THE INNER-CITY NEWS - February 08, 2023 - February 14, 2023
$1.3M Dixwell Deal Wins Final Approval by NORA GRACE-FLOOD New Haven Independent
The Elicker Administration has won its final needed approval to acquire a slate of rundown properties, including a historic long-derelict former jazz club, from an oft-cited megalandlord to the tune of $1.3 million in an effort to revitalize a stretch of Dixwell Avenue. The Board of Alders voted unanimously in favor of purchasing 262, 263, 265 and 269 Dixwell Ave, which includes the famed, former Monterey Jazz Club, from affiliates of Ocean Management for that sum during its latest meeting at City Hall Monday night. Dixwell Alder Jeanette Morrison spoke in support of the deal as “a step in the right direction with the continuous redevelopment of the Dixwell community.” The vote means that the city’s Livable City Initiative (LCI), whose director Arlevia Samuel took the lead on negotiating the package deal with Ocean, has all the city approvals needed to officially enter
Dixwell Alder Jeanette Morrison spoke in support of the deal
into the property deal. The final approved sale price of $1.3 million is more than the $1.175 million combined appraisal that LCI received for all four properties as this proposal made its way through the gears of city government. It’s also higher than the $942,000 tax appraisal for these four properties, and the $500,000 that the Ocean affiliates paid half a decade ago when they initially bought the residential and commercial buildings. Morrison advocated for that sign-off Monday night, describing the acquisitions as “the last piece of the puzzle in regards to making sure we are an uplifted community.” These Dixwell Avenue buy-ups arrive alongside the planned redevelopment of the former Walt’s Cleaner’s site, the renovation of an adjacent church, and the planned development of 308 Dixwell Ave. as just some of the revitalization activity taking place on this stretch of Dixwell, not to mention Dixwell Plaza and the Q House. “We have the opportunity to build the
Monterey into something the whole community will benefit from,” Morrison said. She asserted that giving community members the agency to determine exactly how the historic Monterey site, in particular, is ultimately used, would be part of a process to empower “a community that’s always been prideful.” Read more here about the city’s intentions for the property, which involve placing deed restrictions on existing multifamily housing at 262 and 263 Dixwell Ave. and selling them to the Beulah Land Development Corporation to remain affordable housing. A community input process, meanwhile, is meant to determine how the Monterey Jazz Club and an adjacent, vacant deli storefront are redeveloped. While the alders were unanimous in their decision Monday, read more here and here about the deal’s controversial nature as debated at recent LCI Board of Directors meetings over the past few months. Some individuals, such as LCI
board member Nadine Horton, expressed concern that paying a megalandlord with a track record of delayed fixed for substandard living conditions and sitting on blighted properties for a profit could be akin to “rewarding bad behavior.” And read more here about pitches by the mayor, LCI, and Dixwell music-lovers and cultural leaders about the importance of publicly acquiring the former Monterey club. During the State of the City address also held Monday night, Mayor Elicker said the city is “investing more than ever in our traditionally underserved communities” while he complimented strides taken by the city when it comes to “holding our mega landlords accountable by ensuring inspections and consistent enforcement from the Livable City Initiative.” He mentioned the expansion of tenants’ rights, among other provisions, as another important development in limiting the exploitative power of large landlords.
Poets Set The Tone For Black History Month by Lucy Gellman
New Haven Independent
Lyrical Faith was somewhere between Gun Hill Road and the Manhattan College Parkway, charting a course through the Bronx in her mind. In one universe, her feet click-clacked down the sidewalk, surrounded by sound and color everywhere she turned. In another, four dozen pairs of eyes watched her every move. Back on Ella T. Grasso Boulevard, twins Jada and Janada Colon listened carefully, hanging onto the story of a borough that was once their home. Thursday morning, Lyrical Faith was one of four artists to ring in Black History Month at New Haven Adult & Continuing Education, during a celebration packed with spoken word, music, and a cheerand snap-filled talkback. Organized by High School Credit Student Support Specialist Mike Twitty, the performance brought in over 50 students for an hour of poetry and drumming. In addition to poets Lyrical Faith, T’Challa Williams, and Tarishi “Midnight” Shuler, the event featured drummer Albear Sheffield, who is an alumnus of the program. In every moment, it was a reminder of the talent and weight of words, and their ability to hold the world together even as it burns. Or as Lyrical Faith said, “When everything goes into flames, everybody looks to the artists.” “Art being an access point is my whole jam,” she said in a conversation after the performance. “It’s a way in. They see this, and they feel like, ‘I can do this.’” From the moment poets took the mic,
LAURA GLESBY PHOTO Dixwell Alder Jeanette Morrison: Acquisitions “a step in the right direction.”
they transformed the blue-walled room into a stage, their words weaving whole worlds out of thin air. Coming to the front of the room with a roar, Williams looked around, then cracked open a mint-green binder that nearly matched her jeans. Her eyes danced from the page to the room back to the page, picking out the right poem in seconds. Sidestepping the microphone, she spoke straight from he ribcage. “I will bite the hand that thinks it is feeding me/Like my life ain’t no seed/You’ve been harvesting,” Williams read. Extending one hand as the other kept the binder steady, she traced a path from the theft and enslavement of Black people
and Black histories to centuries of oppression and economic disenfranchisement to the present, when police are still killing Black people at routine traffic stops, convenience stores, and in their own homes. “My people/Will be/Free!” she exclaimed defiantly. “See free! Taste free! Speak free! Freely confidently free—” “Come on now!” a voice urged from somewhere in the middle of the audience. More voices joined in, encouraging her. “Confidently free!” she continued. “Crea-tive-ly free! Mentally free! Physically free! Spiritually Free! Sex-u-ally free! Financially free!” FaSnaps filled the room. She imagined a world where state-sanctioned violence no
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longer existed. She spit into being a place where people cared more about the loss of human life than the potential of property damage. She willed attendees to vision a country where the 1619 Project was not so immediately contested, because people understood it was history. Here, between words and breath, was her framework for a liberated future. When she finished, the space exploded into applause. She paused to take a few sips from her water bottle, then looked back at the audience. “Y’all hot?” she said. “I’m hot.” She turned to her poem “Impossible Mission Force,” bringing that future back into focus. Looking to the unrest of the past three years—and the past four centuries before that—she challenged listeners to take action on a grassroots level, making change in their own communities instead of behind their screens or at a single action. “The immediate change you can impact is right where you be,” she read, raising one hand over her head. “Join a committee. Take that hot air from the metaverse and transmute the energy to where it can be fully of use./We must sweep our own stoop.” She critiqued a constant, churning media cycle that shuts down Black bodies and Black dreams. In the same stanza, she gave the antidote: listeners could believe in hope as a form of resistance. They could dream as a form of resistance. “Tom Cruise that shit!” she read to laughs and a few cheers. “Ethan Hunt this bitch! Hope is not a strategy my behind!” That fire ran through the end of her
performance, the room transformed into a sizzling stage. When Shuler took her place, hands flitting through the air, he looked out at dozens of wide-eyed faces and smiled. While he now lives in Meriden, the artist grew up in New Haven and serves as the interim director of The Word. This was a hometown crowd. He encouraged attendees to let themselves speak back to the poets, in a style of call-and-response that separates spoken word and slam poetry from buttonedup readings. Minutes later, he would show off his own rule, slipping a laughteredged “Don’t Be Nice!” in between two of Lyrical Faith’s pieces. After warming the audience up with his poem “The Photographer,” he paused for a moment and took an informal poll of the audience. How many people, he asked, had gotten called a name that was not theirs? Over a dozen hands went up around the room, some students audibly mmm hmmm-ing as they raised their arms toward the ceiling. Shuler nodded, and went right into his poem. “True story,” he started, his palms cutting through the air. When he was born, Shuler’s mom wanted to name him Kunta Kinte, in honor of the release of the film Roots that same year. His aunt pushed back, and suggested Tarishi. In Swahili, the name means messenger. He later said that he did not know the origin or the meaning of his name until he was in his 30s. Read more about this aricle by going to
theinnercity.com