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HISTORY: Musician Dom Flemons Reclaims Songs of Black Cowboys on New Smithsonian Folkways Album

Dom Flemons, the Grammy-winning co-founder of the Carolina Chocolate Drops. (Smithsonian Folkways Recordings)

Whitewashed from cowboy movies and lore, the African-American contribution to the shaping of the American West was more significant than previously considered, down to tunes black cowboys and laborers sang, which were as familiar as “Home on the Range.”
In researching songs that would become his album Dom Flemons presents Black Cowboys for Smithsonian Folkways Recordings, the artist learned that musicologist John Lomax recorded the most familiar version of “Home on the Range” from a black cook in San Antonio.
“He transcribes the fellow’s particular way of singing the song and it became the well-known western anthem that we know today,” says Flemons. It was the same with a familiar cattle driving song about a horse, “Goodbye Old Paint.”
The fiddler who Lomax recorded singing that song was white, Flemons says. “But another musician talked about how he learned the song from an ex-slave who worked for his father on the ranch.” It has since been credited to the black cowboy and former slave Charley Willis.
Hearing about the roots of two songs so closely associated with the American West, Flemons says, “started leading me in a musical direction that showed that African-American cowboys were an essential part of the general cowboy song theme.”
From books like Philip Durham’s seminal 1965 The Negro Cowboys, a copy of which he found in his native Arizona, Flemons learned one in four cowboys who helped settle the West were African-Americans, as were some of its biggest personalities, from Nat Love, better known as Deadwood Dick, to Bass Reeves, the first black deputy U.S. marshal west of the Mississippi, who many believe was the model for The Lone Ranger.
Flemons wrote an original song about the leading black movie cowboy, Bill Pickett. And he found strong connections to other parts of the African-American experience such as the cowboys who became Pullman Porters and in turn became strong figures in the Civil Rights Movement. “I knew I had to tell a story that was a story of the past, but also point people to a direction to show that there are modern black cowboys that are still out there,” Flemons says.

Entertainers Tyrese, Da Brat and Ricky Smiley Vow to Buy Car for Corey Patrick, Alabama Teen Who Took Bus to His Graduation

Alabama Teen Corey Patrick (photo via ebony.com)

by Jessica Bennett via ebony.com
An Alabama teen was determined to obtain his high school diploma, despite the fact that his family doesn’t have a car. Images of Birmingham, AL teen Corey Patrick walking and taking the bus to his graduation have gone viral, with a few stars promising to buy the determined student new wheels for all of his hard work and dedication to his education.
Speaking to WBRC, Patrick revealed that his mom suggested he take the bus to his commencement since she had no way to get him there. “I told Corey, well the best thing to do is just get on the bus and we will work from there,” said Felicia White, Corey’s mother.
Patrick proceeded to pound the pavement and caught the bus in his graduation cap and gown, with the bus driver snapping photos of the young man that eventually spread all over the internet. His family eventually found a ride and met him at the school. “I had to do what was necessary for me to walk this year,” Patrick said.
His mother revealed that Corey was determined to graduate with his friends after moving to a new neighborhood. “Corey was getting up at 4:30 in the morning and had to be at the bus stop at 5:41 in the morning for the last year. Even when he would get out of school he couldn’t get from that side of town until 5:19 when the bus runs back over there. So he doesn’t make it back this way until about 6:30 or 7 o’clock.”
The Shade Room is now reporting Da Brat, Tyrese and Rickey Smiley have committed to buying the young man a new ride so he’ll never have to worry about making it to an important event again.

"Betty: They Say I’m Different" Documentary About Funk Music Pioneer Betty Davis to Premiere at Red Bull Music Festival in NY

The trailblazing funk singer, bandleader and producer Betty Davis dropped out of public for decades. A new documentary, “Betty: They Say I’m Different,” tells her story. (Credit: Robert Brenner)

For a few short years in the 1970s, no one made funk as raw as Betty Davis did. She sang bluntly about sex on her own terms, demanding satisfaction with feral yowls and rasps, her voice slicing across the grooves that she wrote and honed as her own bandleader and producer. Her stage clothes were shiny, skimpy, futuristic fantasies; her Afro was formidable.

A major label, Island, geared up a big national push for her third album, “Nasty Gal,” in 1975. But mainstream radio didn’t embrace her, and Island rejected her follow-up recordings. Not long afterward, she completely dropped out of public view for decades.

Ms. Davis’s voice now — speaking, not singing — resurfaces in Betty: They Say I’m Different,” an impressionistic documentary that will have its United States theatrical premiere on Wednesday at the Billie Holiday Theater in Bedford-Stuyvesant, Brooklyn, as part of the Red Bull Music Festival. The film includes glimpses of virtually the only known concert footage of Ms. Davis in her lascivious, head-turning prime, performing at a 1976 French rock festival. The present-day Ms. Davis is shown mostly from behind and heard in voice-over, though there is one poignant close-up of her face.

This month Ms. Davis, 72, gave a rare interview by telephone from her home near Pittsburgh to talk about the film and her music. After years of entreaties from and conversations with its director, Phil Cox, and producer, Damon Smith, she agreed to cooperate on “Betty: They Say I’m Different” because, she said, “I figured it would be better to have them cover me when I was alive than when I was dead.”

Mr. Cox said, via Skype from England, “Betty doesn’t want sympathy, and she’s found her own space now. To me, that is just as interesting as that woman she was in the 1970s. It’s the antithesis of the age we live in, where everybody wants to be on social media all the time.”

Ms. Davis has longtime fans from the ’70s and newer ones who have discovered her in reissues and through hip-hop samples. They have clung to a catalog and a persona that were musically bold, verbally shocking and entirely self-created. Long before the current era of explicit lyrics, Ms. Davis was cackling through songs like “Nasty Gal” — “You said I love you every way but your way/And my way was too dirty for you” — and “He Was a Big Freak,” which boasts, “I used to whip him/I used to beat him/Oh, he used to dig it.” She still won’t reveal who was, or whether there was, a real-life model for songs like those.

https://youtu.be/EtInpDRchM0

“I wrote about love, really, and all the levels of love,” she said. That emphatically included sexuality. “When I was writing about it, nobody was writing about it. But now everybody’s writing about it. It’s like a cliché.”

Ms. Davis was born Betty Mabry in Durham, North Carolina, in 1945, and she grew up there and in Pittsburgh. She headed to New York City in the early 1960s, when she was 17, and enrolled at the Fashion Institute of Technology. She supported herself as a model and a club manager; she reveled in the city’s night life, meeting figures like Andy Warhol, Sly Stone, Eric Clapton and Jimi Hendrix.

Sean Combs is Revealed as Buyer of $21.1 Million Kerry James Marshall "Past Times" Painting

“Past Times” by Kerry James Marshall sold for $21.1 million on Wednesday to the music mogul Sean Combs (image via Sotheby’s)

Ever since the sale at Sotheby’s on Wednesday night of “Past Times,” a monumental painting by Kerry James Marshall with a narrative centered on black experiences, many people have been speculating about which collector or museum might have placed the winning $21.1 million bid. The sale was an auction high for Mr. Marshall, and it was widely reported to be the most ever paid for the work of a living African-American artist.

On Thursday night, Jack Shainman, Mr. Marshall’s gallerist and dealer in New York, told The Times that the buyer was Sean Combs, the entrepreneur, fashionista, Grammy Award-winning record producer and subject of the documentary “Can’t Stop, Won’t Stop: A Bad Boy Story.”

“I know that this work has found a home in a collection with purpose and an eye toward preserving legacy — that of Sean Combs, and that means a lot,” said Mr. Shainman, who has represented Mr. Marshall since his first show at the gallery in 1993.

The dealer said Mr. Combs was introduced to the painter’s work by a friend and sometime musical collaborator, the hip-hop recording artist and record producer Swizz Beatz. Swizz Beatz is also an avid art collector with his wife, Alicia Keys. Mr. Combs viewed the painting at Sotheby’s before the sale.

To read more: https://www.nytimes.com/2018/05/18/arts/sean-combs-kerry-james-marshall.html

Meet Sherrie Silver, 23, the Choreographer Behind Childish Gambino’s ‘This Is America’ Video

Choreographer Sherrie Silver (photo via afropunk.com)

by Cree B. McClellan via afropunk.com
Imagine if all the themes of an era were compacted in a sensory journey of rhythm, lyrical controversy, props, symbolism, and movement…. well Donald Glover has done it. His latest hit “This is America” is the whole package as it dissects the current state of a mixed nation under the tyrannical boots of discrimination, capitalism, and internalized stratification- and almost all his projects are collaborative, his work reaches volumes as it lets others shine.
One shinning contributor to the projects energy is the video’s choreographer: 23 year-old Sherrie Silver. Having danced for years, the Rwanda-born, England-bred creative initially gained traction for her “Afro-Dance” videos on Youtube, but after Glovers team reached out, her career took on a different weight.
She tells Interview: “The video is full of madness and reflects what’s going on in America and around the world right now. The kids and the choir are supposed to be the happy part of that, so there are two different worlds at the same time. Multiple parts of the video are meant to catch the viewer off-guard, with people smiling and enjoying themselves before it goes dark.”
The themes of this video, are the video- so for Silver it was important to speak to all aspects of Glovers message. By incorporating African dance like the South African ‘Gwara Gwara’, alongside Hip-Hop phenomenons like ‘Shoot’ or ‘Nae Nae’, she succeeds in illuminating the dichotomy of joy and pain- as it related to Pop Culture and its hidden state of affairs.
To read more: Meet the choreographer behind Childish Gambino’s ‘This Is America’ video | AFROPUNK

Stevie Wonder Announces ‘Positive’ Concerts To Counter ‘Confusion,’ Like Kanye’s ‘Foolishness’

The Stevie Wonder Song Party at The Peppermint Club on May 9, 2018 in Los Angeles, California. (photo via Getty Images)

via newsone.com
Stevie Wonder’s birthday was Sunday, but it seems like the celebration has been under way since at least last week. And if he has his way, it won’t stop anytime soon.
The legendary soul singer who has a history of social activism recently offered up his opinions, and solutions, surrounding several contentious topics, including but definitely not limited to the sad state of affairs in the world.
To counter the widespread “confusion” and surge of hate around the globe, Wonder’s first order of business, he said, was to perform a series of “positive” shows, according to the Associated Press, which attended the Hollywood performance.


“So much is going on in the world. And there is too much confusion,” Wonder said during the performance last Thursday. “The one thing we know for sure that we can celebrate is our life, our love and our music… The positive will win in the end.”
He also had an impromptu jam session with Donald Glover, the actor who also sings and raps as Childish Gambino. Wonder said he wanted to work with Glover for an upcoming album.
Source: Stevie Wonder Announces ‘Positive’ Concerts To Counter ‘Confusion,’ Like Kanye’s ‘Foolishness’

Rihanna Covers June Vogue, Talks Body Positivity and New Direct-To-Consumer Lingerie Line Savage X Fenty

It’s a foggy spring night in Paris, and Rihanna has just wrapped up a meeting with her accountant in the penthouse suite of the Four Seasons hotel, a place that will serve as her makeshift office for the next few days. The evening panorama from the terrace is about as picture-postcard pretty as Paris gets, though at this late hour the lights on the Eiffel Tower have long since gone out. Robyn “Rihanna” Fenty is a night owl. Her most intense bouts of creativity often come after midnight, a rhythm she picked up early in her music career. In the dark, soundproofed environment of a recording studio, time is elastic. And when you’re Rihanna, and the world is your oyster, then time is really elastic. It’s perhaps why she doesn’t seem particularly bothered that today’s to-do list is far from done. There is a stack of Fenty Beauty campaign printouts piled high on her desk awaiting her approval; a flood of unanswered emails from Fenty team members in various time zones, all happily waiting on her too. Right now, though, there is a more pressing issue on the agenda, one that demands her full attention: Rihanna has decided that it’s time to fix my love life.
“So wait, you’re on a dating app? You don’t seem like the dating-app type,” she says as her almond-shaped green eyes peer into my iPhone. “Come sit here; you gotta teach me how to do this swipe thing.” Rihanna is all curled up in a cozy hotel bathrobe and has a pair of comfy Fenty Puma slides on her feet, and yet she radiates flawless glamour—hair tousled in loose waves, skin luminous. Though I have taken great pains to put together what I think is a Rihanna-worthy look—Jacquemus blouse, vintage Yves Saint Laurent tuxedo pants—it’s hard not to feel like a tarnished penny next to a freshly minted gold coin as I sidle up to her on the sofa. Rihanna asks if she can take a look through the photos on my app, and I oblige. “What is that dress? Is that vintage Jean Paul Gaultier?” she asks, pausing on my profile picture, a bathroom selfie taken in a swanky Hollywood hotel. “You better werk, girl; you look gorgeous!” I do my best to play it cool, but the little fangirl inside me is freaking out. Hanging out with Rihanna is every bit as fun as her costars in the upcoming Ocean’s 8 movie make it sound: You know you’re in the presence of a superstar, but it’s like you’re chatting with an old friend. “It’s a combination of being starstruck and being immediately put at ease,” explains Sandra Bullock. “She also has this warmth, and when she shines it on you, it makes you feel pretty damn amazing!”
Before long, we’re on the hunt for potential suitors. “This guy is too pretty—if you’re pretty, you at least gotta have wrinkles,” Rihanna says, sizing up a male-model type who’s posing bare-chested on a surfboard. And so we’re on to the next. “OK, and this one is giving me Charlie Manson. No?” I nod in agreement; psychopaths are not an option. After swiping through a dozen profiles or more, she lands on a good one. “Now, this is your type!” she says. She’s not wrong: This man is scruffy but handsome, age appropriate (36), and appears to be gainfully employed (an actor, not my first choice, but hey, nobody’s perfect). “He looks smart, he’s British, and he’s got edges!” (Translation: He’s got all his own hair.) She swipes right, and a message pops up almost instantaneously on the screen: It’s a match! We both throw our heads back and start screaming with laughter.
But don’t be fooled: The giddy highs and lows of singledom are fast becoming a distant memory for Rihanna. Right now, she’s in a relationship. “I used to feel guilty about taking personal time,” she says, “but I also think I never met someone who was worth it before.” Though she’s reluctant to talk about her partner by name, rumors have been swirling around her connection to Hassan Jameel, a young Saudi businessman, since paparazzi photos of her vacationing with a handsome stranger in Spain made the rounds last summer. These recent romantic developments are, however, part of a much bigger sea change for Rihanna, who turned 30 this year. For the first time in her life, she’s fully committed to a healthy work-life balance. “Even mentally, just to be away from my phone, to be in the moment, that has been key for my growth,” she says. “Now, when I come to work, I’m all in. Because before you know it, the years will go by. I’m glad I’m taking the time. I’m happy.”
On the heels of the insanity of making a blockbuster movie, Rihanna somehow managed to launch Fenty Beauty in collaboration with Kendo, LVMH’s incubator for cool new makeup brands, last September. Leading with a range of foundations that cover a full spectrum of skin tones (there are 40 different shades), the brand shook up the beauty industry in ways few currently within it could have predicted, prompting a broader conversation about inclusivity that had long been ignored. The success of her cosmetics line was unprecedented, reportedly racking up a staggering $100 million in sales within 40 days. The wait lists at certain makeup counters continued for months. (I was among hundreds of women who lined up outside Harvey Nichols in London last fall, only to find that my shade had already sold out.)
Rihanna was initially taken aback by the response. She had grown up watching her mother apply makeup, so thinking about foundations for darker skin tones came naturally. “As a black woman, I could not live with myself if I didn’t do that,” she says. “But what I didn’t anticipate was the way people would get emotional about finding their complexion on the shelf, that this would be a groundbreaking moment.” She’s taken the same approach with Savage X Fenty, her direct-to-consumer lingerie line in partnership with online retail giant TechStyle launching May 11th, offering a range of nude underwear that goes far beyond the bog-standard beige T-shirt bra. She’s not alone in questioning the limited notion of “nude”: Kanye West’s debut fall 2015 Yeezy collection featured a diverse cast of models in flesh-toned looks that encompassed a wide range of colors, from palest white to richest brown. Now Rihanna is pushing that idea one step further, shedding light on the frustrations that many black women face in dressing their bodies at the most intimate level. She has said in the past that her biggest regret about the sheer Adam Selman dress she wore to the 2014 CFDA Fashion Awardswas that she didn’t throw on a bedazzled thong, mostly because the nude undies she ended up in weren’t the right match—“not my nude,” as she points out.
It should go without saying that the new line will carry a body-positive message, too. Rihanna’s lingerie models come in all shapes and sizes; they are real women with real bodies who stand as a refreshing counterpoint to the impossible supermodel dimensions that have defined the look of lingerie for decades. Like Gigi Hadid and Serena Williams, Rihanna has been the target of body-shaming internet trolls. Her public responses have been rare, but when she does brush off the haters it’s usually done with a razor-sharp dose of wit: Last summer she posted a hilarious before-and-after weight-loss meme of the rapper Gucci Mane, a tongue-in-cheek nod to her own fluctuations on the scale. Because what could be more sexy than a sense of humor? “You’ve just got to laugh at yourself, honestly. I mean, I know when I’m having a fat day and when I’ve lost weight. I accept all of the bodies,” she says, shrugging her shoulders. “I’m not built like a Victoria’s Secret girl, and I still feel very beautiful and confident in my lingerie.”
To read full article, go to: https://www.vogue.com/article/rihanna-vogue-cover-june-issue-2018

Kendrick Lamar Wins Pulitzer Prize for Music for His Grammy-Winning Album 'Damn'

Kendrick Lamar onstage at the Coachella Valley Music and Arts Festival in Indio on April 23, 2017.
Kendrick Lamar (Brian van der Brug / Los Angeles Times)
by Lori Lakin Hutcherson (@lakinhutcherson)
According to the Los Angeles Times, Compton native and acclaimed hip hop artist Kendrick Lamar has won the Pulitzer Prize for music for his 2017 album “Damn.” It is the first time work outside of the classical and jazz genres has been recognized in that category.
In today’s announcement, the Pulitzer board described the album as a “virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African American life.”
“Damn,” released on April 14, 2017, is Lamar’s fourth studio album following 2015’s “To Pimp a Butterfly,” 2012’s “good kid, m.A.A.d city” and “Section.80,” released in 2011. In January “Damn” won the Grammy for best rap album and was among the nominees for album of the year.

Review: Beyoncé is Bigger Than Coachella | New York Times

(photo via instagram.com)

by Jon Caramanica via nytimes.com

INDIO, Calif. — Let’s just cut to the chase: There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon, than Beyoncé’s headlining set at the Coachella Valley Music and Arts Festival Saturday night.

It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.

And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.

It started with the horns: trumpets, trombones, sousaphones. For most of the night, the 36-year-old star was backed by an ecstatic marching band, in the manner of historically black college football halftime shows. The choice instantly reoriented her music, sidelining its connections to pop and framing it squarely in a lineage of Southern black musical traditions from New Orleans second line marches to Houston’s chopped-and-screwed hip-hop.

Her arrangements were alive with shifts between styles and oodles of small details, quick musical quotations of songs (Pastor Troy’s “No Mo’ Play in G.A.,” anyone?) that favored alertness and engagement. As always, one of the key thrills of a Beyoncé performance is her willingness to dismantle and rearrange her most familiar hits. “Drunk in Love” began as bass-thick molasses, then erupted into trumpet confetti. “Bow Down” reverberated with nervy techno. “Formation,” already a rapturous march, was a savage low-end stomp here. And during a brief trip through the Caribbean part of her catalog, she remade “Baby Boy” as startling Jamaican big band jazz.

She does macro, too — she was joined onstage by approximately 100 dancers, singers and musicians, a stunning tableau that included fraternity pledges and drumlines and rows of female violinists in addition to the usual crackerjack backup dancers (which here included bone breakers and also dancers performing elaborate routines with cymbals).

U.S. Congress Member Hakeem Jeffries Honors Female Hip-Hop Artists on House Floor for Women’s History Month

(via youtube.com)

by Alanna Vagianos via huffingtonpost.com
Rep. Hakeem Jeffries (D-N.Y.) brought down the House on Tuesday with a loving tribute to female hip-hop and rap artists.
“Throughout the years, artists such as Elvis Presley, Frank Sinatra and Bruce Springsteen have been recognized on the floor of the House of Representatives,” Jeffries said. “Today, I rise to honor the top 10 female MC hip-hop collaborations of all time.”
Jeffries’ top 10 includes Eve’s “My Chick Bad,” Lauryn Hill’s “Ready Or Not” and, of course, Lil’ Kim’s “Quiet Storm” remix. He also shouted out the legendary Queen Latifah, MC Lyte and Salt-N-Pepa.
“As we celebrate Women’s History Month here in the United States’ Congress, these dynamic women are worthy to be praised,” Jeffries said.
This isn’t the first time the Brooklyn-native congressman has honored rap artists on the House floor. Last year, Jeffries paid tribute to New York rapper The Notorious B.I.G. on the 20th anniversary of his death.
To watchJeffries’ speech, click below: