Each year, we’ve updated our popular holiday music song mix by adding a selection of new releases and new discoveries, and though we’re a little late this year, better late than never.
Now reaching over 45 hours long, it’s intended to be a mainstream background for your Christmas season – like those radio stations that turn holiday music 24/7 – except that all the music is done by Black artists (with an occasional duet with a soulful ally).
The big new Black holiday release this year comes from Jennifer Hudson (from her album The Gift of Love), but there are also new yule tunes from Mary J. Blige, Kanye West’s Sunday Service Choir, H.E.R., and other American Idol vets like Ruben Studdard and Jordin Sparks, modern jazz master Robert Glasper featuring Wicked superstar Cynthia Erivo, ‘it’ girls Coco Jones and Saweetie.
Broadway stars Norm Lewis and Ariana DeBose are also represented, along with veteran Black Brits Rebecca Ferguson, Craig David and Deniece Pearson (of Five Star fame), Tower of Power, Eric Roberson and gospel stars Anthony Evans, Jonathan McReynolds, Naomi Raine, BeBe Winans and CeCe Winans.
Happy Music Monday, you all! Once again it’s your friend and selector, Marlon West, with another collection for listening and, this time, voting pleasure.
That is unless you are the kind of voter more inclined towards the guy that inspires a playlist featuring Kid Rock and Ted Nugent. Though if you were, I doubt you would be here on GOOD BLACK NEWS.
So, if you are like me, Vice President Kamala Harris’ and Minnesota Gov. Tim Walz’s campaign and the excitement around it is welcome good news.
While some dismiss these heady days as a “sugar rush” and “media honeymoon”, Senior Editor and Correspondent for NPR News, Ron Elving, likened it to what Wall Street brokers call a “relief rally”.
This is coming after months of democrats being in the throes of ill-ease after President Biden’s debate performance. Weeks of record-breaking fundraising and huge rallies, has made for a decidedly more hopeful mood. One that I hope is here to stay.
To that end, here is a collection of tracks inspired by these more heady days to take us through the election season. Some of these songs are taken from the playlist for Harris/Walz rallies, like Mary J. Blige’s “Work That”, Leon Bridges’ “Smooth Sailing’ and, of course, Beyoncé‘s “Freedom”.
While others just seem quite timely again, including Billy Paul’s “Am I Black Enough For You”, The Staple Singers “If You’re Ready (Come Go With Me)”, and Funkadelic’s “One Nation Under A Groove”.
With Governor Walz dedicating a highway to “The Purple One”, there are more than a few Prince tracks thrown in as well.
We are half way through Hanukkah, with Christmas and Kwanzaa coming up quick. We’ve offered several funky and soulful and jazz and reggae seasonal playlists over the years. Search Spotify by “marlonwest” and they are all still there to enjoy this Yuletide Season.
This Music Monday offering features holiday-themed songs that have all been dropped in 2023.
There are new tracks from new and emerging artists like Cliff Beach, Samara Joy, Fitz and The Tantrums, and the ever-versatile Keke Palmer.
There’s new offers from Mary J. Blige, Brandy, War, and Kirk Franklin. Plus releases from the likes of Johnny Mathis and Carla Thomas.
Hope and yours have a delightful holiday season. Please enjoy this soulful collection offering in the days and weeks to come.
It has been an utter delight to sling good music your way here at Good Black News. See ya in January!
Happy Labor Day, y’all! It is no toil for me to offer up another playlist on this holiday Monday.
After June’s AfroBowie collection, our editor-in-chief, Lori Lakin Hutcherson, suggested a few more in a series of collections of rock musicians inspired by and in collaboration with Black artists.
So here is the second offering: AfroZeppelin. While David Bowie championed and collaborated with Black music-makers throughout his long career, Led Zeppelin’s connections were not as overt.
Outselling the Beatles and toppling them as icons of a new era of rock and roll, Zeppelin was the perfect combo of the Delta blues, London’s swinging scene and the myriad of cultural influences.
The influence of the street-tough Chicago blues of Muddy Waters and Howlin’ Wolf taught them much about swinging boogie. Over the decades many of their famous riffs and lyrics would come under fire. The allegations have brought several lawsuits as well, most of them settled out of court discreetly.
In the case of “Whole Lotta Love”, the song credits were later amended to include Willie Dixon, who claimed Robert Plant used his lyrics from “You Need Love”.
“The Lemon Song” is an expansion of a musical phrase featured in Robert Johnson’s “Traveling Riverside Blues”.
I’ve gathered many of the songs covered and referenced by Led Zeppelin, and their own versions of said tracks. Of course, they have been covered many times themselves.
I’ve included Zeppelin covers by Mary J. Blige, Lizz Wright, and Stanley Jordan. You’ll also find many classic cuts that feature Led Zeppelin samples too.
Here’s Beyoncé, Ice T, Jurassic 5, D12, Dr. Dre, Beastie Boys and many others.
This collection of great tracks stands as another example that no artist creates in a vacuum. Whether the influences are readily acknowledged, each creator makes offerings informed by what came before.
Do enjoy! Until next month! Stay safe, sane, and kind.
Although we dropped in on Duke Ellington earlier this month on April 6th when we shared a quote from him and a snapshot of his career and contributions, today, on his birthday, this prolific composer and musician gets a much-deserved second look, because one thing we didn’t share last time about the Black, Brown and Beige maestro?
He had synesthesia, the neurological condition where sounds and colors blend.
To read about Ellington, read on. To hear about him, 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 29th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Although we dropped in on Duke Ellington earlier this month on April 6th when we shared a quote from him and a snapshot of his career and contributions, today this prolific composer and musician gets a much-deserved second look:
Born on this day in 1899, Edward Kennedy “Duke” Ellington made an indelible mark on American music for more than six decades. A pianist, composer and bandleader, Ellington created such now-classic standards as “Prelude to a Kiss,” “Mood Indigo,” and “It Don’t Mean a Thing if it Ain’t Got That Swing”– as well as full-length compositions such as Black, Brown and Beige and Jump For Joy and film scores for Anatomy of a Murder andParis Blues.
Perhaps there were so many hues to Duke’s music because he had synesthesia, the neurological condition where sounds and colors blend. Other noted musicians who are also reported to be synesthetes are Pharrell Williams, Mary J. Blige, Frank Ocean and Kanye West.
To learn more about Ellington, check out our April 6th daily drop and its resources, and if you want to learn more about synesthesia, check out the links provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, written, produced and hosted by me, Lori Lakin Hutcherson.
Intro and outro beats provided by freebeats.io and produced by White Hot.
Excerpts from Black, Brown & Beige, Part 1 composed by Duke Ellington are included under fair use.
If you like these Daily Drops, follow 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, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Well, Aretha stans, the movie moment we’ve long been waiting for is finally –FINALLY– here. Today, just three days shy of the third anniversary of her passing, the MGM feature film about the one and only Queen of Soul, Respect, hits theaters nationwide.
As Editor-in-Chief of Good Black News (and not-so-undercover Aretha Franklin freak), I was able to attend a press screening of the movie a few weeks ago, as well as interview its writer Tracey Scott Wilson (The Americans) and original score composer Kris Bowers (The United States vs. Billie Holiday, Space Jam: A New Legacy, King Richard).
Directed by Tony Award nominee Liesl Tommy from a screenplay by Emmy Award nominee Wilson and starring Academy Award-winning vocal powerhouse Jennifer Hudson (who also executive produced), Respect is a treasure not only because it is a film about a Black woman made by Black women, but also because it satisfies on every level — visually, musically, and dramatically.
“Liesl wanted this to be a movie about and for and with and celebrating Black women because that’s what Aretha did her entire life,” writer Wilson said. “That was one of her missions in life, to honor Black women and put them front and center.”
The biopic covers a span of approximately 20 years in Franklin’s life, from her youthful choir solo singing in her father’s church to recording and producing Amazing Grace, a live double album of gospel music in the church of early teacher and friend Rev. James Cleveland (warmly and lovingly portrayed by Tituss Burgess).
Jennifer Hudson stars as Aretha Franklin and Forest Whitaker as her father C.L. Franklin in RESPECT (Photo credit: Quantrell D. Colbert)
Performances across the board are top notch – Hudson not only understood the assignment, she embodied it and transcended it by capturing Aretha’s quiet and graceful exterior while navigating how to express the caldron of explosive feeling and creativity within.
Forest Whitaker‘s note-perfect performance as Aretha’s formidable, flawed, savvy and controlling preacher father C.L. Franklin again proves why he is a lauded master of the craft.
As Aretha’s first husband and manager Ted White, Marlon Wayans charms with his nuanced combination of sexiness, intelligence and manipulation that make the dynamic of White and Franklin’s relationship live so well in the gray areas of both real and fatal attraction, especially when it gets violent.
Although they had limited screen time, Audra McDonald has so much gravity and grace as Aretha’s mother Barbara Franklin, she is broken spirit personified and Mary J. Blige pops off the screen as Aretha’s mentor/menace/musical motivator Dinah Washington.
Actor Jennifer Hudson and director Liesl Tommy on the set of RESPECT (Photo credit: Quantrell D. Colbert)
Tommy’s direction is as subtle as it is rich and powerful — the movie doesn’t feel like a movie if you know what I mean — but like an inside look into a lived experience. Franklin remains a mystery in many ways, which I found to be an insightful nod to Aretha’s own choice and agency to fiercely protect and guard her interior life.
Tommy and Wilson take what is known about the relationships and traumas in Franklin’s life and, like Franklin, let their fullest expression explode like dynamite through the music.
The way the music is presented within the storytelling (not to mention Hudson’s astounding vocals), from the expected highs like “Respect” or the emotional, fractured rehearsal of “Precious Memories,” is ambrosia for the ears, heart and soul.
The creation of “Ain’t No Way” in the movie plays as a grand glimpse into Aretha’s musicality and artistry as well as her connection with her sisters Erma and Carolyn (younger sister Carolyn Franklin wrote the song and is teaching it to Aretha in the scene) and this pivotal moment is a stand out.
According to Wilson, not only is that song a favorite of director Tommy, it also pays homage to rarely seen ABC news documentary footage of the same:
“It’s just them in rehearsal, and it’s Carolyn teaching her the song that she wrote. I must have watched that video like 100 times. Just seeing the dynamic between them — Ted White is standing there, the Muscle Shoals guys are standing there — and she’s just teaching her this song,” Wilson said.
“And Carolyn could read music and Aretha couldn’t, so she’s speaking to her not only in a way musically that Aretha can understand but she’s also speaking to her as a sister. And just seeing that I knew it had to be in the movie because it so encapsulates their relationship so well, it captures Carolyn’s brilliance, it captures their sisterly camaraderie and love, and also the dynamic of Ted who’s there who is clearly becoming just an appendage and not the main attraction anymore.”
“Liesl had in mind that the score was going to handle a lot of her trauma in the story and that was going to be the focal point of the score. And the other thing that I started to feel was revealing itself in the story… is how much she’s finding her way back to God and her faith and church and also in a lot of ways this pure connection she had with her mother.”
The score itself, Bowers said, was loosely inspired by the sound of the church, which, as Aretha’s life and career highs and lows unfold, is calling her back to it.
“A lot of the textures are organ sounds… and I just kind of stretched them out and did different things to them to create more of a texture and layers on top of the score.”
“The theme itself not only was meant to feel somewhat like a hymn but her trauma theme is actually her mother’s theme in reverse. A lot of [the score] is trying to find ways to create some sort of throughline to that so it can continue to pull her toward that calling of God and her faith.”
As a bonus, the film’s final moments close with the actual footage of Aretha’s unparalleled Kennedy Center Honors performance of “Natural Woman” from 2015. It’s such an outstanding narrative choice, it brought tears to the eyes of this Aretha devotee.
Although the film passes quickly through Aretha’s Columbia records output and ends well before her transition to her Clive Davis and Arista years, it’s an impressive exploration of, to paraphrase Wilson, “the woman with the greatest voice in the world finding her own voice.”
It’s no secret that I’m a die-hard Aretha Franklin stan. Have almost all the records, read all the books, seen all the documentaries, the concert film, watched the limited series, made several Spotify playlists (because one will never ever be enough).
So it should be no surprise the wait for the MGM feature Respect starring Academy Award winner Jennifer Hudson, delayed from release last year due to the pandemic, has been a long one for me. And from the looks of this featurette, it will have been well worth it:
This featurette excites me not only for the music and what look to be great performances from Hudson, Mary J. Blige as Dinah Washington and Forest Whitaker as Aretha’s father, Reverend C.L. Franklin, but also because of what director Liesl Tommy and screenwriter Tracey Scott Wilson say in it about their approach to the film.
How does the woman with “the voice” find her voice? Knowing that the filmmakers focused on dramatizing Aretha’s artistic journey and how she “musicalized her lived experience,” makes me feel like Respect will be The One.
It also helps greatly to know Franklin’s family supports the movie – her cousin Brenda Franklin-Corbett, who sang backing vocals for Aretha, even appears in the featurette.
Respect will be released in theaters on August 13.
And… bonus…
“Here I Am,” an original song recorded by Hudson for the film, recently became available on several streaming platforms, including Spotify. Check it out!
Donny Hathaway‘s recording of “This Christmas” is a holiday staple on Black radio and in Black households, and we are honored to celebrate its 50th anniversary today.
It’s difficult to remember a time when “This Christmas” wasn’t a popular seasonal tune, but when the song was released on December 9, 1970, the single failed to register on the R&B and Pop charts and didn’t get much airplay.
Decades later, however, Hathaway’s vision for African American representation in modern Christmas music shone through.
Co-written with Nadine McKinnor, Hathaway’s celebration of the season grew in popularity thanks to a 1990s re-release and covers by the likes of Aretha Franklin, Alexander O’Neal, Ne-Yo, The Braxtons, Seal, Mary J. Blige, Patti LaBelle, Destiny’s Child, and Pentatonix.
Preston Whitmore‘s 2007 film This Christmas starring Loretta Devine, Regina King, Delroy Lindo and Chris Brown (who also recorded the title track) helped maintain the popularity of the song.
Today, “This Christmas” has since become one of the most-performed holiday songs of all time, and in honor of its golden anniversary, Rhino Records released the animated video above drawn by famed cartoonist Lonnie Milsap for all to enjoy.
Yesterday was a good day. As Joe Biden and Kamala Harris became President-Elect and Vice President-Elect of the United States of America, in several cities across the nation literal dancing broke out in the streets. So many people from all stripes of life — Black, Brown, white, Asian, Indigenous — were together exhibiting their joy at the victory.
The massive turnout — in the middle of a surging pandemic, no less — to celebrate the repudiation of the path towards division and exclusion in favor of the path towards inclusivity and diversity was the most patriotic thing I’ve witnessed on a national level in a long time. And so many were carrying and waving American flags.
It’s being acknowledged in the media – as well as in President Elect Biden’s speech – how vital the African American community was in saving this nation’s democracy. The visuals and the fireworks brought home for me just how much at heart Black people are patriots.
Even though from jump we have been treated unjustly, cruelly, unfairly — we have worked tirelessly to fight for the ideals America is supposed to stand for. Justice. Freedom. Equality. Perhaps we believe in democracy the most because we have always been the most vulnerable when it doesn’t exist.
Hearing Vice President-Elect Harris strut out to Mary J. Blige‘s “Work That” and President Elect Biden sprint out to Bruce Springsteen‘s “We Take Care of Our Own” before their respective speeches, then enjoy the crowd and fireworks to some Jackie Wilson, Coldplay, Hall & Oates and Tina Turner, made me think about some of my favorite takes on patriotic American songs by African American artists that could have been cool to play as well. (My most recent favorite from the past few years? Jon Batiste‘s inventive, unexpectedly moving version of “The Battle Hymn of the Republic.”)
When my sister Lesa texted me a song she’d been listening to all day — “This Land Is Our Land” by Sharon Jones and the Dap Kings — my thoughts turned to action and I started making the playlist below I call “Black Americana” for inspiration now and in the months to come:
As we head into Labor Day Weekend, the unofficial end of Summer, it’s one more chance to relax a little amidst such a stressful year for so many of us.
We’ve had such a great reaction here at Good Black News to so many of our Spotify playlists, including our decade-spanning slow jam playlists that we made for the ‘70s (Ultimate ‘70s Slow Jam Summer) and the ‘80s (Ultimate ‘80s Champagne Slow Jams).
So it only made sense, in time for the long weekend, to unveil our playlist of slow jam faves from the ‘90s – entitledUltimate ‘90s Sunset Slow Jams, available at this link here, and of course you can listen to or access below. All you ‘90s soul music fans, it’s time to favorite this playlist and represent!
R&B music in the ‘90s underwent a true sea change that had been slowly building up through the prior decade. If ‘80s slow jams were the sound of lushly-produced, upscale elegance via superstar duets from well-dressed veteran singers, the ‘90s tossed a lot of that in the rearview mirror.
