One Fictional Night

Bill Russell Joins Ali & Brown 3 Years Later

 DATELINE: One Night in Miami

Upon hearing that a storyline made into a one-set play and thence a movie concerned a one-night meeting of Malcolm X, Cassius Clay, Sam Cooke and Jim Brown, all black men in the early 1960s on the cusp of change in civil rights for oppressed people, it’s hard to believe. It sounds like a fantasy of historical fiction.

Yet, it really happened.

The opening of the movie is not part of the original play and historical theories, though based on fact. The director Regina King had to open it up with white actors.

FBI Director J. Edgar Hoover had his bugs planted to listen in on a hotel room chat among these men in February of 1964.  It’s hard to believe they even knew each other or would have anything to say to the other. Yet, they did.

In fact, Muhammad Ali (not yet Cassius X) was a close friend of Sam Cooke. They truly hit it off:  an intellectual who read avidly like Cooke would seem to be swayed by the egotistic charm of Clay, but they had a kind of fame and cultural tie.

The training camp of Ali, he would attract the attention of Malcolm X and/or football star Jim Brown. Yet, it did, but the movie broadens the tale to include white hangers-on like Johnny Carson

Would a gospel Christian like Cooke even speak to a Muslim? Well, Cooke had been called the devil for singing pop tunes, and it would not be a big reach to be condemned for cavorting with a Muslim.

Would men whose personal ego and self-absorption in their careers be even remotely interested in anything larger? Well, segregation and racism would be a factor.

We suspect that Hoover had a detailed transcript of the discussion these men held: whatever fanciful chat that derives from the play/movie.  Two would be dead within a year, and one would become a political controversy. Was Hoover’s unseen hand involved? This story doesn’t say.

The film blatantly ignores Jim Brown’s assault history on women, which could also be a Hoover set-up, but this is not explored.

Only Brown still lives, having gone into movies (Ali later followed).  We suspect Cooke would have been a bigger star than all of them had he not been murdered (assassinated for black power over-reach?).

The movie is akin to a stereotype acting job, broad as a Marx brothers farce anchored in political doom. It’s ironic and iconic, but we’d rather see J. Edgar Hoover’s actual transcript of the night they all met.

On Jan. 22, Sam Cooke would have celebrated his 90thbirthday.

Sam Cooke: Legend

Ali Sings with Sam!

 DATELINE:   MLK Day Special  

Putting over a song like Sinatra or Crosby was no mean feat for a young black singer in the 1950s. Graduating from gospel and soul music to mainstream, Sam Cooke wanted to be a crossover between white and black, between teeny-bopper and adult performances.

Had he lived a few more years, he would have left the concert trail for the world of movies. By 1964 he would have been a giant in music and film. Instead, he wound up a victim of violence.

The documentary Legend  will amaze you. Jeffrey Wright narrates the film.

His music was emboldened by personality and charm. He wrote his own tunes, from “You Send Me,” to “Chain Gang,” or “Wonderful World,” he was astounding in his ability to put over a song with nuance and flash. He wanted to own his own record company, publish his own music. It was unheard of in segregated 1950s Nashville music. He was a pioneer in equality for audiences with their stars.  He was an avid reader and intellectual, a well-rounded personable extrovert.

You might think the segregated audiences of the South were over, but the true Civil Rights movement was only starting to become a norm when Cooke was making inroads. He was gone before Martin Luther King, Jr., made Cooke’s dream a reality.

The biographical documentary features a few rare performances of Sam in the 1950s, but glosses over some other great songs with a teasing snippet. We would be thrilled to hear a potpourri of his TV show performances on Dick Clark, Ed Sullivan, and other variety shows.

Though his friendship with Aretha is known here, it is his connection to Muhammad Ali (singing together) that astounds. He said he should have written “Blowin’ in the Wind,” and came up with a Civil Rights song, “A Change is Gonna Come,” but he would not live to see it.

Sam’s death remains to this day an unfathomable act.

Many, including Elvis, believed he was murdered because he was becoming another Civil Right icon, like Malcolm X or Martin Luther King. Other movie stories have also raised this issue.

 

Sam Cooke: Lady You Just Shot Me!

DATELINE: Why Was Sam Cooke Killed?

 You Still Send Me!

How long ago it was! Sam Cooke was a budding, all-American giant of music, but even more amazing, he was the boy next door who was African-American. The film is Lady You Shot Me!, a frightful documentary about the life and death of Sam.

He was murdered, executed, or shot under mysterious circumstances. A religious gospel singer, it seemed unfathomable back than that Cooke was in a “seedy” motel room with some street-walker.

Of course, we know nowadays this may be more often the norm. Yet, with Sam Cooke it seemed improbable. He was lumped in with Muhammad Ali and Martin Luther King as the three titans of Civil Rights.

You probably never hear much about Sam because his music is owned by Allen Klein and his associates: and some theorize they had something to do with stealing his profits and doing him in. Klein died in 2009, but he and his followers have stopped many a documentary about Sam from being made without their control.

So, this latest is also one without the most compelling part of Cook’s legacy: you will not hear his music. It isn’t allowed. He wrote “Wonderful Life,” ironically enough, “Cupid,” “You Send Me,” and “Another Saturday Night,” another delightful ditty about being alone. Now you seldom hear his music.

And you certainly don’t often hear the horror and tragedy of what happened to this talent. An inquest quickly dispatched his death, ruling justifiable homicide to a motel manager who shot naked man who had no weapon. She testified in dark glasses and had no attorney. She didn’t need one; the fix was in.

A few of his nephews contribute to the storyline—and also have done what they could to keep Klein’s company out of their lives. The documentary consults noted coroner and lawyer Cyril Wecht who examines the evidence but cannot sign on to a conspiracy of murder.

However, there are enough legal mumbo-jumbo moves by Allen Klein to take over Cooke’s music estate and run with all the profits to think he, at least, took advantage of an untimely death. Of course, it’s not the first time that an uppity black man was put down.

Fair or not, it is a strong backbone to the story of a man killed fifty years ago in a senseless action in Los Angeles. It was more than black America’s loss, it was the loss of a generation of music he would have created for everyone.