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Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series
ABOVE: Archie Shepp, center, performs at “The Cry of My People,” backed by a nine-piece ensemble. (Photo By Jeenah Moon) When alto saxophonist Angélla Christie strode onstage on Friday night (Apr. 7) at the Brooklyn Academy of Music, she was joined only by a piano player. But Christie, one of the more prominent instrumentalists in […]
The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series first appeared on BlackPressUSA.
ABOVE: Archie Shepp, center, performs at “The Cry of My People,” backed by a nine-piece ensemble. (Photo By Jeenah Moon)
When alto saxophonist Angélla Christie strode onstage on Friday night (Apr. 7) at the Brooklyn Academy of Music, she was joined only by a piano player. But Christie, one of the more prominent instrumentalists in contemporary gospel, was at full throttle from the very first note — playing in high-gloss, reverb-drenched ostinatos — and within moments, the crowd had become her rhythm section, clapping along on every off-beat.
Eldorado Ballroom in the heart of Third Ward Houston, Texas
An usher got swept up while walking a couple to their seats, and on her way back up the aisle she shimmied a bit, her right hand flying into the air in a testifying motion. A woman sitting at the end of Row H reached out for a high five, and their palms gripped each other for a moment.
It was just a few minutes into “Glory to Glory (A Revival for Devotional Art)” — part of BAM’s multidimensional “Eldorado Ballroom” series, brilliantly curated by Solange via her Saint Heron agency — and already something was hitting different.
After Christie, the concert continued with two more sets: selections from Mary Lou Williams’s religious suites, delivered by the 14-person Voices of Harlem choir and a pair of virtuoso pianists, Artina McCain and Cyrus Chestnut; and a roof-raising show from the indomitable Clark Sisters, the best-selling band in gospel history and a fixture of Black radio since the 1980s.
That’s a lot already: a stylistic tour of Black American religious music, mostly in the hands of women, going back more than 50 years. But “Eldorado Ballroom” was aiming for even more. Rarely does a single series pull together so many strands — not just of Black music, but of Black creativity writ large — into an open-ended statement, speaking to what might be possible as well as making a comment on how Black creative histories ought to be remembered.
Angélla Christie, right, performs at “Glory to Glory (A Revival for Devotional Art)” at BAM on Friday night. (Photo By Jeenah Moon)
“Eldorado Ballroom” is an extension of the work Solange has been doing for the past 10 years under the auspices of Saint Heron. As she told New York Times magazine’s Craig Jenkins recently, her aim with Saint Heron — whether you call it an agency, a studio, a brand or simply a creative clearinghouse — is “to centralize and build a really strong archive that in 20 years or 30 years can be accessible by future generations to be a guiding light in the same way that so many of my blueprints guided me.”
Thanks to Saint Heron, Solange has managed to put her cultural capital to use while keeping her own celebrity mostly out of view. On Friday, the singer and songwriter sat beaming from an opera box near the stage while the Clark Sisters motored through a 40-plus-year catalog of danceable gospel hits, but she never took a bow.
Saint Heron surfaced in 2013 with the release of a mixtape that helped set the standard for a new wave of outsider R&B. Some of its contributors, like Kelela and Sampha, became stars. Since then, Saint Heron has served as a flexible play space for Solange and her creative community, crossing lines between fashion and design, visual art, publishing, music and dance. Mid-pandemic, Saint Heron released a free digital library of books by Black writers and artists.
Linda Sharrock sang as part of “The Cry of My People” on Saturday night at BAM. Her last show in New York City before this past weekend was in 1979; she has suffered health setbacks including a stroke. (Photo By Jeenah Moon)
And clearly, Solange has gained the attention of a broad, young, literary community of color. The capacity crowd at “Glory to Glory” on Friday was — unlike at most events in such spaces — about 90 percent Black, and as diverse in age and attire as Flatbush Avenue on any spring afternoon. Twenty-somethings in custom streetwear stood cheering next to older women in their Sunday’s best.
On Saturday, the crowd again skewed under 50 and majority Black for “The Cry of My People,” a night devoted to poetry and experimental jazz. If “Glory to Glory” was a celebration of how “triumphant and safe” gospel music can make a person feel, as Solange put it to Jenkins — a night devoted to joy, basically — then “The Cry of My People” was a confrontation of pain.
The show began with a reading from the poet Claudia Rankine, who stood at center stage as the curtain came up, then read two poems: “Quotidian (1),” about inner turmoil, and “What If,” about a kind of exhausted rage. The second included the line: “in the clarity of consciousness, what if nothing changes?”
Rankine had put words to something that the next performer, vocalist Linda Sharrock, would express without them. Sharrock has been heavily respected in jazz circles since the 1960s for her raw and riveting use of extended vocal techniques: Moans, breaths and cries have been her musical units. But like so many women in jazz, she spent the peak years of her career in the shadow of a more famous husband, guitarist Sonny Sharrock, and ultimately quit the scene. Before Saturday, her last show in New York City had been in 1979. In more recent years she has suffered health setbacks including a stroke that left her aphasic, and has performed only rarely.
The Clark Sisters onstage at BAM on Friday night, as part of a bill celebrating Black American religious music. (Photo By Jeenah Moon)
At BAM, backed by a signal-scrambling, free-improvising, eight-piece band, Sharrock sat in a wheelchair beside an upright piano (that she often touched but hardly played) and sang in big, open vowel sounds. They felt confounding, yet clear. Most of the time, the sounds came in wide, billowing arcs; when she held a single, steady note — sometimes spiked with a growl — it brought the urgency to an almost unbearable level. Often there were hints at a secondary feeling (surprise? anger? wonder? all possible) but the main message was consistent: pain.
The backstage crew seemed to have difficulty following the band’s cues, and after the curtain had been down for a solid three minutes following Sharrock’s set, it came back up. The band was still playing. Sharrock performed another mini-set before a long wait for the curtain to come down once again. Maybe a clean ending wouldn’t have fit. The crowd — dazed, moved — gave Sharrock a warm response, but there was little that felt “triumphant and safe” about this night.
It concluded with a set from Archie Shepp, the luminary tenor saxophonist, composer, vocalist and writer. A disciple of John Coane and Cecil Taylor, Shepp became a leading advocate for Black musicians’ right to self-determination in the 1960s and has hardly quieted his voice ever since. At 85, his saxophone chops have faded, and he needed help from other band members to bring the instrument into playing position, but the whispered notes he did get out of the horn carried fabulous amounts of weight.
Solange, middle, attends “Glory to Glory (A Revival for Devotional Art)” at BAM on Friday night. The singer and her Saint Heron agency curated the series, “Eldorado Ballroom.” (Photo By Jeenah Moon)
Backed by a nine-piece ensemble featuring three excellent vocalists (Amina Claudine Myers, Sarah Elizabeth Charles and Pyeng Threadgill) and a pithy, three-man horn section, Shepp pulled from across his broad repertoire. He revisited his classic cover of Calvin Massey’s stout, dirgelike “Cry of My People,” and the swiveling rock beat of “Blues for Brother George Jackson” from the “Attica Blues” LP. On Duke Ellington’s gospel standard “Come Sunday,” Shepp sang in an earnest baritone while Myers, who briefly took over the piano chair from Jason Moran, splashed him with generous harmonies. As Shepp sang the line, “God of love, please look down and see my people through,” the house erupted in a wave of support.
His set, like his six-decade-long career, was a reminder that the walls that divide spiritual music, popular music and art music can often be arbitrary. “Where did they come from, anyway?” he seemed to ask. This, you could say, was the message of “Eldorado Ballroom” writ large.
The series takes its name from a once-legendary venue in Houston’s Third Ward neighborhood, where Solange grew up. At the ’Rado, as it was known, jazz, gospel and soul — art, spiritual and popular — all appeared on the same stage, until an economic downturn and a pattern of police repression forced the venue to close in 1972.
The night that Solange’s series kicked off — March 30, with a show featuring the outsider-R&B trifecta of Kelela, keiyaA and Res — the actual Eldorado Ballroom was celebrating its grand reopening in Houston, after a nearly $10 million restoration project. With a little luck, Houston may have its own “Eldorado Ballroom” series soon, too.
Solange pictured with artists Kelela (middle) and KeiyaA (right) at BAM
Solange Knowles at the Brooklyn Academy of Music on March 30, 2023 (Photo By Bre Johnson)
Opening Night of Solange and Saint Heron’s Eldorado Ballroom at BAM (Photo By Bre Johnson)
The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series appeared first on Houston Forward Times.
The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series first appeared on BlackPressUSA.
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PRESS ROOM: New AARP Pennsylvania Poll: Black Voters 50+ Say Social Security, Inflation, and Medicare Will Influence 2024 Vote
NNPA NEWSWIRE — “With inflation and the rising costs of living squeezing all Pennsylvania households, Black voters 50+ are clearly looking for leaders with a plan,” said Bill Johnston-Walsh, AARP Pennsylvania State Director. “Candidates would be wise to listen to their opinions and concerns if they want to win in November.”
The post PRESS ROOM: New AARP Pennsylvania Poll: Black Voters 50+ Say Social Security, Inflation, and Medicare Will Influence 2024 Vote first appeared on BlackPressUSA.
AARP Pennsylvania’s first 2024 election survey shows that candidates should pay close attention to Pennsylvanian voters ages 50 and older and highlights the priorities and concerns of Black voters ages 50 and older that will likely influence the outcome of the 2024 elections. Seventy-nine percent of Black voters in Pennsylvania are extremely motivated to vote this year. When asked about the issues that are important as they decide whom to vote for this November, older Black voters cited Social Security (92% say extremely or very important), Medicare (89%), policies to help seniors live independently at home as they age (87%), the cost of prescription drugs (86%) as key issues. Social Security and Medicare emerged as their top priority issue in their vote for Senate this year, with nearly twice as many Black voters 50+ choosing Social Security and Medicare as any of the other dozen issues tested.
“With inflation and the rising costs of living squeezing all Pennsylvania households, Black voters 50+ are looking for leaders with a plan,” said Bill Johnston-Walsh, AARP Pennsylvania State Director. “Candidates would be wise to listen to their opinions and concerns if they want to win in November.” Among Black voters 50+, President Joe Biden (D) leads former President Donald Trump (R) by a large margin: 84% to 8%. In the race for U.S. Senate, Senator Bob Casey (D) leads Dave McCormick 87% to 7%.
Other key takeaways include:
- 96% of Black voters 50+ say they are more likely to vote for a candidate for the U.S. Senate who advocated making sure workers get the Social Security they paid for through a lifetime of hard work.
- Four of the five issues measured as cost concerns are important to many Black voters 50+: health care/prescription drugs, utilities, food, and housing; and
- 58% of Black voters 50+ are worried about their financial situation including 63% of women. Health care/prescription drugs and housing are the biggest cost concerns.
- 66% of Black voters 50+ and 73% of Black voters 65+ say Social Security is or will be a major source of their income.
AARP commissioned the bipartisan polling team of Fabrizio Ward & Impact Research to conduct a survey. The firms interviewed 1,398 likely Pennsylvania voters, which includes a statewide representative sample of 600 likely voters, with an oversample of 470 likely voters aged 50 and older and an additional oversample of 328 Black likely voters aged 50 and older, between April 24-30, 2024. The interviews were conducted via landline, cellphone, and SMS-to-web. The margin of sampling error for the 600 statewide samples is ±4.0%; for the 800 total sample of voters 50+ is ±3.5%; for the 400 total sample of Black voters 50+ is ±4.9%.
View the full survey results at aarp.org/PApolling.
For more information on how, when, and where to vote in Pennsylvania, visit aarp.org/PAVotes.
The post PRESS ROOM: New AARP Pennsylvania Poll: Black Voters 50+ Say Social Security, Inflation, and Medicare Will Influence 2024 Vote first appeared on BlackPressUSA.
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Calif. Anti-Sex Trafficking Advocates Discuss Competing Bills, Strategies
OAKLAND POST — “It is time to send a thorough message that if you seek to buy a child for sex, you will pay the highest criminal penalties in this state,” said the Rev. Shane Harris, a San Diego-based activist, former foster youth and founder of the Peoples Association of Justice Advocates, (PAJA), a national civil rights organization and policy think tank. Harris, who was speaking at a rally at the State Capitol earlier this month, was speaking in support of Senate Bill 1414, authored by Sen. Shannon Grove (D-Bakersfield), which calls for people who buy sex from minors to be punished with a felony. The punishment includes a two-year prison sentence and a $25,000 fine.
The post Calif. Anti-Sex Trafficking Advocates Discuss Competing Bills, Strategies first appeared on BlackPressUSA.
By Bo Tefu, California Black Media | The Oakland Post
Advocates from across California are challenging state officials and community leaders to support legislation that provides resources and services for survivors and victims of human trafficking, as well as assistance as they transition back into civil society.
Some of those advocates are also calling for more effective state policy to curtail trafficking, a crime that has an outsized impact on Black children, particularly girls.
According to the FBI, a report covering a two-year period found Black children accounted for 57% of all juvenile arrests for prostitution. In addition, 40% of sex trafficking victims were Black and 60% of those victims had been enrolled in the foster care system.
“It is time to hold the perpetrators who take advantage of our children accountable,” said the Rev. Shane Harris, a San Diego-based activist, former foster youth and founder of the Peoples Association of Justice Advocates, (PAJA), a national civil rights organization and policy think tank.
“It is time to send a thorough message that if you seek to buy a child for sex, you will pay the highest criminal penalties in this state,” added Harris who was speaking at a rally at the State Capitol earlier this month. Harris was speaking in support of Senate Bill 1414, authored by Sen. Shannon Grove (D-Bakersfield), which calls for people who buy sex from minors to be punished with a felony. The punishment includes a two-year prison sentence and a $25,000 fine.
Harris said the PAJA is the only civil rights organization in the state that supports SB 1414.
Harris urged other Black-led groups who favor anti-trafficking legislation more focused on criminal justice reforms (as opposed to stiffer penalties), to “join the movement.”
Many of those civil rights groups fear that SB 1414 could lead to the incarceration of more Black youth.
Those sentiments were echoed in a panel discussion organized by Black women advocates on April 26 to examine the cause and effects of human trafficking in California’s Black communities. The virtual event was hosted by the Forgotten Children, Inc, a faith-based nonprofit that advocates for survivors and victims of human trafficking through anti-trafficking campaigns and initiatives.
Panelists shared the psychological impact of sexual exploitation on youth and children in the long term.
Author and educator Dr. Stephany Powell shared statistics and information revealing that African American women and girls are the most trafficked nationwide.
Powell, who serves as the senior advisor on law enforcement and policy at the National Center on Sexual Exploitation said that national data indicates that sex trade survivors are disproportionately women of color. She stated that male survivors often go unnoticed because boys rarely report trafficked crimes.
Powell said that decriminalizing prostitution in California could increase human trafficking. She argued that Senate Bill 357, authored by Sen. Scott Wiener (D-San Francisco), which was signed into law in 2022 and legalized loitering for prostitution, caused a surge in street-level prostitution.
Panelist and psychologist Dr. Gloria Morrow shared opposing views on decriminalizing prostitution. She said that decriminalizing prostitution could help survivors gain access to state resources and support.
Despite opposing views, Powell and Morrow agree that the Black community needs resources and educational programs to address human trafficking.
The post Calif. Anti-Sex Trafficking Advocates Discuss Competing Bills, Strategies first appeared on BlackPressUSA.
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The TINA TURNER Musical Reveals Trials and Triumphs
THE OKLAHOMA EAGLE — The 1993 movie “What’s Love Got to Do with It” portrayed the relationship between Ike and Tina Turner as abusive before their breakup. Ike was also said to victimize Tina, as she shared in a 2018 interview with Oprah Winfrey. But Deon Releford-Lee, the actor who plays Ike in the Broadway musical, says there is more to Ike’s story than is told on screen. In preparing for the part, the Broadway actor searched for the triggers that made Ike who he was known to be.
The post The TINA TURNER Musical Reveals Trials and Triumphs first appeared on BlackPressUSA.
By Kimberly Marsh | The Oklahoma Eagle
According to Tulsans who knew him and the actor who plays him in the musical Tina, The Tina Turner Musical, Ike Turner may have had multiple sides to his personality. However, the Ike Turner the public has seen is a violent man.
The arc of Tina Turner’s career is well-known. Although Ike’s story is lesser known, he had a powerful influence on Tina’s life and career. They had a family together, and he witnessed Tina rise to superstardom.
Naomi Rodgers performing ‘What’s Love Got to Do with It?” as Tina Turner in the North American touring production of “TINA – THE TINA TURNER MUSICAL.” Photo by Matthew Murphy for MurphyMade.
The 1993 movie, “What’s Love Got to Do with It,” portrayed the relationship between Ike and Tina Turner as abusive before their breakup. Ike was also said to victimize Tina, as she shared in a 2018 interview with Oprah Winfrey. But Deon Releford-Lee, the actor who plays Ike in the Broadway musical, says there is more to Ike’s story than is told on screen. In preparing for the part, the Broadway actor searched for the triggers that made Ike who he was known to be.
Ike is part of the musical until the breakup and the start of Tina’s solo career in the second act. Because of the problematic themes of domestic violence, the musical is recommended for ages 14 and older.
Naomi Rodgers performed “Proud Mary” as Tina Turner and the cast of the North American touring production of “TINA – THE TINA TURNER MUSICAL.” Photo by Matthew Murphy and Evan Zimmerman for MurphyMade.
Ike Turner
In an interview with The Oklahoma Eagle, Releford-Lee said playing Ike Turner was a healing experience for him. While “villains” have challenging roles, Releford-Lee said it is liberating in some respects, and he embraces the challenge.
“I have a wealth of knowledge of difficult things to play. My focus is to do as much…research as possible to figure out who this human was, what happened in his path, and what maybe led him to the places to do some of the horrible things he did. Not to excuse their behavior because it’s deplorable, right? We don’t just walk around hating people, throwing them around, forcing them, and manipulating them to do things,” Releford-Lee said. He described Ike’s aggressive behavior, especially with his wife.
Channeling that aggressive hyper-masculine energy takes a toll but also frees Releford-Lee to be softer, more feminine, more free, and more in touch with his emotions off-stage. Having played many villains in the past, he said he learned to become “Okay with my ugliness because that ugliness is in all of us.”
“Ike was a Black man who wrote music and was one of the fathers of Rock ‘n’ Roll but never received the credit,” Releford-Lee said. As Tina took center stage and became the superstar she was, Ike was overlooked.
Zurin Villanueva performed as Tina Turner and Garrett Turner as Ike Turner in the North American touring production of “TINA – THE TINA TURNER MUSICAL.” Photo by Matthew Murphy and Evan Zimmerman for MurphyMade.
“Those are the things that I focus on to help ground me in the (character) because being rejected for being Black, being talented, being othered, is something that I can connect to.”
Tulsa Connections
In an article published in June 2023 following Tina’s death, The Oklahoma Eagle Editor Gary Lee reflected on the days when the Ike and Tina Revue came to Tulsa and performed at the Big Ten Ballroom. The Ike and Tina Revue was a Big Ten headliner several times in the 1960s, and they performed together until their 1976 divorce.
Tulsa musician and radio personality Bobby Eaton Jr. knew them both and witnessed much of what was happening around them on the road. Eaton recently held a launch party for his new band, Eaton Out. During the performance, he recounted working with Ike and Tina Turner as the youngest guy in the band. Eaton said he appreciated Ike as a band leader, a musician/composer, and a businessman who showed him the ropes in the industry. But Eaton acknowledged that the relationship was not easy.
“Tina was there, and a lot of fights and a lot of crazy stuff went on back in those days, but at the same, I couldn’t wait to get away because they had too much drama going on.”
Singer Michelle Love, a/k/a Sweet Randi Love, became an Ikette in 1993 and knew him during the last decade of his life when he revived his career as a frontman. She joined the band despite being familiar with the tumultuous relationship Tina described.
“We were more like a family unit. When it came to work, though, he was a real hard ass. I don’t want to say it like that. But you know what I mean? He was serious when it came to work. As far as that goes, he didn’t play any games because he was like, this is me on stage, and it represents me.
“After the Tina stuff, Ike was self-conscious…about every little thing that he did because he had already gotten kind of a bad rap behind the movie. So, he was a real stickler as far as that goes,” Love said, “But when it was time for everybody to go home and we were calming down, Ike was just a big old teddy bear. Honestly, he was really. I think a lot of what he went through, you know, in the past team as well, had a lot to do with his insecurities. During the Jim Crow days, he went through quite a bit. So, there’s a lot that people don’t know about him. As far as his background story goes, I’m not trying to take away from Tina’s background story because she has a story to tell, but it might explain why he was the way he was.”
Ike was released from prison in 1991 after serving 18 months for drug offenses. Cocaine was his drug of choice, and it flowed freely, in large quantities, around him. Ike’s drug addiction relapse in 2004 led to his drug overdose in 2007.
Love has returned to Tulsa and continues to sing and perform with Sweet Randi Love and The Love Thang band.
About Deon Releford-Lee
Releford-Lee attended Fayetteville State University in North Carolina, an HBCU. At the university, he studied dance and theater. He began working professionally when he was still not old enough to play certain roles, portraying more mature characters. Although getting attention was difficult, he worked his way from ensemble to lead roles. A move to New York City followed, leading to his current role as Ike.
Deon Releford-Lee plays Ike Turner in the TPAC production TINA: The Tina Turner Musical.
Releford-Lee plays Ike full-time every night but has two understudy actors for this incredibly physical and emotional role. A self-described Bohemian, Releford-Lee’s personality is very different from Ike’s, and he is shocked when audience members have no idea who he is when the cast goes out to greet them.
Following a night onstage, he does breathwork to unwind and get out of character, which can take about 15 minutes to exit.
“I realized that when I’m feeling anxious, it’s mostly because physically I’m not breathing at all. I’m holding my breath, so I’m just reminding myself to breathe. I’m someone who doesn’t leave the theater right away. I just kind of sit there for a bit, take off my costume, take off my wig, put my jewelry on, put my own clothes back on, and just kind of sit and listen to music, and then move on.”
Releford-Lee said people will learn a little more through Ike’s backstory, how the industry treated him, and why he was the way he was.
“And in the same breath, you’re also seeing him being manipulative and hurtful. And the audience is kind of on his side in one second, and then the very next second, betrayed by him.
“I love the moment where Tina and Ike first meet because you see them laughing, you see them enjoying each other. It’s one of the only times of fun between them. And I think that’s beautiful. I love watching Tina discover herself in the second act.”
Celebrity Attractions describes “Tina-The Tina Turner Musical” as the inspiring journey of a woman who broke barriers and became the Queen of Rock ‘n’ Roll. “Set to the pulse-pounding soundtrack of her most beloved hits, this electrifying sensation will send you soaring to the rafters.” Tina Turner won 12 Grammy Awards and her live shows were seen by millions, with more concert tickets sold than any other solo performer in music history. Featuring her songs, “Tina–The Tina Turner Musical” is written by Pulitzer Prize-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd.
The post The TINA TURNER Musical Reveals Trials and Triumphs first appeared on BlackPressUSA.
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