Art

‘Pride & Joy’ Delivers the Motown Sound and Swag in Spectacular Form

WASHINGTON INFORMER — From the very first downbeat and accompanying dance routine, performed to the 1959 tune made famous by Chubby Checker when he added his special touch to the tune “The Twist” just a year later, it seemed evident that “Pride & Joy: The Marvin Gaye Musical” had all the makings of an old-school, blue lights in the basement party, fueled by the phenomenal, new wave of rock and soul that would take the world by storm throughout the turbulent ’60s.

Published

7 years ago

May 12, 2019

D. Kevin McNeir Senior Editor

By D. Kevin McNeir

From the very first downbeat and accompanying dance routine, performed to the 1959 tune made famous by Chubby Checker when he added his special touch to the tune “The Twist” just a year later, it seemed evident that “Pride & Joy: The Marvin Gaye Musical” had all the makings of an old-school, blue lights in the basement party, fueled by the phenomenal, new wave of rock and soul that would take the world by storm throughout the turbulent ’60s.

And while some members of the audience found it impossible to remain seated, they would be even more captivated by a repertoire of subsequent tunes now firmly entrenched in America’s Songbook — part and parcel of songs shared by Berry Gordy Jr. and his Hitsville USA vocalists, musicians and dancers — all members of the Motown Records family.

The musical, which marked its world premiere at the National Theater in the District on May 8, invites its audience to tag along to witness the previously untold fairy-tale romance of the legendary Marvin Gaye and Anna Gordy, one of the boss’s sisters and a highly competent businesswoman who not only bedazzles Gaye as his career takes shape, but also snags his heart — becoming his wife, mother of his firstborn son and co-writer for several of Motown’s most endearing ballads — songs inspired by the twosome’s love, creativity and, at times, volatile clashes.

The play, based on the diaries of Anna Gordy Gaye, comes to the stage with the blessing of Gordy himself who not only reviewed the script but handpicked one of the lead performers, Jarran Muse, for the role of Marvin Gaye in his younger days.

Playwrights for the production come from the collaborative efforts of Marvin and Anna’s son, Marvin Gaye III, Angela Barrow-Dunlap and D’Extra Wiley — business partner and longtime friend of Marvin III who also dons the roles of both Jackie Wilson and Frankie Gaye (Marvin’s brother). The music, of course, comes from the vast Motown catalogue under the guidance of Music Director Cordell Walton, along with energetic, fresh choreography conceived by Tristan Andrews and Angela Blocker-Loyd — each of whom hails from Detroit — the city in which it all began.

No one who really appreciates songs with heartfelt lyrics, beautiful harmonies and intricately-delivered musical accompaniments can honestly dispute the magical touch and impact that Motown, armed with a bevy of unforgettable songs, soloists and singing ensembles, has had on the nation and the world — even 60 years since its founding.

And it’s the sound, the soul and the swagger of the Motown sound that reverberates throughout “Pride & Joy” — with an emphasis on the music written and/or performed by the D.C.’s own Marvin Gaye. And what an amazing portfolio he left for the world.

Two actors share the responsibility of bringing Gaye to the stage and both are superb in their performances — delivering the extraordinary artist during his earlier years, Muse, and in his later years, Chae Stephen. Both gentlemen easily hit the mark, comfortably unleashing the resonating, conversational timber of speech, the svelte, pitch-perfect vocals and the alluring walk and aura that would become second nature to Gaye, making him a household name.

As for confirmation regarding the delivery of the two “Marvins,” this writer only needed to look to the left or right and witness members of the audience, both women and men, young or old, who seemed enthralled by both actors, particularly Muse — singing along, snapping their fingers, rocking their heads, clapping their hands or nodding while the actors’ delivered their lines to signal their approval and pleasure.

In fact, the entire cast does a bang-up job in this production, most notably Tony Grant in his impressive performance and superb vocal delivery in the role of Harvey Fuqua — one of Gaye’s closest friends during his formative years in the business and a talented singer in his own right. Krystal Drake also shines as Anna Gordy Gaye as do both Justin Reynolds, who easily caresses the falsetto riffs made famous by Smokey Robinson, and Kourtney Lenton, who gives a sultry, “song-sational” performance as Gaye’s beloved singing partner, Tammi Terrell.

If you can overlook some of the moments of inertness caused by portions of the script that could have easily been eliminated, or perhaps more effectively delivered by an omniscient narrator, then “Pride & Joy” is a show you don’t want to miss. Even a week later, the songs made famous by the unforgettable duo of Tammi and Marvin, soulfully rendered by actors Lenton and Muse, continue to resound in this writer’s mind, heart and soul.

OK, I’ll admit, this production isn’t as polished — at least not yet — as the similarly-themed Broadway hit, “Motown the Musical.” But it’s still a whole lot of fun and certainly worth the price of admission.

Check it out and get your groove on. I sure did.

This article originally appeared in the Washington Informer.

D. Kevin McNeir Senior Editor

Posts by D. Kevin McNeir Senior Editor

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Published

3 days ago

February 9, 2026

Oakland Post

‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

Oakland Post

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Activism

‘I Was There Too’ Reveals the Hopes, Dangers of Growing Up in The Black Panther Party

On July 20, at the Oakland Museum of California’s Spotlight Sundays, Gabriel, the daughter of a Black Panther Party couple, Emory Douglas, minister of culture, and artist-educator, Gayle Asalu Dickson, gave a raw personal view of being raised in the middle of the Black Power Movement.

Published

6 months ago

August 11, 2025

Oakland Post

At the Oakland Museum of California, Emory Douglas, previously the Black Panther Party Minister of Culture, poses with his daughter artist Meres-Sia Gabriel, creator of the “I Was There Too” multimedia production. Photo by Carla Thomas.

By Carla Thomas

Chronicles of the Black Panther Party are often shared from the perspectives of Huey Newton, Bobby Seale, Angela Davis, or Kathleen Cleaver. However, the view from a Panther’s child was unique on stage as Meres-Sia Gabriel performed, “I Was There Too.”

Gabriel took the audience on her tumultuous journey of revolution as a child caught between her mother’s anger and her father’s silence as the Party and Movement were undermined by its enemies like the COINTELPRO and the CIA.

Gabriel remembers her mom receiving threats as the Party unraveled and the more lighthearted moments as a student at the Black Panther Party’s Community School.

The school was a sanctuary where she could see Black power and excellence in action.

It was there that she and other children were served at the complimentary breakfast program and had a front row seat to the organization’s social and racial justice mission, and self-determination, along with the 10-point platform where the party fought for equality and demanded its right to protect its community from police brutality.

On her journey of self-development, Gabriel recounted her college life adventures and transformation while immersed in French culture. While watching television in France, she discovered that her father had become a powerful post-revolution celebrity, sharing how high school and college-age youth led a movement that inspired the world.

Through family photographs, historical images projected on screen, personal narratives, and poetry, Gabriel presented accounts worth contemplating about the sacrifices made by Black Panther Party members. Her performance was backed by a jazz trio with musical director Dr. Yafeu Tyhimba on bass, Sam Gonzalez on drums, and pianist Sam Reid.

At the Oakland Museum of California, Amy Tharpe, Ayanna Reed, artist Meres-Sia Gabriel and Kenan Jones at the meet-and-greet after the “I Was There Too” multimedia production. Photo by Carla Thomas.

Gabriel’s poetry is featured in the “Black Power” installation at the Oakland Museum of California, and her father’s book, “Black Panther: The Revolutionary Art of Emory Douglas,” features her foreword. She accompanied her father on tour exhibiting his artwork from the Panther Party’s publication as Minister of Culture.

Gabriel considers her work as a writer and performer a pathway toward self-reflection and personal healing. While creating “I Was There Too,” she worked for a year with the production’s director, Ajuana Black.

“As director, I had the opportunity to witness, to create, to hold space with tenderness and trust,” said Black. “Her performance touched my soul in a way that left me breathless.”

With over two decades of musical theater experience, Black has starred in productions such as “Dreamgirls” as Lorrell and “Ain’t Misbehavin’s” Charlene. She also performs as the lead vocalist with top-tier cover bands in the Bay Area.

During the post-performance meet-and-greet in the (OMCA) Oakland Museum of California garden, Gabriel’s father posed for photos with family and friends.

“I am proud of her and her ability to share her truth,” he said. “She has a gift and she’s sharing it with the world.”

Shona Pratt, the daughter of the late BPP member Geronimo Pratt, also attended to support Gabriel. Pratt and Gabriel, known as Panther Cubs (children of the Black Panther Party), shared their experience on a panel in Richmond last year.

“Meres-Sia did a great job today,” said Pratt. “It was very powerful.”

Meres-Sia Gabriel was born and raised in Oakland, California. A graduate of Howard University in Washington, D.C., and Middlebury College School in France, Gabriel serves as a French instructor and writing coach.

Oakland Post

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Activism

The Past and Future of Hip Hop Blend in Festival at S.F.’s Midway

“The Music and AI: Ethics at the Crossroads” panel featured X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Adisa Banjoko of 64 Blocks and Bishop Chronicles podcast, and Julie Wenah, chairwoman of the Digital Civil Rights Coalition.

Published

6 months ago

August 11, 2025

Oakland Post

At the inaugural SF Hip Hop festival at The Midway in San Francisco panelists X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Julie Wenah, chairwoman of the Digital Civil Rights Coalition, and Adisa Banjoko, of 64 Blocks and Bishop Chronicles podcast pose together. Photo by Carla Thomas

By Carla Thomas

“Cultural Renaissance,” the first-ever SF Hip-Hop conference, occurred at The Midway at 900 Marin St. in San Francisco on July 18 and 19. Held across three stages, the event featured outdoor and indoor performance spaces, and a powerful lineup of hip-hop icons and rising artists.

Entertainment included Tha Dogg Pound, celebrating their 30th anniversary, Souls of Mischief, and Digable Planets. “Our organization was founded to preserve and celebrate the rich legacy of Hip-Hop culture while bringing the community together,” said SF Hip-Hop Founder Kamel Jacot-Bell.

“It’s important for us to bring together artists, innovators, and thought leaders to discuss how hip-hop culture can lead the next wave of technological and creative transformation,” said Good Trouble Ventures CEO Monica Pool-Knox with her co-founders, AJ Thomas and Kat Steinmetz.

From art activations to cultural conversations, the two-day event blended the intersections of AI and music. Panels included “Creative Alchemy – The Rise of the One-Day Record Label,” featuring producer OmMas Keith, composer-producer Rob Lewis, AI architect-comedian Willonious Hatcher, and moderator-event sponsor, AJ Thomas.

“The Legends of Hip-Hop and the New Tech Frontier” panel discussion featured hip-hop icon Rakim, radio personality Sway, chief revenue officer of @gamma, Reza Hariri, and music producer Divine. Rakim shared insights on culture, creativity, and his A.I. start-up NOTES.

“AI is only as good as the person using it,” said Rakim. “It cannot take the place of people.”

Rakim also shared how fellow artist Willonious helped him get comfortable with AI and its power. Rakim says he then shared his newfound tool of creativity with business partner Divine.

The panel, moderated by the Bay Area’s hip-hop expert Davey D, allowed Divine to speak about the music and the community built by hip-hop.

“Davey D mentored me at a time when I had no hope,” said Divine. “Without his support, I would not be here on a panel with Rakim and Willonious.”

Hatcher shared how his AI-produced BBL Drizzy video garnered millions of views and led to him becoming one of Time magazine’s 100 most influential AI creators.

“Diverse teams solve important questions such as: ‘How do we make sure we bring diverse people to the table, with diverse backgrounds and diverse lived experiences, and work together to create a more culturally sound product,’” said Wenah.

Self-taught developer, X.Eyee said, “You have to learn the way you learn so you can teach yourself anything. Future jobs will not be one roadmap to one individual skill; you will be the orchestrator of teams comprised of real and synthetic humans to execute a task.”

Activist Jamal Ibn Mumia, the son of political prisoner Mumia Abu Jamal, greeted Black Panther Party illustrator Emory Douglas, who was honored for his participation in the Black Power Movement. Douglas was presented with a statue of a black fist symbolizing the era.

“It’s an honor to be here and accept this high honor on behalf of the Black Panther Party,” said Douglas, holding the Black Power sculpture. “It’s an art (my illustrations) that’s been talked about. It’s not a ‘me’ art, but a ‘we’ art. It’s a reflection of the context of what was taking place at the time that inspired people.

“To be inspired by is to be in spirit with, to be in spirit with is to be inspired by, and to see young people continue on in the spirit of being inspired by is a very constructive and powerful statement in the way they communicate,” Douglas said.

His work embodied the soul of the Black Panther Party, and as its minister of culture and revolutionary artist, he definitely keeps the Panther Party soul alive, and his work is everywhere.

“Brother Emory Douglas is an icon in the community,” said JR Valrey of the Block Report.

“Fifty years later, he’s still standing,” said Ibn Mumia, raising his fist in the traditional Black Power salute.

“Emory is a living legend and so deserving of this award,” Valrey said. “We have to honor our elders.”