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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.

Published

3 years ago

April 12, 2023

Forward Times Staff

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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OP-ED: The Dream Cannot be Realized Without Financial Freedom

NNPA NEWSWIRE — Dr. King spent the final chapter of his life pushing the country to face economic injustice. The day before he was tragically assassinated, Dr. King stood with sanitation workers in Memphis to call for economic equality. He helped launch the Poor People’s Campaign because he knew freedom hollowed out by poverty is not freedom at all. Dr. King kept pushing America to match its promises with practical pathways.

Published

2 days ago

January 19, 2026

admin

By Ben Crump

We honor Dr. Martin Luther King Jr. each January with speeches, service projects, and by reciting powerful quotes we know by heart.

But too many Black families will spend much of MLK Day the same way they spend most Mondays.

With the gas tank hovering near empty, hoping the car can go until the next paycheck arrives. With a prescription waiting at the pharmacy counter because they cannot afford the cost.

With a paycheck that has to stretch further than what seems possible.

Dr. King understood that true dignity means being able to afford and build a good life. In one of his clearest reminders, he asked what it means to “eat at an integrated lunch counter” if you cannot “buy a hamburger and a cup of coffee.”

That question still carries weight for many. Personal freedom will not be achieved without financial freedom.

Dr. King spent the final chapter of his life pushing the country to face economic injustice. The day before he was tragically assassinated, Dr. King stood with sanitation workers in Memphis to call for economic equality. He helped launch the Poor People’s Campaign because he knew freedom hollowed out by poverty is not freedom at all. Dr. King kept pushing America to match its promises with practical pathways.

That is the part of his legacy we should sit with this MLK Day.

This work has never been more important or needed. The cost of groceries, rent, and childcare have become an increased burden. And many families go from stable to scrambling with just one unexpected expense.

These realities are on display in a recent national survey commissioned by DreamFi, echoing what so many families already feel so deeply. More than one in four respondents told us they used check-cashing services in the past year. This finding makes it clear that too many households still need simpler and more accessible options for moving money.

The survey also shows how unexpected expenses impact families. Only 41% of Black respondents said they could cover a $1,000 emergency, compared with 56% of white respondents. When a tire blows out, when a child gets sick, when hours get cut, the question is not theoretical. The question is immediate and the impact is real.

We must shine a light on this struggle and work to equip families with tools to build better futures. We must recognize Dr. King’s wisdom and acknowledge that financial stability is a civil rights issue, because financial instability limits the ability to have choices.

The survey also found hope that can guide how we move forward.

Black families are not turning away from the idea of building stability. In fact, they are reaching for it. In the survey, 79% of Black respondents said they sought out financial education in the past six months. Ours is a community hungry for tools and a fair shot at creating a better tomorrow.

So, what does it mean to honor Dr. King right now?

It means we get practical.

It means we expand access to clear, trustworthy financial education that respects people’s time and speaks to real solutions. It means we support savings pathways that help families prepare for emergencies before emergencies arrive. It means we encourage options that make routine transactions easier and less costly, so a family is not paying extra simply to manage their own money.

Most of all, it means we stop treating financial instability as normal. Because normal is not the same as acceptable.

Dr. King asked America to make its promises real. The best way to honor him now is to provide opportunities for everyone to achieve Dr. King’s dream.

Ben Crump is a nationally renowned civil rights attorney and founder of Ben Crump Law. Known as “Black America’s attorney general,” he has represented families in some of the most high-profile civil rights cases of our time, including those of George Floyd, Breonna Taylor, Tyre Nichols, and Ahmaud Arbery. He is also co-founder of DreamFi, a financial empowerment platform focused on helping everyday people build stability through practical resources.

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Four Stolen Futures: Will H-E-B Do The Right Thing?

BLACKPRESSUSA – An 18-wheeler carrying H-E-B merchandise struck a disabled car on US 87 near Dalhart, resulting in the deaths of four young Texas women. Dashcam footage shows their hazard lights flashing before impact. As H-E-B points to subsidiary distance, families wait for accountability.

Published

2 days ago

January 18, 2026

Oakland Post

By TotallyRandie
Social Media Correspondent, BlackPressUSA

Eighty thousand pounds of steel doesn’t just collide—it obliterates. While corporate lawyers hide behind the sterile jargon of liability and subsidiaries, four Houston families are left haunted by viral footage of a tragedy that should never have happened. On November 5, 2025, a stretch of US 87 became a crime scene of corporate negligence, claiming four vibrant Texan futures in a heartbeat.

The dashcam footage is a nightmare in real-time. A black Nissan Altima, hazards blinking in a desperate plea for space, crawls along the right lane near Dalhart. The four young women inside did exactly what we are taught to do during an emergency: slowed down and put on hazards. They were then met by an 18-wheeler hauling H-E-B merchandise. The truck plowed into them at full speed—no brakes, no swerve, no mercy.

The lives of Breanna Brantley, Taylor White, Myunique Johnson, and Lakeisha Brown were not just lost; they were stolen. To understand the gravity of this loss, you have to realize these women were just starting their lives.

Breanna Brantley (30): A woman entering the prime of her life, a new chapter of wisdom and growth.
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Taylor White (27): A wanderlust traveler and the “glue” for her younger siblings; she was their primary mother figure.
Myunique Johnson (20): Affectionately known as Mimi. Her life was just starting to bloom
Lakeisha Brown (19): A basketball standout set for Blinn College this spring—the beacon of hope meant to rewrite her family’s financial history.

In Texas, political math often attempts to cap the value of a human life, but the $250,000 ceiling suggested by current tort reform is an insult to these families. Breanna, Taylor, Myunique, and Lakeisha were more than just Black women; they were daughters, sisters, and athletes whose lives were abruptly taken away. They deserved milestones—graduations, weddings, and the simple right to grow old—not to be reduced to an apology for a “tragic loss.”

While the dashcam footage suggests an open-and-shut case, Attorney Rodney Jones of Rodney Jones Law Group P.C. revealed in our exclusive interview that reality is far more tangled. The road to justice could be a long, drawn-out process depending on how HEB decides to handle the case.

“This is a senseless accident that could have easily been prevented,” Jones says. “They had the right to possess that lane, and that truck driver had the responsibility to pay attention”. H-E-B is a Texas institution, but its response has triggered deep public outcry. While issuing an apology, the company quickly distanced itself, claiming the carrier wasn’t a “direct” H-E-B truck—despite hauling H-E-B products and being operated by Parkway, a known H-E-B subsidiary.

The driver, Guadalupe Villarreal, reportedly has a history of speeding and prior rear-end accidents. Jones is firm: “I’m looking strictly at his ability to be behind that 18-wheeler. This is a simple matter of a grossly negligent driver and the companies that put him on the road being held accountable.”

“H-E-B can’t bring them back, but they can make sure this never happens again,” Jones argues. “There is no price for a life, but there must be a price for negligence. It’s time for H-E-B to stop pointing fingers and start vetting their drivers properly to protect the public.”

While the public demands criminal charges, Jones notes that the legal wheel turns slowly. However, in the civil arena, H-E-B’s silence is deafening; the company has yet to contact the families directly.

“We desire a speedy resolution so we don’t have to drag this out,” Jones concluded. “H-E-B is a beloved chain here in Texas. Hopefully, they come to the table to resolve this fast. I feel like the longer they make these families wait for closure, the more it should cost.”

The ball is in H-E-B’s court. Will they live up to the Texas-strong values they advertise, or will they let a legal loophole define their legacy?

Bell @TotallyRandie
Multimedia Correspondent & Digital Creator
BlackPressUsa.Com/TotallyRandie.com /Stylemagazine.com

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Travis Scott Teaches Us How to Give Forward

BLACKPRESSUSA NEWSWIRE It’s not just about the gift under the tree in December; it’s about the skills, the confidence, and the opportunities provided in the months leading up to it.

Published

4 days ago

January 16, 2026

Oakland Post

By TotallyRandie

The fourth quarter of the year is often dubbed “giving season,” and for good reason. As October fades into November, the cultural zeitgeist shifts toward gratitude and the spirit of the holidays. For most, this means making a yearly donation to a local food bank or participating in a toy drive for the less fortunate. But for Houston’s own Travis Scott, “giving season” isn’t a seasonal trend—it’s a sophisticated, year-round blueprint for community empowerment.

Since launching the Cactus Jack Foundation in November 2020 alongside his sister, Jordan Webster, Scott has moved beyond the traditional celebrity check-writing model. While the world watches his every move on global stages, his foundation has been quietly and consistently pouring into the soil that raised him. Whether it’s supporting SWAC baseball athletes or funding the Waymon Webster Scholarship Fund for HBCU students, the mission is clear: provide the resources for the next generation to not just survive, but to lead.

From the Streets to the Stars

This past fall, the foundation took its most ambitious leap yet. In October 2025, Cactus Jack partnered with Space Center Houston—the official visitor center of NASA Johnson Space Center—to launch a first-of-its-kind STEM incubator.

The program was specifically designed for students within the Houston Independent School District (HISD), many of whom come from underserved communities where a career in aerospace often feels like a light-year away. For eight weeks, these middle schoolers weren’t just reading about science; they were living it.

Through a mix of virtual workshops and hands-on sessions at the Cact.Us Design Center and TXRX Labs, students were paired with actual NASA engineers. They weren’t tasked with busywork; they were challenged to solve real-world problems of space habitation, including:

Lunar Water Filtration: Designing systems to purify water on the moon.
Space Habitats: Creating structures designed for food preservation in extreme environments.
Robotics: Developing rovers capable of navigating uneven lunar terrain.

The Power of Being Present

The program culminated in a private showcase at Space Center Houston this past December. Standing alongside retired NASA astronaut and Chief Science Officer Megan McArthur, Scott watched as HISD students presented high-fidelity prototypes. In that room, the disparity usually associated with these neighborhoods vanished, replaced by the technical language of CAD modeling and systems thinking.

But the work didn’t stop at the laboratory. The 6th Annual “Winter Wonderland Toy Drive” at Texas Southern University took place the very next day, showcasing the foundation’s dual-threat approach to philanthropy. While the STEM program looked toward the future, the toy drive took care of the present, putting smiles on the faces of thousands of Houston families with toys, groceries, and essential goods.

“Opportunities like this are being offered to help enrich our students’ lives and inspire them to pursue careers in fields where they can not only thrive but also bring back solutions to their communities.” — Travis Scott

More Than a Headline

Critics and social media skeptics often tweet that “Travis Scott is everywhere but Houston.” The data and the faces of the students at Space Center Houston suggest otherwise. While his music may be a global export, his legacy is being built brick by brick (and circuit by circuit) in HISD classrooms.

By bridging the gap between hip-hop culture and NASA’s high-tech corridors, the Cactus Jack Foundation is teaching us a vital lesson in giving forward. It’s not just about the gift under the tree in December; it’s about the skills, the confidence, and the “out of this world” opportunities provided in the months leading up to it.

Travis Scott may be a global icon, but in Houston, he’s becoming something much more important: a catalyst for the next generation of innovators.