Mohawk is a seasonal cut. The blood is a little thinner here and people are a little more sensitive to the cold; and so it makes perfect sense that some folks prefer to have more hair than less during the colder months. When summer comes, though, the shaved sides return. The 21st-century Black people’s version of this hairstyle, however, is quite different from the kind I grew up seeing. During my high school and college years (in the 1980s), this haircut was a statement of rebellion, and not the cute or stylish kind either. It was about making the people around you a little uncomfortable.

Today’s African American version is, like so much in today’s Black aesthetic, about being innovative and unexpected, but in ways that is also compelling and attractive. Today’s African American “Mohawk” is little more than a jazzed up version of the ever-popular high top fade. It goes with almost any profession and almost any style of wear, as is clear in this drawing. This guy was wearing a Dickies work shirt and pants and he appeared to be stopping at the grocery on his way home from lunch. His haircut was a wonderful accessory, but it didn’t really communicate the rage or rebellion of the punk rock 1980s.

Ajuan Mance

1001 Black Men #730

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I love those moments when someone is so involved in their own thoughts that they seem to be completely unaware of their surroundings. This guy was standing on a corner behind the Farmer’s Joe’s market on Fruitvale, grimacing and staring out into a generally uninhabited area near the BART tracks. I think he may have been looking for someone; or perhaps he lost his car keys, but really far away from the parking lot.

Ajuan Mance

1001 Black Men #728

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The first Tuesday of this month was an election day. I know. Who votes in June, right? My polling place is Canaan Covenant Christian Church on Foothill Blvd in Oakland, California. At Canaan Covenant, all the League of Women Voters volunteers are Black and all of the voters are Black.

There’s something that feels very special about being an African American person voting with other African American people. With all of the efforts to restrict voting rights, going to a polling place run for and by Black voters feels we’re sharing something subversive, exercising a right that some still believe we should not have. Even in this small and unadorned space, on a gritty stretch of the already gritty Foothill Blvd., it’s powerful stuff, this voting thing. Power to the people. Souls to the polls. Black votes matter. Freedom now.

Ajuan Mance

1001 Black Men #726

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I was introduced to this young man at last year’s Alternative Press Expo. He was strolling by my table with Tofu a gifted and wonderfully down-to-earth mixed-media artist working out of the Bay Area. The man in this picture had a camera around his neck, and I recall asking him whether or not he was a photographer. His answer, if memory serves, was unclear. This, in my estimation, probably means he is a photographer, but that he is modest about his talents.

I hope to run into him at the coming year’s APE, to learn more about his involvement in the arts and especially his relationship to photography.

Ajuan Mance

1001 Black Men #724

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This drawing is from a couple weeks ago, before the heat wave and the subsequent cooling. It shows a man I spotted in a bus shelter on my drive to the edge of SOMA. I was in San Francisco to see the exhibit space for a show. The building I was looking for is in the South Park neighborhood, and I got to see the population shift there, firsthand.

It’s been about 10 years since I last drove through that area on a weekday, and it was a lot more lively than I remembered. It was bustling with new (or new-ish) restaurants and shops and galleries, and there were lots and lots of people on the streets. They were going back and forth between the shops and restaurants and the businesses that have come to make this neighborhood their home.

I was witnessing the very phenomenon I’d been reading about and hearing about in the local and national news. I’m not completely certain, but I think I was seeing the aftermath of the gentrification of that area.

I’ve read about and listened many reports on gentrification; but, truth be told, I haven’t spent much time in the areas where it’s gotten the strongest foothold. So, seeing it was kind of exciting, like when you’ve seen a bunch of articles on a famous-but-controversial writer, and then you run into them on the street.

Overall, the South Park neighborhood wasn’t unpleasant. The restaurant where I ate lunch was fun, and the food was pretty good. (It was a restaurant that only sells grilled cheese sandwiches.) The building facades were refurbished with attractive and quirky decor, and the people who dotted the sidewalks seemed excited to be alive and to be with each other. The area was vibrant and full of energy, and if I hadn’t driven through the neighborhood 10 years ago, I wouldn’t have had any idea that South Park had been anything but what I experienced a couple weeks ago.

I suppose that’s one of the issues with the transformation of a neighborhood. When a neighborhood changes, whatever that neighborhood becomes erases any memory of what it might have been (for all but the people who lived there or worked there before).

In the end, neighborhood change is inevitable; and very few of the communities on either side of the Bay bear much resemblance to what they were when they began. As San Francisco, Oakland, and surrounding cities debate the proper place of and responses to gentrification, I find myself wondering whether these conversations are inevitable parts of the never-ending change that takes place in our nation’s cities; or maybe the fluctuations in today’s Bay Area neighborhoods are somehow different than previous shifts.

I also find myself wondering about the role of the area’s not-so-economically-marginalized Black folks and other people of color, especially related to Oakland. What is the role and what are the responsibilities of upwardly-mobile Black people, for example, many of whom flee mixed-class communities the moment their incomes (or their equity) permits. When enough of these departures take place, the former residents leave the more financially vulnerable to face the combined forces of business and the white repatriation of the urban core.

At this point, I have no answers; but I’m starting to feel like my questions sorta kinda amount to answers in and of themselves.

Ajuan Mance