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From over 40 hours of precious historical footage of the 1969 Harlem Cultural Festival (HCF), archived for a half-century for lack of corporate interest, Ahmir “Questlove” Thompson had the daunting task of selecting only two. He cannot be faulted for his choice of performances for Summer of Soul. He couldn’t please everyone.
But there was other, post-festival material available to him, and in his decisions here, I detect a narrative at work.
As I watched the documentary, I noticed that the sea of black and brown in Mount Morris Park was flecked with white. (Four years later, the venue was renamed to honor America’s self-proclaimed leader of the world’s “first fascists.”*) The fact that those few “not-of-color” folks traveled safely to and from Harlem to enjoy music is worth noting, given that they did so not many months after the post-MLK assassination riots. (They were luckier than Diana Ross’s fans whom “bands of roving youths” beat and robbed after leaving her ’83 Central Park concert [New York Times, July 24, 1983]).
HCF’s white attendees, though few, represented millions who in the preceding decade had voted with their pocketbooks to help these artists achieve a level of success that their Black fan base alone could not support.