Happy MLK Holiday and Music Monday. Here is our first playlist of 2024.
“MLK Day 2024” is a collection of songs and music from across the globe. They are tracks devoted to struggle, liberation, and celebration.
I’ve included songs like “You’re A Winner,” “How I Got Over,” and “A Change Is Gonna Come” that were the real-time soundtracks to the America’s civil rights struggle in the 1960s.
There’s tracks from the turbulent 1970s and ‘80s from Marvin Gaye, Stevie Wonder, Freda Payne,Gil Scott-Heron and others.
We got new and old school hip-hop by Lupe Fiasco, KRS-One, M.I.A. and Kendrick Lamar to name a few.
This 13-hour exploration on shining a light into our societies dark places and making the world a better place features jazz, soul, reggae and afrobeat.
Nina Simone and Max Roach are here beside Uganda’s Bobi Wine and Ivory Coast’s Alpha Blondy.
Please enjoy this daylong celebration of tenacity and hope. See ya next month!
I’m back with another collection in my “Afro” playlist series — “AfroBeatles.”
Earlier this month the first new Beatles song “Now And Then” dropped with the help of master filmmaker, Peter Jackson, and the surviving members. It is the first new release from the group in 45 years.
The Beatles are rightly known for the unmatched songwriting partnership of John Lennon and Paul McCartney. Towards their later years, George Harrison and Ringo Starr also pitched in with originals. Together, the group created a body of work that inspired no shortage of covers.
Few songwriters have been so thoroughly covered as Lennon/McCartney, and the diversity of Beatles covers is a tribute to their indelible mark on pop music. Here at Good Black News, we are going to focus on the covers by Black artists around the world.
The Beatles (and The Rolling Stones) cut their teeth opening for Little Richard; both bands came away forever altered by his singing style and stage presence.
Paul McCartney and Mick Jagger have made no secret of biting his vocal stylings and dance moves. When it came to doing covers they overt about acknowledging it.
On their first five albums of 1963-1965, almost all of the covers were originally recorded by Black soul artists, including Arthur Alexander’s “Anna (Go To Him)”, The Cookies’ “Chains”, The Shirelles’ “Boys” & “Baby It’s You”, The Top Notes’ “Twist & Shout”, The Marvelettes’ “Please Mr. Postman”, The Miracles’ “You Really Got A Hold On Me”, The Donays’ “Devil In Her Heart”, Barrett Strong’s “Money (That’s What I Want)” and Larry Williams’ “Dizzy Miss Lizzy.”
They are all included here, including their versions of Chuck Berry, Little Richard, and other greats of Soul giants, though the lion’s share of the collection is devoted to R&B, reggae, ska, and jazz covers of Beatles songs.
Here are hours of Beatles music by Stevie Wonder, Bill Withers, Nina Simone, Marica Griffiths, Gary Clark, Jr., and so many others. Please enjoy AfroBeatles!!
Hey, it’s Lori, GBN’s Editor-in-Chief, with this week’s Music Monday share. Although it’s one day early, I offer a list to set the vibe for what February signifies to many in these United States: Black History Month!
Today’s playlist, “Black and Proud: Songs About Being Black” features songs that examine, express, critique and celebrate differing iterations of what it means to be Black in America.
The gamut of human emotions are present in this collection, as African Americans have been creating genres like Jazz, Blues, Soul and Hip Hop and transforming others from the 1600s on.
Artists such as Louis Armstrong, Chuck Berry, James Brown, Stevie Wonder, Beyonce, Esperanza Spalding, india.arie, Prince, Janet Jackson, Mickey Guyton, Nas, Jay Z, Common and Kendrick Lamar all have their takes on Blackness and the perceptions of it by themselves, lovers, strangers, authorities and oppressors.
I’ve also included several versions of “Young, Gifted and Black” by Nina Simone, Aretha Franklin, Donny Hathaway and Big Daddy Kane who each in their own way interpret the phrase popularized by playwright Lorraine Hansberry to great effect.
I hope you enjoy this compilation and that it gets you into the mood, groove and spirit of Black History Month.
Hello on this MLK Day Monday! Hope this missive finds you all well. I put together this collection of tracks to celebrate this day. I’ve included songs that speak directly to the struggle for Civil Rights.
Some of these tracks were favorite songs of Dr. King’s and other leaders of the movement. While other tracks both classic and new are inspired by their efforts and sacrifice.
I have also included a few excerpts for the great man’s speeches as well. Mahalia Jackson, Sam Cooke, Gil Scott-Heron, and Nina Simone are all present. Though so are Common, Steel Pulse, Killer Mike, and others that came in their wake.
Hope you enjoy the collection of soul, jazz, gospel, reggae, and hip-hop track to celebrate the King Holiday.
As always, stay safe sane, and kind. “See” ya soon!
Many may know Lorraine Hansberry as the award-winning playwright of the now-classic 1959 Broadway play A Raisin in The Sun, adapted into a 1961 movie starring Sidney Poitier and Ruby Dee in 1961, and remade for television in 2008 starring Phylicia Rashad, Audra McDonald, Sanaa Lathan and Sean Combs.
Some may know of her family’s fight to end restrictive housing covenants in Chicago that went all the way to the U.S. Supreme Court (Hansberry v. Lee), or of her civil rights activism and advocacy for universal healthcare, women’s rights, and for the demise of colonialism and imperialism.
A few may even know of her embrace of her queer identity and desire to fight for gay rights at the end of her life.
I know all of these things because my personal connection to Lorraine Hansberry started when she became the first (and only) Black woman writer I got to read as a part of English curriculum in either middle school or high school in the 1980s.
We read Raisin In The Sun as a class in 11th grade AP English. So when my teacher Dr. Victor had his students spend our spring semester studying one author in depth of our own choosing, I chose Lorraine.
Happy Music Monday, you all. As promised a couple of weeks ago, this collection is devoted to live jazz performances.
April is also Jazz Appreciation Month, so this playlist is arriving not a moment too soon. For many of us, live jazz is the best way to enjoy jazz. The unbridled spontaneity of top-notch musicians at the very top of the game, improvising and spurring each other on to greater creative heights is the essence of the art form.
I’ve gathered performances from nearly 100 years of jazz music. Big band, Be-Bop, Avant Garde, Soul Jazz, and so many other styles are present. There are recordings from Massey Hall, the Village Vanguard, the Newport Jazz Festival, Birdland, and many other iconic venues.
Nina Simone, Miles Davis, Eric Dolphy, Duke Ellington, Art Blakey, Geri Allen, and dozens of other greats are included in this over 13-hour collection of stunning performances. While the sound quality in some venues isn’t as good as that of a state-of-the-art recording studio, and post-production is not on the table, the improvisatory nature of jazz makes live performance the quintessential way to experience the music. Do enjoy!
And as always, stay sane, safe, and kind. “See” ya next week.
PS: This is another one to set that crossfade, on Spotify, at 12 seconds if you are listening on a computer.
The National Trust for Historic Preservation, through its African American Cultural Heritage Action Fund, announced a crowdfunding campaign to support the restoration and preservation of Nina Simone’s childhood home in Tryon, NC.
This campaign, supported by artists, actors, and musicians including John Legend, will raise funds integral to the exterior restoration of the home where the celebrated singer, pianist and Civil Rights icon’s life began. The home, which has fallen into disrepair requiring urgent revitalization, was designated a National Treasure in June of 2018.
“Spaces devoted to the history and legacy of people of color, especially women of color, are far too few in America today,” said John Legend. “Preserving places like the Nina Simone childhood home will help keep her powerful story alive. This campaign pays tribute to Nina Simone’s unapologetic pursuit of musical, personal, and political freedom and I am proud to be a part of it.”
The National Trust’s crowdfunding campaign will run onIndieGoGo, beginning today, giving the public an opportunity to make donations to this effort, and to purchase newly designed Nina Simone-inspired merchandise including t-shirts, artist prints, pins, and postcards with artwork by Dare Coulter — a North Carolina-based artist working to create positive imagery of people of color. The campaign will also include the option to acquire additional merch donated by musicians including Talib Kweli and actors Mahershala Ali and Issa Rae.
“Our culture is embodied in old places and the history and stories they keep,” said Brent Leggs, executive director of the African American Cultural Heritage Action Fund at the National Trust for Historic Preservation. “This modest home in Tryon, North Carolina embodies the story of a young black girl who transcended the constraints placed on her in the Jim Crow south, to become the voice of the Civil Rights Movement. Nina Simone’s childhood home provides an important lens for examining the contours of her life, and through its preservation, we hope to celebrate and cement her legacy in our American narrative.”
In 1933, Eunice Waymon, aka Nina Simone, was born in Tryon, North Carolina. It was in this home that Simone first taught herself the piano at the age of three, performed in public for the first time at the neighborhood church where her mother preached, and where she experienced the constraints placed on African Americans in the rural Jim Crow South. This home would become the inspiration of some of her most influential music and political activism, including songs such as “Mississippi Goddam” and “Four Women.”
In recent years, the three-room, 660-square foot clapboard pier and beam house had fallen in disrepair. The vacant property was put on the market in 2016. Alarmed by the condition of the home and the risk of losing this connection to Nina Simone entirely, four African American visual artists—conceptual artist and painter Adam Pendleton, the sculptor and painter Rashid Johnson, the collagist and filmmaker Ellen Gallagher, and the abstract painter Julie Mehretu—purchased the property in 2017.
“When three fellow artists and I purchased Nina Simone’s childhood home in 2017, we did so with the desire that the site be transformed into a piece of living history, “ said artist Adam Pendleton. “This space, so integral to Nina Simone’s music and activism, can serve to carry forward her legacy and inspire future artists and musicians.”
Nina Simone’s career spanned multiple genres, four decades, several continents, and earned 15 Grammy nominations. Her songs have been professionally sampled and covered more than 500 times.
This week, the National Trust will be bringing the Nina Simone Crowdfunding campaign to the 25th annual Essence Festival, where attendees can claim exclusive perks and learn more about this National Treasure.
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).
Billy Paul (Source: Jack Vartoogian/Getty Images / Getty) article by Kellee Terrell via hellobeautiful.com
On Sunday morning, Philadelphia-born soul singer Billy Paul passed away in New Jersey home after battling cancer, his manager Beverly Gay confirmed to NBC 10 Philadelphia. Paul was 81.
On the “Me and Mrs. Jones” singer’s website, the following message was posted: We regret to announce with a heavy heart that Billy has passed away today at home after a serious medical condition.We would like to extend our most sincere condolences to his wife Blanche and family for their loss, as they and the world grieves the loss of another musical icon that helped pioneered today’s R&B music. Billy will be truly missed.
Born in 1934, Paul started singing at 11 years-old and early on his career, he performed at several clubs and college campuses with several music legends, including Charlie “Bird” Parker, Nina Simone, Miles Davis and Roberta Flack, NBC 10 wrote. Serving in the army with Elvis Presley, in 1968 Paul released his debut album “Feelin’ Good at the Cadillac Club.”
One of his most popular songs, “Me and Mrs. Jones” debuted in 1972 helping him become a household name and a constant on record players across the country. That song reached number one of the Billboard charts and earned him a Grammy award. Overall, during his amazing career, Paul released a total of 15 albums.
https://youtu.be/n2v98PGBZH4
Mayor Ras Baraka of Newark speaking at Occupy the City, an anti-violence rally and march, in August. (Credit: Yana Paskova for The New York Times)
NEWARK — Mayor Ras J. Baraka came into office last summer practically taunting his doubters. “Yeah,” he said in his inaugural address, “we need a mayor that’s radical.”
They had predicted that he would be anti-business and anti-police, that Mr. Baraka, the son of Newark’s most famous black radical, would return a city dogged by a history of riots and white flight to division and disarray.
A year later, Mr. Baraka is showering attention on black and Latino neighborhoods, as he promised he would. But he is also winning praise from largely white leaders of the city’s businesses and institutions downtown. He struggles with crime — all mayors here do — but he has also championed both the Black Lives Matter movement and the police, winning praise for trying to ease their shared suspicion.
The radical now looks more like a radical pragmatist.
Newark is still stubbornly two cities: gleaming new glass towers downtown, block after block of abandoned plots and relentless poverty in its outer wards, with five killings within 36 hours this month. But for all the expectations that Mr. Baraka would divide the city, those on both sides of the spectrum say that he has so far managed to do what his predecessors could not: make both Newarks feel as if he is their mayor.
The mayor at an awards ceremony for the Newark Fire Department. (Credit: Bryan Thomas for The New York Times)
Development plans are reaching into long-ignored neighborhoods. Projects stalled for years are moving forward, and new industries are taking root: a vertical farm, an incubator space and an investment fund for technology start-ups.
Mr. Baraka closed a $93 million hole in the city budget without layoffs. In June, Gov. Chris Christie agreed to start returning the schools to local control — something the governor had denied Cory A. Booker, Mr. Baraka’s more polished predecessor. The governor had rejected Mr. Baraka’s bid for control a year ago, deeming him “kind of hostile.”
“He’s like the local boy who grew up and said, ‘I need to fix my city.’ How do you not get inspired by that? How do you not root for a guy like that?” said Joseph M. Taylor, the chief executive of Panasonic Corporation of North America, which was lured to Newark by Mr. Booker. “I didn’t think anybody could top Cory Booker, but if anybody can, it’s Mayor Baraka.”
Not everyone is on board. Some local politicians, even those who support Mr. Baraka, say the positive reception partly reflects the low expectations set during a nasty election last spring, in which outside groups spent at least $5 million trying to defeat him. They say the talent pool at City Hall is shallow, and that Mr. Baraka has surrounded himself with friends and family members — in particular, his brother, Amiri Baraka Jr., who serves as his chief of staff — who engage in a kind of street politics that have dragged Mr. Baraka into distracting feuds.
Attendees at Occupy the City, an anti-violence march. The mayor has enlisted the help of residents in trying to curb crime. (Credit: Yana Paskova for The New York Times)
The candidate Mr. Baraka defeated, Shavar Jeffries, continues to criticize the mayor’s inability to stanch crime, dismissing Mr. Baraka’s anti-violence rallies as empty gimmicks. And presuming Mr. Baraka can complete the return of schools to local control, they remain some of the nation’s most troubled and low-performing.
