Los Angeles

ONTENTS

Features 6 Paul Revere Williams: Architect to the Stars28 Alprentice “Bunchy” Carter18 FASHION Lights, Camera, Action

Departments

2 Editorial Letter 4 CARTER™ Cum Laude10 WHAT’S POPPIN’ Mayme A. Clayton, Central Ave, Bruce Beach17 GET RIGHT Simply Wholesome26 SPOTLIGHT Auks30 HOMAGE Fay M. Jackson

A llow me to introduce myself. What’s up? My name is Syreeta Gates and I am from South Side Jamaica, Queens. I am merely a product of this culture called hip-hop, spitting verses as my diction. I have found myself re-using lyrics, quotes and movie

scenes from the most profound philosophers of our time to express how I feel. For that, first and foremost I would like to pay homage to those that have come before me. The Andre 3k’s, The Gordon Parks’, The Tupac Shakur’s, The Stevie Wonders’, The Mary J Blige’s, The Big Daddy Kane’s, The Taraji P Henson’s, The Toni Morrison’s, The Last Poet’s, The Bunchy Carter’s and numerous others from different backgrounds, industries, “hoods” and struggles that have shown us what greatness looks like.

For this evolution where hip-hop and history join forces like Voltron, is one that was sim-ply destine. To remix what the great Malcolm X said “We didn’t land on CARTER™ Magazine, CARTER™ Magazine landed on us.” And for myself, this is extremely literal. So eloquently taken from Love Jones, “This here, right now, at this very moment, is all that matters to me.”

You can expect from CARTER to “put the battery in your back different from energizer.” The CARTER team is committed to excellence by giving you something like The Miseduca-tion of Lauryn Hill or Baby Boy aka TIMELESS pieces. For we are; yea I said that we are a MOVEMENT. I have a dream that one day young people will take their lives by the steering wheel and create their own lane. Supported by their peers and adults that simply want them to be ill (matic) by any means necessary.

Shout out to the uber dope young folks from Fredrick Douglass Academy for reminding me that, “Right now, in some staircase in LA or New York City or Chicago or Detroit or a hood near you, There are two teenagers planning ‘the takeover’– a blueprint that will change popular culture forever.” And with that said, it’s my absolute pleasure to be the new Editor in Chief of CARTER Magazine; and yes I am feeling like Kanye West when he got chained as the newest member of the Roc-A-Fella team.

To Live and Learn in LA demonstrates just the beginning….Through The Wire.

Syreeta Gates, Editor and Chief

Queon Martin Ceo/Founder

Datwon ThomasCo-Founder/Spokesperson

Syreeta GatesEditor-in-Chief

Brian ChristionOperations

Aidah Z. MuhammadCreative Director

Alexander AllenFashion Director

Sundree Brand MgmtArt Direction

Gina PinaPhoto Editor

Rayon RichardsPhotographer

Amelia RawlinsCopy Editor

Alex Alsup Copy Editor

Chimene TeixeiraPublic Relations/ Amada Entertainment

Darnell SmithContributor

Marvin ScottContributor

Greg HillEducational Director

Eileen J. ForbesCoordinator

Justin RhoneBrand Management

Frederick Douglass Academy

Criag YorkAunye Scott-AndersonMaya BurtonTiyanna WrightMiranda Brown

Editorial Letter

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To Live & Learn in LA

OCCUPY YOUR MIND

Due to the rising tide of mediocrity - the era of Cultural Revolution is spurring. Going beyond reform, but redefining

human knowledge, behavior and beliefs.

CARTER CUM LAUDE is not another T-shirt. It is more than mobile advertising that sells a product. It is an Instructional

strategy to best delivers social learning and symbolic thought.

It is Cultural changing! It is Political & Historical Graphic statements with subversive messages that manufacture

emotion. Tapping into the lifelong process by which every individual acquires and accumulates information, knowledge and insight through their natural environments and daily experiences.

The graphic statements are narratives, they highlight the roles of significant individuals and ideas throughout

history and most importantly convey the rights and obligations of citizens today.

It is an examination of societal shared attitudes, values, goals, and practices that characterizes an institution, organization, group or individual…

It is transcending trendcetting!

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To Live & Learn In LA

Since the inception of CARTER™ Magazine, our goal was to travel our nation and expose the culture of hip-hop to our rich history within these United States. Following the tradition of hip-hop culture, our first stop on this tour would be Los Angeles, “The City of Angels.”

Who best to capture Los Angeles glorious past and prosperous future than students from Fredrick Douglas Academy. Craig York, Aunye Scott-Anderson, Maya Burton, Tiyanna Wright, Miranda Brown and Jeremy Jones... An amazing talented group of artist, designers and poets who yearn to learn more about themselves, so they can then empower the mis*educated culture of hip-hop.

In this issue you will be introduced to Alprentice “Bunchy” Carter, Paul Revere Williams, Mayme A. Clayton, Fay M. Jackson, Bruce Beach and Central Avenue... Pivotal people and places rooted in Los Angeles rich history, that played a major factor in American History.

A special thanks to: Greg Hill, Eileen Forbes, Justin Rhone, Derek Richardson, Stella Simona, Caleb Wilson, Kioni Ben, Drini Marie, Stephanie Conde and Shah G for making this possible. CARTER™ Magazine has another home.

— BK to LA TEAM CARTER™

MUSIC

YOUR FAVORITE ARCHITECT’S ARCHITECT Paul Revere Williams by Craig York and Miranda Brown

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ell-known for over 2,000 architectural works, such as the LAX theme building and the Beverly Hills Ho-tel, Paul Revere Williams (February 18 1894- January 23 1980) was the first African American accepted into the American Insti-tute of Architects (AIA) and one of the only African American architects on the west of the Mississippi during the 1920’s.

After Williams’ parents died two years apart, him and his brother, Chester Williams, were separated and sent to different foster homes. Williams was sent to a foster mother who was solely concentrated on his education and development of his talent.

Although Williams was the only African American in his ju-nior high and high school, he usually did not encounter racism. With the expectation of a few discouraging words from a math teacher who once told him not to pursue the career of an architect because he would have difficulty attracting clients. With that, Williams decided to remain positive and pursue his dream of architectural design. He later won an architectural composition at the age of 25 and became a certified architect by the age of 27.

He was quite popular for being a crafts man; having the ability to draw upside-down for clients who would be unwilling to sit

next to a black architect but would be able to see the drawing right side up from across the table.

In an effort to gain attention, he served on the Los Angeles City Planning Commission in 1920. During this time he also worked for architect John C. Austin, before he opened his own of-fice in 1922. About a year later he was accepted to be in fellowship of the AIA and he was awarded with the merit for his design of the MCA building in Los Angeles. This honor gained him very pres-tigious clientele, such as Frank Sinatra, Lucille Ball, Lon Chaney, Bill “Bojangles” Robinson and Tyrone Powers. Following World War II, Williams went on to write his first book The Small Homes of Tomorrow and its sequel New Homes for Today.

He is known as an American hero, who built the Long Beach Navel Base for President Roosevelt during World War II. To many, his talent was so exquisite and inimitable that other archi-tects asked him to design houses for them. His futuristic work barely fit the time we are in now. Known as the most successful architect of the 20th century, some may describe him as having a God-given talent and some may call him “the Michael Angelo of architecture”… As for us, we see him as a true genius.

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MAYME AGNEW CLAYTON by Eileen Forbes

Mayme Agnew Clayton was born on the hot summer day of August 4, 1923, in the small town of Van Bu-ren, Arkansas. Clayton was born to Jerry Agnew Sr. and Sarah Elizabeth Agnew. As a child, her parents

exposed her and her two siblings to the importance of African American accomplishments. As her life progressed, Clayton began to internalize the importance of her parent’s teachings.

She traveled the world competing in golf tournaments and as she went from town to town, she collected many unusual artifacts about and by African Americans, including a rare signed copy of Phyllis Wheatley’s, “Poems on Various Subject Religious and Moral,” which is believed to be the first book published by an African American in the United States. Clayton went on to collect items that include documents, photographs, literary pieces, movie posters, a musical collection, advertisements, and other cultural treasures. She even purchased out of print works by the authors

from the Harlem Renaissance. Her focal point and motivation for being an avid collector of African American works was, “to ensure that children would know that black people have done great things.” Over the course of 45-years, Clayton collected 3.5 million works by African Americans, which she stored in her ga-rage. Youth and their parents alike visited her garage to see her extensive collection. On October 13, 2006, Mayme A. Clayton passed away, leaving behind her entire collection, which can now be viewed by millions at the Mayme A. Clayton Library and Mu-seum located at 4310 Overland Ave Culver City, CA 90230.

Mayme A. Clayton’s scholastic accomplishments include a Bachelors of Arts degree from UC Berkley, a Masters in Library Science from Goodard College, Vermont and a PhD in Humani-ties from Sierra University, Los Angeles. She was also the consul-tant and founding member of the Afro-American Studies Center Library.

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Bruce Beach is located on the heart of Manhattan Beach, California, near Los Angeles. It was originally owned by the African American couple, Charles and Willa Bruce and was the only beach resort in Southern California that

allowed all nationalities to enjoy outdoor sports, bath houses, fine dining, dancing, and all other luxuries included in the “laid back California dream.”

Despite the fact that the beach attracted more people of different cultural backgrounds to sunny area, a large percentage of Cauca-sians, who were not as open minded as the Bruces, greatly opposed the beach. Beach goers were frequently harassed by the KKK and

eventually the owners themselves. The Bruces were also being pres-sured by the City of Manhattan Beach to sell the resort at an un-reasonably low price. The city succeeded in 1924 through eminent domain. The resort, along with the prominently black neighbor-hood surrounding it, was destroyed, renamed twice, and marketed as an all white resort. The attempt to resell the beach was crippled by the civil disobedience of the NAACP and eventually abandoned.

In 2007 the beach was given back its original name, thanks to the persistence and tenacity of the Bruces’ grandson, Bernard Bruce. Bruce Beach is now a celebrated landmark of African American his-tory, culture, and the perseverance of justice.

THE GRAND RE-RE-RENAMING by Miranda Brown

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Central Avenue was to Los Angeles what Bourbon Street is to New Orleans. From the 1920’s to the early 1950’s, Central Avenue was the first and only place African Americans were allowed to dwell. The 1920’s was the

start of risk taking in fashion, music, and movements. There was no doubt that southerners from cities comparable to New Orleans contributed and influenced the lives of Central Avenue residents.

During the 1890’s African American southerners began a movement known as The Great Migration, which lasted until the 1970’s. Fed up with racism, between the 1890’s and the 1970’s,

African American fled from the deep southern states, such as Georgia, Alabama, and Mississippi and migrated North. Between 1910 to 1920, the movement expanded and the people became even more eager to escape the harsh racism and limitations to jobs they had in order to provide more stable living conditions for their families.

In 1912, southerners of New Orleans hopped aboard a train, known as the Argonaut, in hopes of pursuing a better life. Com-pletely exasperated with laws and restrictions they were facing, many families and musicians took a fifty –five hour train ride from

CENTRAL AVENUE TIME LINE by Tiyanna Wright

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New Orleans to Los Angeles. The travelers anticipated being able to arrive in Union Station, the train station in Los Angeles, how-ever, many were forced to their intended destination. Southerners arrived in the Central Avenue area and began to make themselves at home. Many individuals, including Black musicians and artists, visited Central Avenue as the community began to grow.

By the year 1920, the community was filled with musicians, restaurants, lounges, and other fun places to be. Some musicians were used to make music for Hollywood films, while others made their way in hot night clubs in hotels. One of the most popu-lar hotels was The Dunbar Hotel. The Dunbar Hotel opened its doors in June 1928 and welcomed all people of color. This hotel was originally named the Summerville after its Jamaican owner, Dr. John Alexander Summerville, who built, owned and managed it. The stretch of Central Avenue where African Americans were allowed to congregate was 30 blocks long. The Summerville was located at 4225 south Central Avenue and had 26 units and 100 rooms. This location provided a place where Black entertainers, athletes and locals were welcomed. The Summerville was the only black owned business on the block, but as the community grew, more businesses began to surround The Dunbar.

The hotel was a huge success as it constantly had visitors and employed 100 Black locals. In 1930 the economic market crashed which caused Dr. Summerville to sell his business to a gangster by the name of Lusicuz Lomax. Once in his position Lomax re-named The Summerville, The Dunbar Hotel after the famous black poet Paul Lawrence Dunbar. The hotel continued to jam to the tunes of rock n’ roll, r&b, and jazz. Hot shot like the Jimmy

Lunceford Orchestra, Johnny Otis, Willard Gray, Big Jay McGee, Shirty Henry, Billie Holiday, Johnny Parker and many others were frequent guests.

Sadly in 1934 Lomax sold The Dunbar to Father Divine’s Peace Mission (George Beacher). In 1960, the owner had hopes to make the former hotel a museum. Finally, in 1981 the building reopened as an apartment complex.

In 1931 a new club had hit the block. Club Albam opened directly next door to The Dunbar. The Albam welcomed African Americans and individuals of other races. Both the Dunbar Ho-tel and Club Albam stood strong to provide entertainment for residents and visitors. Live performances from stars such as, Lena Horne, Mabel Scott and even comedian Red Foxx were a nightly occurrence at both of these hotels.

The 1920s was also the years of music and agriculture, better known as The Renaissance. In Harlem, New York, a group known as the NAACP founded the Harlem Renaissance. The NAACP originated to give Blacks a voice in cultural art and to bring races closer together with something other than politics. This move-ment influenced and flourished through many other states, cit-ies, and countries such as Paris, Chicago, and of course Central Avenue. The NAACP gave groups and individuals examples of freedom of expression through music and art. Prime examples are Langston Hughes, Arna Bontemps and Paul Lawrence Dunbar, originally from Missouri and Louisiana. Artists such as these were known for literary and conscious poems. Langston Hughes was especially unique because he incorporated voices that traveled through the Black renaissance movement and made its way down

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to Central Avenue.Another famous landmark of Central Avenue was The Lin-

coln Theater, which opened between 1926- 1928 on 23rd and Central Avenue. The Lincoln Theater was also called The West Coast Apollo because they enjoyed live shows, movies, and music. Black owned, The Lincoln Theater was the largest out four other theatres (Clock, Tivoli, Angelous, and Hub). It was another place of business, where Blacks were able to enjoy themselves and were entertained. The Lincoln Theater stood tall until it was sold in 1962 to the First Jurisdiction Church lead by Bishop Samuel M. Crouch. After his death in 1976 the church home moved and the building was sold to Pastor Alberto Wizel.

Fashion of the 1920’s was filled with many risks. Women’s clothing became more revealing than the previous years, shirts and dresses were hiked up, and long hair had become just a fad and was no longer a factor. For example, Coco Channel was the first woman to sport a short hair do. Along with her many ac-complishments, she was also the first to put pants in her women clothing designs. The 1920’s was all about the French Garconne Movement (boyish look) women gave their hips and breast a flat-tened look. This popular fashion consisted of silk tights, short pants, and all sorts of colored fabric. The new cut comprised of a short cut like the famous Bubikof, better known as the “bob cut” first seen on the actress Louise Brook.

While the women were flaunting skin, the men were more focused on being “G.Q.” with the business casual look. Sports jackets and double- breasted business suits with two to three but-tons topped off with classy cufflinks was the trend for men. The pants had a natural waistline and were cuffed at the bottom. The men were also popular with accessories such as bow ties, straw hats, and pocket watches also known as “fob wallets,” usually con-nected to the vest or chained to the pants loop.

During this time period, fashion became outrageously flashy. For example, the fun loving bathing suits were just as revealing as their clothes. Such as short taffeta, sleeveless wool tank tops, and suit pre-fitted under shorts. Men kept it simple with their wool tops and under pants to keep the natural look going.

By the 30s-40s, men renamed classy and simple, when women stepped it up a notch and tagged along with the business look, including pencil skirts, fitted dresses, and blazers. As far as acces-sories went, simple and elegant was the way to go including pearl necklaces, stud earrings, and bracelets. By the 50’s, women altered their style to evening gowns and long dresses, while their hair con-sisted of pin curls and up-dos. As for the men, they switched to cardigan sweaters, and Ascotts.

In the 1950’s, Central Avenue crashed and burned. Local po-lice shut down clubs and businesses; however the residents were able to expand beyond just Central Avenue.

Simply Wholesome has been around since 1981, serv-ing delicious and healthy alternatives to the everyday cooking amongst the largest amounts of families, who choose another route to satisfy hunger. Their motto,

“We exist because you come through our doors. Our entire staff wishes you the best of health,” sends a message to each customer who comes through the doors, stating their gratitude and wel-comes everyone to their restaurant. Simply Wholesome makes you think of what your body needs to become and brings health awareness cuisines to you.

Some of the healthy entrees include the spinach patties, chicken salad, jerk chicken and spinach, Jamaican patties, and the carrot rai-sin bowl. You can cleanse your pallet with a smoothie that contains 100% organic fruits, including Peach Pazazz, the Apple Strawberry Slush and the Berry Surprise. The larger, the more flavor.

This delicious restaurant is located at 4508 W Slauson Av-enue, Los Angeles, CA 90043. If you would like to reserve a spot there, you can call the restaurant at (323) 294-2144. The hours are: Monday-Sunday, 8:00 am-9:00 pm. This is a family eatery that does not serve alcohol, the attire is casual, and the noise level is average.

People with health issues may enjoy Simply Wholesome’s Wellness Program, which includes: on-site nutritional counseling and information, a larger selection of body care items, hard to find natural hair products, and a selection of unique, healthy, and tasty beverages and tonics. This can be a great treat or birthday gift for families and friends.

Simply Wholesome is now one of the daily most visited restaurants in Los Angeles using “Earth Friendly” packaging in their selling business.

SIMPLY WHOLESOME by Maya Burton

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LIGHTS

CAMERA

FASHION

Photographed by Stella Simona & Caleb WilsonHair Styled by Kioni BenMake-up by Drini Marie

Wardrobe by Stephanie CondeModel: Shah G

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LIGHTS

CAMERA

FASHION

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AUKS 1. Why is the spotlight on me? Because... Diamonds don’t stay underground forever.

2. Tell us about your artistry. I’ve have no traditional training, I’ve slowly learned to dig deep with-in myself to prove: if it can be conceived, it can be manifested. Like the essence of hip-hop, my style of life and art is rooted deep in many cul-tures, genres, beliefs, and traditions. In my own travels, I’ve studied and taken a passionate liking to only that which appeases my senses and implemented that into my version/vision. It’s a step by step pav-ing, excavating, digging and sifting of and to my destiny.

3. Where did you get your passion for style, creative expression and love for the hip hop culture? It’s been brewing since my early childhood. I truly believe that our creative expression is what makes us human. When you find some-thing you love to do, then find yourself exceptionally good at it, you wear that proudly. I couldn’t have dreamed of being born into a more perfect culture at a more perfect time, hip - hop makes me proud to be an American and being American enables me to be proud to be of the religion that is hip - hop. It’s a beautiful paradox of cre-ative freedom in a state where order and normalcy are everything but hip-hop.

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Set yourself back in time, around 1966, suited in your worn black leather jacket. You, along with like-minded adults and neighborhood teens, create an aura of resil-ience and afro-sheen, arms crossed over chest, brows

furrowed. Caucasian officers, also known as “Pigs”, cruise past Slauson, casting wicked glances like grenades. Young paperboys wave the latest twenty-five cent Black Panther Newspaper like flags in the air. Proud men bristling with weapons, curse, passing Pigs with their eyes, daring them to strike. So many innocent lives had been lost on their behalf; the slaughter of African- Americans for the sheer fear of the unknown. The armed members of The Black Panthers were willing to risk their lives for the safety of their community.

To your right, stands twenty-seven year old Alprentice “Bunchy” Carter, a true Angelino, and member of the Slauson “Renegades,” where he had earned the nickname, “Mayor of the Ghetto.” He is one of those men who exhale charisma, inner strength drips from his pores, and a paternal glow ravages his countenance. Though ad-mirable, Carter’s boisterous, and particularly brash personality has caused controversy and his free spirit eventually got him accused of armed robbery. While incarcerated, Carter became influenced by the Nation of Islam and the teachings of Malcolm X, and he con-

verted to Islam. After his release, Carter met Huey Newton, one of the founders of the Black Panther Party, and was convinced to join the party in 1967. In early 1968, Carter formed the Southern California chapter of the Black Panthers and became a leader in the group. The Southern California chapter studied politics, read Black Panther Party (BPP) literature, and received training in firearms and first aid. They also began The Free Breakfast for Children Program, which provided meals to the poor in the community. The chapter was very successful, gaining fifty to one hundred new members each week by April 1968.Now, fast forward to January 17, 1969. After watching the al-tercation between Bunchy Carter, other BBP members and their rivals, a black nationalist group by the name Organization Us, was founded by Ron Karenga. The groups had very different aims and tactics, but both groups often found themselves competing for po-tential recruits. This rivalry came to an end in 1969, when the two groups supported different candidates to head the Afro-American Studies Center at UCLA. Derogatory comments were made about Karenga at a Black Student Union meeting at UCLA’s Campbell Hall. This resulted in the murder of Carter, who was shot to death. The death of the beloved doyen lead to the dissolve of the BBP, but his legacy will always live on.

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“Bunchy” Carter by Aunye Scott- Anderson

Homage

Fay M. JacksonPioneer California Journalist

(1902-1979)

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There have been renaissances throughout history that have changed the way we give and receive information culturally. These new beginnings demonstrated that the evolution of our history is something that is necessary to document. We Follow The Leader as writers, journalists, and cul-ture creators have impacted and thoroughly shaped society. The Harlem Renaissance specifically

formed bodies of work from poetry to fashion and everything in between. It showed that African Ameri-cans, not only had the power to be major contributors, but also to cultivate generations of artist, historians, journalist, photographers and storytellers; that would change the world.

Outside of Harlem, during the same period, there was another renaissance happening in West Coast and Fay M. Jackson was a prominent Leader of the New School. When one speaks of California Love it is essential that Jackson be addressed. Born in 1902 in Texas she was one of millions to participate in the Great Migration, in which Los Angeles, California in 1922 was destined. Born to a musical actress, Lulu Beatrice Hyson and chemical scientist, Charles T. Jackson, their decision to move to California was indeed a great one.

After settling in LA, Fay married Dr. John Marshall Robinson in 1924, while she was majoring in philosophy and journalism and he was a medical student. Together they had a child by the name of Joan Fay Robinson. Commitment is something that would fully describe not only Jackson, personally but her body of work and passion. “We gotta start makin’ changes” and that is exactly what she did. She con-stantly challenged society and it’s definitions of femininity by being intentional about her style of dress and how she presented herself. Jackson welcomed “sparing” with both genders on topics such as philosophy, politics and social change.

Known as a pioneer journalist and intellectual, Robinson knew that “with great power comes great responsibility,” as she was a founding member of the Los Angeles Civic League and founding president of the USC Delta Sigma Theta Alumni Chapter. By understanding the importance mentorship, she sought out Charlotta Bass for guidance. Because of her leadership and drive, Fay; in her twenties founded a weekly magazine called FLASH. The magazine kept the African American community of Los Angeles, specifically the artist and intellectuals, aware of what was happening in New York and Europe. FLASH also document-ed the ‘renaissance’ that consisted of social etiquette, sporting events, medical tips, political commentary, debates, national and international cultural entertainment and what was taking place on the West Coast.

Fay’s contribution to the union of women, The Black Press, Los Angeles and African Americans across the globe, is a legacy to model. Fay served as the first African American foreign correspondent for the As-sociated Negro Press (ANP). As a renaissance woman, she was a radio personality, public speaker, publicist, writer, producer, journalist and real estate broker. To say the least, she indeed was a culture creator, and in Fay M. Jackson Fashion she documented her life. “Oscar Simms, former librarian for UCLA Research Library’s Special Collections, defined as the most voluminous single collection of rare African American materials he had ever come across.” What will your legacy be?

THE FLASH RENAISSANCE by Syreeta Gates

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PAUL REVERE WILLIAMSAhead of his time

Los Angeles