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.
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).
Fresh on the heels of kicking off his Hope & Redemption Tour, Common is bringing his social activism to center stage. The “Glory” rapper recently paid a visit to the Folsom State Prison in California, where he treated the inmates to a concert in part with his Imagine Justice initiative.
Imagine Justice took to social media to share the photos of Common’s inspiring trip through its “Faces of Mass Incarceration” photo series. The photos capture the men captivated by the MC, smiling with raised fists as the Chi-Town native performed. Other photos show Common heading down to the crowd of inmates to greet them.
“I’m blessed to have the opportunity to connect with my brothers inside Folsom State Prison and perform for them to inspire them and spread a message of hope, redemption, justice, love and compassion,” the rapper wrote in an Instagram post.
The multi-hyphenate star recently documented his four-day prison tour visits in a YouTube web series titled The Hope & Redemption Tour, giving viewers the opportunity to hear the heartfelt stories of the women and men facing lengthy prison sentences and what their lives are like behind the prison walls.
A new report by Research Triangle International finds that Black high schools students have made tremendous progress in qualifying for admissions to the California State University System and the University of California System.
Under the state’s master plan for higher education, the top 12.5 percent of all high school students qualify for admission to the University of California System and the top 33 percent of the state’s high school students are eligible for admission to the California State University System. The report found that the percentage of all high school graduates qualifying for California State University admission has increased from 29.6 percent in 1996 to a record high of 40.8 percent in 2015.
The percentage of Black students who qualified for admission to CalState schools more than doubled during the period. In 2007, the eligibility gap between White and Black students was 13.1 percent. But by 2015 it had declined to 9.8 percent. In 1996, only 13 percent of all Black high school students in California qualified for admission to the California State University System. In 2015, the rate was 30 percent.In the University of California System, the eligibility gap between White and Black students dropped from 8.3 percentage points in 2007 to 5.4 points in 2015.
In 1996, only 2.8 percent of all Black high school students in California qualified for admission to the University of California System. In 2015, the rate was 6.5 percent. Of course, qualifying for either state university system does not guarantee admission to a particular campus. Students must compete for places at these schools. And due to state law, race cannot be taken into consideration in admissions decisions at all public colleges and universities in California.
Morgan Freeman has been named the 54th recipient of the SAG Life Achievement Award for career achievement and humanitarian accomplishment. Freeman will be presented the accolade at the 24th Annual Screen Actors Guild Awards on Jan. 21 at the Shrine Auditorium in Los Angeles. The award is given annually to an actor who fosters the “finest ideals of the acting profession.”
Freeman has won a Screen Actors Guild Award, an Academy Award, HFPA’s Cecil B. DeMille Award, an AFI Lifetime Achievement Award, seven Image Awards, a Silver Berlin Bear and a Kennedy Center Honor. SAG-AFTRA made the announcement Tuesday. “I am thrilled to announce Morgan Freeman as this year’s recipient of the SAG Life Achievement Award,” said SAG-AFTRA President Gabrielle Carteris. “Some actors spend their entire careers waiting for the perfect role. Morgan showed us that true perfection is what a performer brings to the part. He is innovative, fearless and completely unbound by expectations… It has been a privilege to see his genius at work.”
Freeman won an Academy Award in 2005 for Best Supporting Actor for “Million Dollar Baby.” He was nominated for Oscars for “Street Smart” (1987), “Driving Miss Daisy” (1989), “The Shawshank Redemption” (1994) and “Invictus” (2009). He also won a SAG Award for “Million Dollar Baby.”
He has nearly 100 feature film credits including “The Dark Knight,” “The Bucket List,” “Glory,” “Lean on Me,” “Se7en,” “Amistad,” “Bruce Almighty,” and “Along Came a Spider.” Recent credits include “Going In Style,” “Ben-Hur,” “Now You See Me 2” and “London Has Fallen.” Freeman’s upcoming films include “Villa Capri” and Disney’s “The Nutcracker and the Four Realms.”
Octavia E. Butler was a powerful and pioneering voice in science-fiction. The first black woman acclaimed as a master of the genre, she was known for vivid, expertly crafted tales that upended conventional ideas about race, gender and humanity. Although her creations were bold, Butler, who grew up poor in Pasadena, was “a private, reflective person who struggled with shyness and self-doubt,” said Natalie Russell, curator of a new exhibition at the Huntington Library, Art Collections, and Botanical Gardens in San Marino, CA.
How such struggles influenced her life and art is one of the themes explored in “Octavia E. Butler: Telling My Stories.” Russell said the show uses an invaluable resource — the author’s archive — to examine both her published work and “who she was as told through her personal papers.”
Butler, who died at 58 in 2006, willed the Huntington 354 boxes of materials, a bequest Russell describes as “huge and unedited because Octavia kept everything and passed away unexpectedly after a fall.” She said the exhibition, which runs through Aug. 7, presents about 100 items, including manuscripts, photographs and notebooks filled with writing and self-motivational notes, including one that reads in part, “My novels go onto the bestseller lists. … So be it! See to it!”
Butler started writing science-fiction as a child. She spent years working to establish her career — and a new vision of what’s possible in a genre dominated by white men. Along the way, Russell said, she needed reassurance and reinforcement.
Dr. Dre has pledged to donate $10 million to help build a performing arts complex at the new Compton High School, the Compton Unified School District. “My goal is to provide kids with the kind of tools and learning they deserve,” Dre said in a statement. “The performing arts center will be a place for young people to be creative in a way that will help further their education and positively define their future.”
The complex will provide students with state-of-the-art equipment and technology, including digital media production facilities and a 1,200-seat theater. The performing arts center will also be a resource for the Compton community at large, officials say. The hip-hop mogul and Compton native will be directly involved in raising the remaining funds needed to complete the center, which is expected to break ground by 2020.
“The support that Dre has shown to Compton over the years is unwavering and we are so excited that we will now be home to one of the greatest performing arts centers in the country,” said Satra Zurita, president of Compton Unified’s governing board of trustees. Micah Ali, vice chairman of the district’s board of education, said the new high school will be the most modern public school complex ever built.
Choreographer Dave Scott is well known for his work on So You Think You Can Dance and in films like High Strung, Step Up 2: The Streets, Stomp The Yard and You Got Served. He’s now tackling a new venture that is sure to bring a fresh spin on a musical theatre classic. Under the direction of Will North, Scott will be reimagining the choreography from Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat.
The family-friendly show will run Oct. 13-22, 2017 at the Cabrillo Music Theatre in Thousand Oaks, California, and focuses on the trials and triumphs of Joseph, Israel’s favorite son and his “coat of many colors” from the Bible’s Book of Genesis. Although Joseph and the Amazing Technicolor Dreamcoat was first performed in 1968, it didn’t have its Broadway debut until January 1982.
North explained to Dance Network about his initial idea to collaborate with the hip-hop choreographer.
“I wanted to do a contemporary version of the show while bringing in different genres of hip-hop — including krumping. Dave is the perfect person to execute that vision,” he explains.
For Scott, taking on the project was a natural fit as he looks to diversify beyond his work in TV and film. The idea of live theatre not only adds an unexpected element, it’s giving him a new way to communicate through his artistry.
“I’ve always approached television and film with the mentality of the stage. To achieve the ‘wows’ and ‘splendor’ with no edits or cuts,” Scott shares. “I personally and creatively imagine my work in cartoon, like a superhero. I always aspire to go beyond the non-boundaries of dance, and this is a perfect platform.”
In addition to the upcoming production, Scott will also be back this summer choreographing on Season 14 of SYTYCD and he recently completed the film, Manifest Destiny Down: Spacetime, which will be out in 2018 with Broadway star Alexandra Winter.
The “Mastry” Gallery, created by African-American artist Kerry James Marshall, walks you through Marshall’s journey of making it as a fine artist – a field dominated by whites for centuries. Marshall was born in Alabama in 1955, and as a child was a part of the last wave of The Great Migration to the west, a region still full of promise and opportunity. Marshall’s family settled in South Central Los Angeles and while growing up in Watts, Marshall pursued art and was an active participant in the movement that encouraged an increase of black artists in the art community. All of Marshall’s work contributed to his mission to prove that art by blacks was just as challenging and beautiful as the white art which was typically celebrated.
The exhibit shows Marshall’s earlier works such as “The Invisible Man,” which is a collection of small scale portraits of people using the darkest shades of black, emphasizing Marshall’s idea that black people in society blend into the background. The exhibition displays how Marshall’s work developed, and include many of his large scale paintings.
Marshall changed the style of his work because he realized that a big statement called for a grander canvas. A large three-piece work called “Heirlooms and Accessories,” appears to be a necklace with a woman’s face in it at first glance. However, once one’s eyes adjust to the painting, fine lines start to become more distinct, and it is clear that there is a lynching occurring in the background. The faces in the painting are witnesses at the lynching, and the expressions of indifference are utterly shocking. While “Heirlooms and Accessories” seem to be referring to the necklaces, accessories serves as a double meaning because it also refers to those who were accessories to murder. This is a prime example of the depth and meaning behind each of Marshall’s work.
All of the paintings reflect Marshall’s commentary on black identity in the U.S. and in traditional western art. In his piece “Harriet Tubman,” Marshall paints an image of Harriet Tubman on her wedding day, with hands with white gloves essentially hanging this piece of art in a museum. Marshall’s feeling that museums are responsible for the lack of black art is portrayed in this piece. Museums typically hold the standard of what is beautiful and worthy, and Marshall makes the direct statement of what should be celebrated in this work.
The exhibition is especially engaging because of the varying emotions each work provokes. While pieces such as “Slow Dance,” which illustrates two people peacefully dancing, provokes calmness and peace, other pieces express injustice and anger. Marshall’s versatility and innate talent for art is clear as his work consists of completely different mediums and subjects. The exhibition allows you to fully observe all of Marshall’s different forms of art and varying ideas, and is not limited to a specific time period or brand of art.
Marshall’s range of mediums and subjects include large to small scale, canvas paintings to comics, common people to historical figures, and glittery mediums to the blackest of paint. This ability to effectively utilize different forms of art makes Marshall a unique artist, and a unique person who has learned to effectively communicate in a way people of all race, gender, and social class can understand. Marshall’s works are visually stunning to say the least, and his success in spreading the meaning of his art and pursuing his career despite the circumstances of racial discrimination, is truly inspiring.
article by Kate Mather and David Zahniser via latimes.com
The Los Angeles City Council agreed Wednesday to pay $1.5 million to settle a lawsuit filed by the family of Ezell Ford, whose 2014 killing by Los Angeles Police Department officers became a local touchstone in the national outcry over police shootings.The settlement comes two weeks after Dist. Atty. Jackie Lacey announced she would not criminally charge the two officers who shot Ford during a scuffle in his South L.A. neighborhood.
The Aug. 11, 2014 shooting of Ford, a 25-year-old black man, generated controversy almost immediately. More than two years later, local activists and others use his death as an example in their ongoing criticism over how officers interact with black and Latino residents. Many — including those with the Black Lives Matter movement — still describe the shooting as an unjust killing, continuing to chant Ford’s name along with others killed by police.
Ford, who had been diagnosed with schizophrenia and bipolar disorder, was walking near his South L.A. home when two officers assigned to an anti-gang unit tried to stop him. After Ford ignored officers’ commands, authorities said, Officer Sharlton Wampler tried to grab him. He later told investigators he thought the 25-year-old was trying to toss drugs. Authorities said Ford then knocked Wampler to the ground and tried to grab his gun during a scuffle, prompting both Wampler and his partner to shoot.
In a 28-page memo outlining their decision not to charge the officers, prosecutors said Ford’s DNA was found on Wampler’s holster, and bloodstains on the officer’s uniform and scuff marks on his utility belt suggested Ford was on top of him during the struggle. In 2015, the Police Commission concluded that Wampler violated LAPD policy when he fired at Ford. The board said it looked at the “totality of the circumstances” — not just the moment he fired — and faulted the officer’s decision to approach and physically contact Ford.