Back in the fall of 1981 when I was in my first semester at Columbia College, I became friends with a fellow from a Chicagoland suburb.
He was a dyed-in-the-wool Rolling Stones fan. One afternoon their version of “Just My Imagination” played on the radio near us. I recall mentioning it was a Temptations cover, and with some level of indignation, he told me that Jagger and Richards wrote EVERY song The Stones performed.
I was shocked. We were decades away from being able to Google such matters at the moment. I was forced to leave him to the dubious opinion. I can only hope in the decades since that he’s come to know better.
Not only was that song a cover but the Rolling Stones, for better or worse, have been the heralds of Blues and R&B for generations of Americans who would rather enjoy Black music through the filter of whiteness.
Here is AfroStones, a collection of essential songs performed by Black artists that the Rolling Stones covered.
You will find Chuck Berry, Robert Johnson, The Drifters, and Solomon Burke to name a few. Throughout this collection, the original songs are presented back to back with the Stone’s covers.
Needless to say, along with touring as the opening act for Little Richard, the Stones learned a lot from these songs and built a 50-year career on them.
Mick Jagger has long acknowledged his debt to Black America, but is not a one-way street. This collection also features Black artists covering the Stones.
Sharon Jones, Musiq Soulchild, Etta James, and others. Merry Clayton, who’s featured prominently on “Gimme Shelter”, is present with her own version of the Stones classic.
I’ve also included tracks by De La Soul, Little Simz, Snoop Dogg, and others that feature samples of their music.
As Muddy Waters said in an interview, “They stole my music, but they gave me my name.” Yet he also provided them with their name when they adopted the title of his song, “Rollin’ Stone.”
This June 3rd was the 81st anniversary of Curtis Mayfield’s birth. Today, on Juneteenth, we offer Move On Up: The Best of Curtis Mayfield playlist to celebrate the Chicago native who made an indelible mark on popular music through his protest songs and on the movie soundtrack album in particular.
As a singer, songwriter, and producer, Mayfield is widely regarded as one of the most influential figures in soul and R&B music. His early days with The Impressions showcased his distinctive falsetto vocals and he penned hits like “I’m So Proud” “It’s All Right,” and “Woman’s Got Soul,” among others.
However, it was his solo career that solidified his place as a musical pioneer and visionary. Beyond his musical contributions, Mayfield was a vocal advocate for civil rights and social equality.
His songs, including “Move On Up,”“People Get Ready,” “Keep On Pushing,” “Choice of Colors” and “We’re a Winner” became anthems for the Civil Rights Movement. They have empowered marginalized communities and inspired change for decades.
The soundtrack of Superfly was a smash by any measure. The record’s first single, “Freddie’s Dead” came out in July 1972, before the full album and the movie, and hit No. 4 on the Billboard Hot 100 chart.
Mayfield also crafted and composed the 1976 soundtrack to Sparkle, on which Aretha Franklin recorded the now classic #1 R&B hit “Something He Can Feel.” En Vogue remade the song in 1992 and repeated that feat, along with taking their cover to No. 6 on the Hot 100 chart.
This collection features his many hits, collaborations, remixes of his work and covers made in tribute to his impact. Enjoy.
Happy Juneteenth!! Stay sane, safe, and kind. See ya next month, y’all.
Happy Monday, you all. It’s your friend and selector, Marlon West, back with another dose of fine music.
Earlier this month we lost jazz legend, Ramsey Lewis. He can be credited with extending the life of jazz on the pop charts with his cover of Dobie Gray’s “The ‘In’ Crowd.”
It spent 16 weeks on the Billboard Top 100 and rose as high as No. 5. The album spent 12 weeks in the top spot among best-selling R&B albums.
Throughout his decades-long career, Lewis was the maestro of jazz crossover. Ramsey Lewis’ trio included bassist Eldee Young and drummer Red Holt.
They received not only chart success with “The ‘In’ Crowd” but also cultural acclamation: the cut earned him the Grammy award for Best Instrumental Jazz Performance.
“Improvisation that should swing, have some forward motion to it, even if it’s a ballad, to have some movement about it. Where are you going to find that spontaneous improvisation in the moment except in jazz?” Lewis told Molly Murphy in a 2006 interview for the National Endowment For the Arts.
Lewis was born in Chicago on May 27, 1935 and grew up in the Cabrini Green housing project. He started taking piano lessons at a young age and played at church, where his father was choir director.
Throughout his life he always returned to his hometown and as a teacher and mentor. Here’s some of the best of Ramsey Lewis. Enjoy!
“See” ya next month! Just in time for a soulful and funky Halloween offering.
Today, GBN celebrates Hazel M. Johnson, the community activist who sought to clean up the “Toxic Doughnut” that encircled her community on the South Side of Chicago, and in the process became known as the “Mother of Environmental Justice.”
To read about Johnson, read on. To hear about her, press PLAY:
[You can subscribe to the Good Black News Daily Drop Podcast via Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or listen every day here on the main page. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Friday, April 22nd, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Known as the “Mother of Environmental Justice,”Hazel M. Johnson did not choose the path that lead her to her title, but rather was called to it when her husband died of cancer in 1969 and her world was turned upside down.
Soon after his passing, the widowed mother of seven learned from a local TV program that people who lived on the South Side of Chicago had the highest cancer rates in the city. Hazel was determined to find out why.
Johnson discovered that chemical companies, refineries, and steel mills nearby were shooting toxins into the air and dumping industrial waste into the local river, which locals fished in, making Altgeld Gardens where she lived a perfect storm of air, water and land contamination which Johnson herself would later call the “Toxic Doughnut.”
She also found out that Altgeld Gardens had a toxic past that went even deeper.
Originally established as a federal housing project for World War II African American veterans, Altgeld Gardens was built atop land that had been an industrial sludge dump for the Pullman Motor Company from 1863 until the early 20th century.
Altgeld Gardens, it turned out, had the highest concentration of hazardous waste sites in the entire nation.
Hazel Johnson went door-to-door collecting data from friends and neighbors and started calling city and state health departments to investigate the industrial pollution in her community.
In 1982, she founded an organization called People for Community Recovery to fight environmental racism at the grassroots level.
PCR, made up mainly of mothers and local residents who were volunteers, pushed for city and state officials to do epidemiological studies of Altgeld Gardens because before Hazel started pushing and organizing, no legislative mandate existed to address how industrial pollution was affecting the quality of life for low-income and minority communities.
Hazel and PCR also worked to get rid of the toxins in their physical living spaces and put pressure on the Chicago Housing Authority to remove asbestos from Altgeld Gardens.
Johnson was equally instrumental in convincing city health officials to test the drinking water at Maryland Manor, a South Side neighborhood dependent on well water. Hazel convinced city and state officials to meet her in Altgeld Gardens and she took them on a “toxic tour” so they could see the problems first-hand.
After this tour, tests were conducted in 1984, which revealed cyanide and toxins in the water, and that lead to the installation of new water and sewer lines.
As #WomensHistoryMonth comes to a close, today in our Daily Drop podcast, we spotlight Chicago-based blues and jazz pianist Cora “Lovie” Austin.
Austin isn’t well known now, but in her day she was a well-regarded bandleader and composer and one of the best accompanists around.
Austin played with singers such as Ma Rainey, Alberta Hunter, Bessie Smith, and Ethel Waters and musicians such as Louis Armstrong, lead her band the Blues Serenaders, and held down her spot as musical director at Chicago’s Monogram Theater for over 20 years:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (transcript below):
SHOW TRANSCRIPT:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, a little stuffed up, but here to share with you a daily drop of Good Black News for Wednesday, March 30th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Cora “Lovie” Austin did two incredibly rare things for a Black woman born in 1887: she studied formal music theory in college, then used that knowledge to gig the vaudeville circuit as a blues and jazz pianist!
Austin played with singers such as Ma Rainey, Alberta Hunter and Ethel Waters and was known as one of the best accompanists of her time.
She also led her own band, the Blues Serenaders, which played with top musicians like Louis Armstrong, and co-wrote the blues standard “Down Hearted Blues.”
Early in her career, Austin settled in Chicago, ultimately serving as musical director for Chicago’s Monogram Theater for over 20 years. In 1961, Austin reunited with Alberta Hunter and the Blues Serenaders to record an album as part of Riverside Records Living Legends series entitled Chicago: The Living Legends (Live).
To learn more about Lovie Austin, stream or purchase her music on Apple Music or Amazon Music, or stream on Spotify, and check out the links to sources provided in today’s show notes or in the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Beats provided by freebeats.io and produced by White Hot. Excerpts of music by Lovie Austin are included under fair use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com,Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
This week are celebrating William James “Count” Basie. He was born 117 years ago on August 21, 1904.
In 1935, Basie formed the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He would lead that group for almost 50 years.
Many musicians came to prominence under Basie’s direction, including tenor saxophonists Lester Young and Herschel Evans, guitarist Freddie Green, trumpeters Buck Clayton and Harry “Sweets” Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.
Here’s a solid dose of his half century of artistry. Do enjoy.
After working for over 30 years in several different positions within the Chicago Fire Department, Annette Nance-Holt recently became the first woman to lead the CFD.
Her appointment to the top position of Fire Commissioner was confirmed last week by Chicago’s City Council, wgntv.com reports.
“Commissioner Holt has more than three decades of proven leadership and a passion for public service that makes her the perfect fit for this role,” said Mayor Lori Lightfoot.
“Furthermore, in a time where more work remains in order to eliminate discrimination, racism and sexism from the firefighter profession, Commissioner Holt’s history-making appointment as the first woman and Black woman to lead as Fire Commissioner couldn’t have come at a better moment.”
I'm proud to announce that Annette Nance-Holt will make history as not only the first woman but the first Black woman to serve as Commissioner of the Chicago Fire Department. After more than 30 years of service, she’s the right choice to lead the department into the future. pic.twitter.com/KYtdOoVo0y
— Archived: Mayor Lori E. Lightfoot (@mayorlightfoot) May 14, 2021
Holt was appointed first deputy commissioner in 2018 and has been serving as acting commissioner since Richard C. Ford retired earlier this year.
In 2007, tragedy put Nance-Holt into the news when her 16-year-old son Blair Holt was shot and killed on a CTA bus while shielding a classmate from gunfire.
Nance-Holt since then has helped start Purpose Over Pain, a non-profit which aids parents who have lost children to gun violence.
Commissioner Nance-Holt was mainly raised in the Maple Park community on the south side of Chicago and attended both parochial and public schools. She learned responsibility at an early age, having worked at the family-owned grocery store on the south and west sides of Chicago.
While studying and working full time, she obtained a Bachelor of Arts degree from Chicago State University, and later obtained a Master’s in Public Administration in Fire and Emergency Services from Anna Maria College.
Prior to joining the CFD, Commissioner Nance-Holt worked in the private sector for eight years.
[Photo: Fred Hampton (l), U.S. Rep. Bobby Rush (r) via revolt.tv]
U.S. Rep. Bobby Rush, a Democrat from Illinois and an Illinois Black Panther Party co-founder, yesterday introduced a bill to Congress to force the declassification of FBI files related to the death of Party Chairman Fred Hampton.
Additionally, Rush sent a letter to Attorney General Merrick Garland in which he requested “that you release unclassified and un-redacted versions of any files or papers in the possession of the U.S. Department of Justice or the FBI pertaining to this assassination.”
Hampton and Mark Clark were assassinated on Dec. 4, 1969 in Chicago by federal agents, and renewed public attention to this event comes on the heels of the 2020 release of the Academy Award-winning filmJudas and the Black Messiah, for which Daniel Kaluuya won the Best Supporting Actor Oscar for his portrayal of Hampton.
According to thegrio.com, Rush, who was first elected to Congress in 1992, said it was important that “the American people know about the odious and inhumane legacy of J. Edgar Hoover’sCOINTELPRO operation and its assault on our nation’s civil liberties.”
Rush’s bill would require the FBI to release all files related to now-disbanded counterintelligence programs, including those related to the Black Panther Party and Dr. Martin Luther King, Jr.
The bill also calls for the removal of Hoover’s name from FBI headquarters in Washington, D.C.
[Betye Saar: Taking Care of Business, airing as part of AfroPoP:The Ultimate Cultural Exchange (image courtesy of LACMA)]
Exploring modern art, human rights and politics, the AfroPoP shorts program premieres on Monday, April 26 at 8 p.m. ET on WORLD Channel and worldchannel.org with films from Christine Turner, Michèle Stephenson and Amir George.
See the teaser for the Shorts Program below:
The episode opens with Turner’s Betye Saar: Taking Care of Business, a look at the trailblazing Los Angeles-based Black visual artist.
In her 90s and still actively creating art, through interviews with Saar and archival footage, the documentary explores her acclaimed method of using collage, assemblage and more to make pieces — including her famous “The Liberation of Aunt Jemima” work — addressing Black culture, racism, feminism, empowerment and more since the 1960s.
Later in the episode, AfroPoP examines racism and xenophobia in the Dominican Republic with Elena from filmmaker Michèle Stephenson.
An intimate look at Elena Lorac, a young woman of Haitian descent raised in the Dominican Republic working tirelessly to combat anti-Haitian laws in the island nation. As her parents, who have worked the sugarcane plantations on the island their entire lives, and other Haitians face possible deportation as a result of new government policy, Elena struggles to obtain her own identification papers and also works with social justice groups to increase voting access and legal rights for Dominicans of Haitian descent, efforts made harder by the government at every turn.
The evening closes with Man of the People from director Amir George. Through a mix of sound and archival footage, Man ofthe People relates the story of political leader Harold Washington, his path to victory to become the first Black mayor of Chicago, and his mysterious death.
Presented by Black Public Media and WORLD Channel, new episodes of AfroPoP: TheUltimateCulturalExchange premiere each Monday through May 3. All episodes will be available for streaming at worldchannel.org and on the PBS app starting at the time of their TV premiere.
This is Ida B. Wells. Best known for being a late 19th/early 20th-century journalist, anti-lynching crusader and women’s rights advocate. In 2020, Wells received a posthumous Pulitzer Prize for journalism, and her face honored the centennial of the U.S. Suffragist Movement in a mosaic art installation in Washington D.C.’s Union Station.
Wells is a helluva historical figure who still far too few people know about. Her whole life is fascinating, so I’ll try to keep it short and focussed on her work. If you don’t have time for it now, right below is a great quote summing up Wells’ importance in the fight for equality and justice from the New York Times review of the 1999 biography on Wells:
“Linda O. McMurry‘s important new biography, To Keep the Waters Troubled, tells the story of an extraordinary American who would have been at the very summit of our national pantheon except for two things: her sex and her race. But then again, being born into a society that promised individual freedom and personal power — just not to blacks, not to women and above all not to black women — was the source of Ida B. Wells’s remarkable story.”
Wells was one of the first African-American female journalists to run her own newspaper, was an outspoken feminist, suffragist, an international figure and speaker, and early leader in the Civil Rights Movement who helped found the NAACP with W.E.B. DuBois and others, and helped women get and consolidate their power around voting in Illinois when they won the right.
But what fascinates me the most is her near one-woman crusade against lynching, and how she used her investigative, reporting, and oratory skills not only to document lynchings in the 1890s, but also to disprove the lie that Black men were raping white women or committing crimes that justified their mob hangings.
Wells offered real proof that lynching was being used in the South as a way to control or punish Black people who competed with whites. Even after the offices of her newspaper, Free Speech and Headlight, were burned down and she had to relocate from Memphis to Chicago to escape death threats, Wells persisted with her work.
Although there was major resistance in the U.S., Wells garnered support from the British, who after reading her work and hearing her speeches (they also witnessed her being dragged unfairly in the American press), offered monetary support and formed the British Anti-Lynching Committee, which included prominent members such as the Duke of Argyll, the Archbishop of Canterbury, members of Parliament, and the editors of The Manchester Guardian, who put international pressure on the U.S. to address these horrific crimes against Black Americans.
Wells’ crusade against lynching started in 1889, when her friend Thomas Moss opened the Peoples Grocery in the “Curve,” a Black neighborhood just outside Memphis city limits. It did well and competed with a white-owned grocery store across the street.
In 1892, while Wells was out of town, a white mob invaded her friends’ store. During the altercation, three white men were shot and injured. Moss and two other black men were arrested and jailed pending trial. A white lynch mob stormed the jail and killed the three men.
After the lynching of her friends, Wells wrote an editorial and became an ersatz civil rights leader and firebrand, urging Blacks to leave Memphis altogether. More than 6,000 black people did leave Memphis; others organized boycotts of white-owned businesses. After being threatened with violence, Wells bought a pistol. She later wrote, “They had made me an exile and threatened my life for hinting at the truth.”
Wells began her investigation by looking at the charges given for her friends’ murders, which officially started her anti-lynching campaign. She spoke at various Black women’s clubs, and raised more than $500 to investigate lynchings and publish her findings. Wells found that Blacks were lynched primarily for social control reasons such as failing to pay debts, not appearing to give way to whites, competing with whites economically, or being drunk in public.
She found little basis for the frequent claim that Black men were lynched because they had sexually abused or attacked white women. This alibi seemed to have partly accounted for white America’s collective acceptance or silence on lynching, as well as its acceptance by many in the educated African-American community.
Wells published her findings in a pamphlet called Southern Horrors: Lynch Law in All Its Phases. She followed it with an editorial that said, unlike the myth that white women were sexually at risk of attacks by Black men, most liaisons between Black men and white women were consensual.
Her editorial enraged white men in Memphis. On May 27, 1892, while she was away in Philadelphia, a white mob destroyed the offices of the Free Speech and Headlight.
To quote again from the 1999 New York Times Review:
“Wells exposed as false the most common justification for these lynchings: that they were necessitated by sexual ”outrages” committed by Black men against white women. Perhaps only a woman could have spoken out effectively against these charges, but doing so exposed Wells to attacks against her sexual character. Her willingness to talk openly about rape and interracial sex kept her from succeeding the aging Frederick Douglass as ”leader of the Afro-American race,” the most respected Negro in the United States among whites. This role went instead to a man and a nonmilitant, Booker T. Washington.”
In continued efforts to raise awareness and opposition to lynching, Wells spoke to groups in New York City, where her audiences included many leading African-American women.
On October 5, 1892, a testimonial dinner held at Lyric Hall, organized by political activists and clubwomen, Victoria Earle Matthews and Maritcha Remond Lyons, raised significant funds for Wells’ anti-lynching campaign. The Women’s Loyal Union of New York and Brooklyn was formed to organize Black women as an interest group who could act politically.
Wells toured Europe in her campaign for justice, but the first tour in 1893 didn’t go so well. Wells went to Great Britain at the invitation of Catherine Impey, a British Quaker. An opponent of imperialism and proponent of racial equality, Impey wanted to ensure that the British public learned about the problem of lynching in the U.S.
Wells accompanied her speeches with a photograph of a white mob and grinning white children posing near a hanged Black man; her talks created a sensation, but some in the audiences remained doubtful of her accounts. Wells intended to raise money and expose the U.S. lynching violence, but received so little funds that she had difficulty covering her travel expenses.
Before her second visit to Britain in 1894, the enterprising Wells worked to get some backing. Wells called on William Penn Nixon, editor of Daily Inter-Ocean, a Republican newspaper in Chicago, the only major white paper that persistently denounced lynching.
After Wells told Nixon about her planned tour, he asked her to write for the newspaper while in England, making her the first African-American woman to be a paid correspondent for a mainstream white newspaper. This time, Wells was highly effective in speaking to European audiences, who were shocked to learn about the rate of violence against Black people in the U.S.
Wells called for the formation of groups to formally protest the lynchings and helped catalyze anti-lynching groups in Europe, which tried to press the U.S. government to guarantee the safety of Black people in the South.
When she spoke at home to Black crowds, Wells was a one-woman precursor to the 1950s Deacons of Defense or the 1960s Black Panthers or even Malcolm X: she recommended that Black people arm themselves to defend against lynching:
“The lesson this teaches and which every Afro-American should ponder well, is that a Winchester rifle should have a place of honour in every black home, and it should be used for that protection which the law refuses to give. When the white man who is always the aggressor knows he runs as great a risk of biting the dust every time his Afro-American victim does, he will have greater respect for Afro-American life. The more the Afro-American yields and cringes and begs, the more he has to do so, the more he is insulted, outraged and lynched.”
Wells subsequently published The Red Record(1895), a 100-page pamphlet describing lynching in the U.S. since the Emancipation Proclamation of 1863. It also covered Black people’s struggles in the South since the Civil War. The Red Record explored the alarmingly high rates of lynching in the United States (which was at a peak from 1880 to 1930).
Wells gave 14 pages of statistics related to lynching cases committed from 1892 to 1895; she also included pages of graphic accounts detailing specific lynchings. She notes that her data was taken from articles by white correspondents, white press bureaus, and white newspapers.
The Red Record had far-reaching influence in the debate about lynching. Her accounts grabbed the attention of Northerners who knew little about lynching or accepted the common explanation that black men deserved this fate.
During this time, Wells also had to deal with dust-ups with white women suffragists such as Susan B. Anthony and Frances Willard. Anthony was critical of Wells for getting “distracted” by her young son who she had to bring with her on occasion to speaking engagements.
Willard went out of her way to try to discredit Wells in the press after Wells called Willard out for being silent lynching and for making racist statements where she said Black people drank too much and threatened the safety of women. Wells clapped back at Willard in The Red Record with an entire chapter dedicated to discussing “Miss Willard’s Attitude.”
In 1896, Wells founded the National Association of Colored Women’s Clubs and the National Afro-American Council. In Chicago, Wells also worked to improve conditions for its rapidly growing African-American population due to the Great Migration to northern industrial cities.
Wells worked on urban reform in Chicago during the last thirty years of her life. Wells began writing her autobiography, Crusade for Justice, in 1928 but never finished it; she died of uremia (kidney failure) in Chicago on March 25, 1931, at the age of 68.
In her hometown of Holly Springs, Mississippi, the Ida B.Wells-Barnett Museum acts as a cultural center of African American history. Awards have been established in Wells’s name by the National Association of Black Journalists, the Medill School of Journalism at Northwestern University, and the New York County Lawyers Assn., among others.