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Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series

ABOVE: Archie Shepp, center, performs at “The Cry of My People,” backed by a nine-piece ensemble. (Photo By Jeenah Moon) When alto saxophonist Angélla Christie strode onstage on Friday night (Apr. 7) at the Brooklyn Academy of Music, she was joined only by a piano player. But Christie, one of the more prominent instrumentalists in […]
The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series first appeared on BlackPressUSA.

Published

3 years ago

April 12, 2023

Forward Times Staff

ABOVE: Archie Shepp, center, performs at “The Cry of My People,” backed by a nine-piece ensemble. (Photo By Jeenah Moon)

When alto saxophonist Angélla Christie strode onstage on Friday night (Apr. 7) at the Brooklyn Academy of Music, she was joined only by a piano player. But Christie, one of the more prominent instrumentalists in contemporary gospel, was at full throttle from the very first note — playing in high-gloss, reverb-drenched ostinatos — and within moments, the crowd had become her rhythm section, clapping along on every off-beat.

Eldorado Ballroom in the heart of Third Ward Houston, Texas

An usher got swept up while walking a couple to their seats, and on her way back up the aisle she shimmied a bit, her right hand flying into the air in a testifying motion. A woman sitting at the end of Row H reached out for a high five, and their palms gripped each other for a moment.

It was just a few minutes into “Glory to Glory (A Revival for Devotional Art)” — part of BAM’s multidimensional “Eldorado Ballroom” series, brilliantly curated by Solange via her Saint Heron agency — and already something was hitting different.

After Christie, the concert continued with two more sets: selections from Mary Lou Williams’s religious suites, delivered by the 14-person Voices of Harlem choir and a pair of virtuoso pianists, Artina McCain and Cyrus Chestnut; and a roof-raising show from the indomitable Clark Sisters, the best-selling band in gospel history and a fixture of Black radio since the 1980s.

That’s a lot already: a stylistic tour of Black American religious music, mostly in the hands of women, going back more than 50 years. But “Eldorado Ballroom” was aiming for even more. Rarely does a single series pull together so many strands — not just of Black music, but of Black creativity writ large — into an open-ended statement, speaking to what might be possible as well as making a comment on how Black creative histories ought to be remembered.

Angélla Christie, right, performs at “Glory to Glory (A Revival for Devotional Art)” at BAM on Friday night. (Photo By Jeenah Moon)

“Eldorado Ballroom” is an extension of the work Solange has been doing for the past 10 years under the auspices of Saint Heron. As she told New York Times magazine’s Craig Jenkins recently, her aim with Saint Heron — whether you call it an agency, a studio, a brand or simply a creative clearinghouse — is “to centralize and build a really strong archive that in 20 years or 30 years can be accessible by future generations to be a guiding light in the same way that so many of my blueprints guided me.”

Thanks to Saint Heron, Solange has managed to put her cultural capital to use while keeping her own celebrity mostly out of view. On Friday, the singer and songwriter sat beaming from an opera box near the stage while the Clark Sisters motored through a 40-plus-year catalog of danceable gospel hits, but she never took a bow.

Saint Heron surfaced in 2013 with the release of a mixtape that helped set the standard for a new wave of outsider R&B. Some of its contributors, like Kelela and Sampha, became stars. Since then, Saint Heron has served as a flexible play space for Solange and her creative community, crossing lines between fashion and design, visual art, publishing, music and dance. Mid-pandemic, Saint Heron released a free digital library of books by Black writers and artists.

Linda Sharrock sang as part of “The Cry of My People” on Saturday night at BAM. Her last show in New York City before this past weekend was in 1979; she has suffered health setbacks including a stroke. (Photo By Jeenah Moon)

And clearly, Solange has gained the attention of a broad, young, literary community of color. The capacity crowd at “Glory to Glory” on Friday was — unlike at most events in such spaces — about 90 percent Black, and as diverse in age and attire as Flatbush Avenue on any spring afternoon. Twenty-somethings in custom streetwear stood cheering next to older women in their Sunday’s best.

On Saturday, the crowd again skewed under 50 and majority Black for “The Cry of My People,” a night devoted to poetry and experimental jazz. If “Glory to Glory” was a celebration of how “triumphant and safe” gospel music can make a person feel, as Solange put it to Jenkins — a night devoted to joy, basically — then “The Cry of My People” was a confrontation of pain.

The show began with a reading from the poet Claudia Rankine, who stood at center stage as the curtain came up, then read two poems: “Quotidian (1),” about inner turmoil, and “What If,” about a kind of exhausted rage. The second included the line: “in the clarity of consciousness, what if nothing changes?”

Rankine had put words to something that the next performer, vocalist Linda Sharrock, would express without them. Sharrock has been heavily respected in jazz circles since the 1960s for her raw and riveting use of extended vocal techniques: Moans, breaths and cries have been her musical units. But like so many women in jazz, she spent the peak years of her career in the shadow of a more famous husband, guitarist Sonny Sharrock, and ultimately quit the scene. Before Saturday, her last show in New York City had been in 1979. In more recent years she has suffered health setbacks including a stroke that left her aphasic, and has performed only rarely.

The Clark Sisters onstage at BAM on Friday night, as part of a bill celebrating Black American religious music. (Photo By Jeenah Moon)

At BAM, backed by a signal-scrambling, free-improvising, eight-piece band, Sharrock sat in a wheelchair beside an upright piano (that she often touched but hardly played) and sang in big, open vowel sounds. They felt confounding, yet clear. Most of the time, the sounds came in wide, billowing arcs; when she held a single, steady note — sometimes spiked with a growl — it brought the urgency to an almost unbearable level. Often there were hints at a secondary feeling (surprise? anger? wonder? all possible) but the main message was consistent: pain.

The backstage crew seemed to have difficulty following the band’s cues, and after the curtain had been down for a solid three minutes following Sharrock’s set, it came back up. The band was still playing. Sharrock performed another mini-set before a long wait for the curtain to come down once again. Maybe a clean ending wouldn’t have fit. The crowd — dazed, moved — gave Sharrock a warm response, but there was little that felt “triumphant and safe” about this night.

It concluded with a set from Archie Shepp, the luminary tenor saxophonist, composer, vocalist and writer. A disciple of John Coane and Cecil Taylor, Shepp became a leading advocate for Black musicians’ right to self-determination in the 1960s and has hardly quieted his voice ever since. At 85, his saxophone chops have faded, and he needed help from other band members to bring the instrument into playing position, but the whispered notes he did get out of the horn carried fabulous amounts of weight.

Solange, middle, attends “Glory to Glory (A Revival for Devotional Art)” at BAM on Friday night. The singer and her Saint Heron agency curated the series, “Eldorado Ballroom.” (Photo By Jeenah Moon)

Backed by a nine-piece ensemble featuring three excellent vocalists (Amina Claudine Myers, Sarah Elizabeth Charles and Pyeng Threadgill) and a pithy, three-man horn section, Shepp pulled from across his broad repertoire. He revisited his classic cover of Calvin Massey’s stout, dirgelike “Cry of My People,” and the swiveling rock beat of “Blues for Brother George Jackson” from the “Attica Blues” LP. On Duke Ellington’s gospel standard “Come Sunday,” Shepp sang in an earnest baritone while Myers, who briefly took over the piano chair from Jason Moran, splashed him with generous harmonies. As Shepp sang the line, “God of love, please look down and see my people through,” the house erupted in a wave of support.

His set, like his six-decade-long career, was a reminder that the walls that divide spiritual music, popular music and art music can often be arbitrary. “Where did they come from, anyway?” he seemed to ask. This, you could say, was the message of “Eldorado Ballroom” writ large.

The series takes its name from a once-legendary venue in Houston’s Third Ward neighborhood, where Solange grew up. At the ’Rado, as it was known, jazz, gospel and soul — art, spiritual and popular — all appeared on the same stage, until an economic downturn and a pattern of police repression forced the venue to close in 1972.

The night that Solange’s series kicked off — March 30, with a show featuring the outsider-R&B trifecta of Kelela, keiyaA and Res — the actual Eldorado Ballroom was celebrating its grand reopening in Houston, after a nearly $10 million restoration project. With a little luck, Houston may have its own “Eldorado Ballroom” series soon, too.

Solange pictured with artists Kelela (middle) and KeiyaA (right) at BAM

Solange Knowles at the Brooklyn Academy of Music on March 30, 2023 (Photo By Bre Johnson)

Opening Night of Solange and Saint Heron’s Eldorado Ballroom at BAM (Photo By Bre Johnson)

The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series appeared first on Houston Forward Times.

The post Solange Curates Powerful Performances of Black Joy and Pain at Brooklyn Academy of Music for the “Eldorado Ballroom” Performance Series first appeared on BlackPressUSA.

Forward Times Staff

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LIHEAP Funds Released After Weeks of Delay as States and the District Rush to Protect Households from the Cold

BLACKPRESSUSA NEWSWIRE — The federal government has released $3.6 billion in home heating assistance after a delay that left states preparing for the start of winter without the program’s annual funding.

Published

1 week ago

December 1, 2025

Stacy M. Brown

By Stacy M. Brown
Black Press USA Senior National Correspondent

The federal government has released $3.6 billion in home heating assistance after a delay that left states preparing for the start of winter without the program’s annual funding. The Low-Income Home Energy Assistance Program, known as LIHEAP, helps eligible households pay heating and cooling bills. The release follows a shutdown that stretched 43 days and pushed agencies across the country to warn families of possible disruptions.

State officials in Minnesota, Kansas, New York, and Pennsylvania had already issued alerts that the delay could slow the processing of applications or force families to wait until December for help. In Pennsylvania, more than 300,000 households depend on the program each year. Minnesota officials noted that older adults, young children, and people with disabilities face the highest risk as temperatures fall.

The delay also raised concerns among advocates who track household debt tied to rising utility costs. National Energy Assistance Directors Association Executive Director Mark Wolfe said the funds were “essential and long overdue” and added that high arrearages and increased energy prices have strained families seeking help.

Some states faced additional pressure when other services were affected by the shutdown. According to data reviewed by national energy advocates, roughly 68 percent of LIHEAP households also receive nutrition assistance, and the freeze in multiple programs increased the financial burden on low-income residents. Wolfe said families were placed in “an even more precarious situation than usual” as the shutdown stretched into November.

In Maryland, lawmakers urged the Trump administration to release funds after the state recorded its first cold-related death of the season. The Maryland Department of Health reported that a man in his 30s was found outdoors in Frederick County when temperatures dropped. Last winter, the state documented 75 cold-related deaths, the highest number in five years. Rep Kweisi Mfume joined more than 100 House members calling for immediate federal action and said LIHEAP “is not a luxury” for the 100,000 Maryland households that rely on it. He added that seniors and veterans would be placed at risk if the program remained stalled.

Maryland Gov. Wes Moore used $10.1 million in state funds to keep benefits moving, but noted that states cannot routinely replace federal dollars. His administration said families that rely on medical equipment requiring electricity are particularly vulnerable.

The District of Columbia has already mapped out its FY26 LIHEAP structure in documents filed with the federal government. The District’s plan shows that heating assistance, cooling assistance, weatherization, and year-round crisis assistance operate from October 1 through September 30. The District allocates 50 percent of its LIHEAP funds to heating assistance, 10 percent to cooling, 13 percent to year-round crisis assistance, 15 percent to weatherization, and 10 percent to administrative costs. Two percent is used for services that help residents reduce energy needs, including education on reading utility bills and identifying energy waste.

The District’s plan lists a minimum LIHEAP benefit of $200 and a maximum of $1,800 for both heating and cooling assistance. Crisis benefits are provided separately and may reach up to $500 when needed to resolve an emergency. The plan states that a household is considered in crisis if it has been disconnected from energy service, if heating oil is at 5 percent or less of capacity, or if the household has at least $200 owed after the regular benefit is applied.

The District’s filing notes that LIHEAP staff conduct outreach through community meetings, senior housing sites, Advisory Neighborhood Commissions, social media, posters, and mass mailings. The plan confirms that LIHEAP applicants can apply in person, by mail, by email, or through a mobile-friendly online application and that physically disabled residents may request in-home visits.

As agencies nationwide begin distributing the newly released funds, states continue working through large volumes of applications. Wolfe said LIHEAP administrators “have been notified that the award letters have gone out and the states can begin to draw down the funds.”

Stacy M. Brown

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Seven Steps to Help Your Child Build Meaningful Connections

BLACKPRESSUSA NEWSWIRE — Swinging side by side with a friend on the playground. Sharing chalk over bright, colorful sidewalk drawings. Hiding behind a tree during a spirited game of hide-and-seek. These simple moments between children may seem small, but they matter more than we think

Published

1 week ago

December 1, 2025

Oakland Post

By Niyoka McCoy, Ed.D., Chief Learning Officer, Stride/K12

Swinging side by side with a friend on the playground. Sharing chalk over bright, colorful sidewalk drawings. Hiding behind a tree during a spirited game of hide-and-seek. These simple moments between children may seem small, but they matter more than we think: They lay the foundation for some of life’s most important skills.

Through everyday play, young children begin learning essential social and emotional skills like sharing, resolving conflicts, showing empathy, and managing their emotions. These social skills help shape emotional growth and set kids up for long-term success. Socialization in early childhood isn’t just a “nice-to-have”—it’s essential for development.

Yet today, many young children who haven’t yet started school aren’t getting enough consistent, meaningful interaction with peers. Research shows that there’s a decline in active free play and peer socialization when compared to previous generations.

There are many reasons for this. Children who are home with a parent during the day may spend most of their time with adults, limiting opportunities for peer play. Those in daycare or preschool may have restricted free play, and large classrooms can reduce supervision and social coaching. Some children live in rural areas, are homebound due to illness, have full schedules, or rely on screens to fill their playtime. And for some families, finding other families with young children to connect with isn’t easy.

While these challenges can feel significant, opportunities for connection still exist in every community. Families can take simple steps to help children build friendships, create a sense of belonging, and strengthen social skills. Here are some ideas to get started:

Storytime sessions at libraries or local bookstores
Community offerings such as parent-child workshops, art, music, gymnastics, swimming, or sports programs
Weekly events at children’s museums, which may include art projects, music workshops, or science experiments
Outdoor exploration, where kids can play with peers
Local parenting groups that organize playdates and group activities
Volunteer opportunities where children can participate, such as pet adoption events or packing meals at a food bank
Classes for kids at local businesses, including hardware, grocery, or craft stores

Some of these community activities are free or low-cost and give kids the chance to build friendships and practice social skills. Parents can also model positive social behavior by interacting with other parents and encouraging their children to play with their peers.

These may seem like small moments of connection, but they can have a powerful impact. Every time your child shares a toy, plays make-believe with peers, or races a friend down the slide, they’re not just playing—they’re learning the skills that build confidence, empathy, and lasting friendships. And it’s good for you, too. Creating intentional opportunities for play also helps you strengthen your own network of parents who can support one another as your children grow together.

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Seven Steps to Help Your Child Build Meaningful Connections

Published

1 week ago

December 1, 2025

Oakland Post

By Niyoka McCoy, Ed.D., Chief Learning Officer, Stride/K12

Storytime sessions at libraries or local bookstores
Community offerings such as parent-child workshops, art, music, gymnastics, swimming, or sports programs
Weekly events at children’s museums, which may include art projects, music workshops, or science experiments
Outdoor exploration, where kids can play with peers
Local parenting groups that organize playdates and group activities
Volunteer opportunities where children can participate, such as pet adoption events or packing meals at a food bank
Classes for kids at local businesses, including hardware, grocery, or craft stores