Music

OP-ED: Gladys Knight Has the Right to Be Wrong

WASHINGTON INFORMER — Gladys Knight is poised to board that “Midnight Train to Georgia,” returning to her hometown of Atlanta.

Published

6 years ago

February 2, 2019

Oakland Post

By D. Kevin McNeir

Gladys Knight is poised to board that “Midnight Train to Georgia,” returning to her hometown of Atlanta where she’ll perform the national anthem prior to Super Bowl LIII on Feb. 3.

And despite the many Grammy and Soul Train Music Awards, the #1 or Top Ten hits, or decades of success first with the Pips and then as a solo artist that go back to the 1960s, many of her fans have expressed disappointment and anger because of the decision made by the “Empress of Soul” to participate at the event.

The NFL, more correctly its all-white “team” of owners, in response to the controversy over “kneeling players,” as represented by the since unemployed poster boy quarterback Colin Kaepernick, recently adopted a new policy, with the boisterous support of Donald Trump no less, which fines players who do not stand during America’s so-called song of freedom. Sure, players can remain in the locker room but kneeling silently on the sidelines, even if, as Kaepernick and others believed, it’s done as a means of expressing their right as American citizens to protest racial discrimination and police brutality, has no place in the multi-billion-dollar industry of professional football.

Maybe Colin should have cracked open his history books, looking back at 1968, when, just months after the assassination of Dr. Martin Luther King Jr., two African-American U.S. Olympic runners, Tommie Smith and John Carlos, raised their fists in a Black power salute during their medal ceremony – before being ostracized and repeatedly attacked with racist slurs upon their return home. [Incidentally, there was no such backlash during the 1936 Olympics in Berlin when white athletes gave the Nazi salute].

Forget the racist lyrics in the third verse of Francis Scott Key’s “The Star-Spangled Banner” which children never learn in elementary school, which performers never sing and which some interpreters of these lyrics contend that Key was taking pleasure in the deaths of freed black slaves who had fought with the British against the U.S. [Yes, Key owned slaves, was an anti-abolitionist and even referred to Blacks as “a distinct and inferior race of people.”]

Forget the complicated relationship Black athletes have expressed with the anthem and the flag for which the song is played, including baseball pioneer Jackie Robinson who said in his 1972 autobiography “I Never Had it Made:” “I cannot stand and sing the anthem, I cannot salute the flag, I know that I am a black man in a white world.’

Forget the potential upheaval that Black athletes could cause if every Black player (70.3 percent) in the NFL and every NCAA Division 1 Black college football player (46.9 percent) stood in solidarity with Kaepernick, along with hundreds of thousands of other Americans, Black and white, and boycotted the NFL, refusing to put on their uniforms and take to the field.

What if the millions of fans, just in the U.S. turned off their TVs on Sundays, withdrew their memberships from fantasy football betting pools, put their favorite team jerseys and caps in mothballs and cancelled plans to purchase season tickets?

There have been some unforgettable renderings of the national anthem during previous Super Bowls, from Whitney Houston, Neil Diamond, and Billy Joel, to Aretha Franklin, Jose Feliciano and Marvin Gaye – even Ray Charles whose recording of “America the Beautiful” has yet to be equaled by any singer of any race.

So why can’t Gladys get paid like everyone else?

How do folks feel justified in blasting her for performing at the Super Bowl while making side bets in the office, the barbershop or in Vegas hoping to choose correctly as to which team will win or lose in their efforts to secure a big pay day of their own?

Gladys Knight has said she’s been fighting for civil rights for the majority of her life. I have no doubt that she’s done her share for the cause. But that hasn’t stopped the Twitter feed from exploding with all kinds of accusations and criticism. Ah, the beauty of free speech!

Still, if you really don’t like Gladys singing this Sunday, then don’t watch the game. Don’t read the scores in the paper the next day. Don’t bother checking the highlights or conversations on social media. Just read a good book.

This article originally appeared in the Washington Informer.

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California Leaders Pay Tribute to Quincy Jones

On Nov. 4, the celebrated life of music producer Quincy Delight Jones came to an end at his home in Bel Air. The cause of death has not been disclosed. Jones leaves behind a rich legacy of music and achievements that spans 70 plus years. His impact on multiple genres of music as well as his contributions to art and education will have a lasting impact.

Published

2 weeks ago

November 6, 2024

Oakland Post

Quincy Jones. UCLA Digital Library.

By Reginald S. Webb Jr.

California Black Media

On Nov. 4, the celebrated life of music producer Quincy Delight Jones came to an end at his home in Bel Air.

The cause of death has not been disclosed.

Jones leaves behind a rich legacy of music and achievements that spans 70 plus years. His impact on multiple genres of music as well as his contributions to art and education will have a lasting impact.

“Quincy Jones brought the world endless joy with his optimistic spirit and colossal imagination. Not a day goes by without hearing a masterpiece that Quincy produced or hearing about the good he created with his generous heart,” said Gov. Gavin Newsom. “Jen and I — and all of California — mourn the loss of this great humanitarian and artist.”

Jones was born on March 14, 1933, in Chicago. By 10 years old, Jones’s family relocated to Bremerton, Washington where he met his first formal music mentor, Robert Blackwell, a well-known arranger, bandleader, song writer, and producer. He was a vital part of Quincy’s growth as a musician.

In 1951, Jones earned a scholarship to study music at Seattle University. After a semester there, he transferred to Berklee College of Music in Boston. His stay at this college was short-lived because he left to tour with the jazz percussionist and bandleader Lionel Hampton.

“I’m deeply saddened to learn of Quincy Jones’ passing. His talent and resilience led him to not only break barriers but become one of the most successful producers of all time, touching countless lives through music,” said Congresswoman Sydney Kamlager (D-CA-37). “We’ll miss my fellow Chicagoan-turned-Angeleno.”

Los Angeles Mayor Karen Bass said Jones “broke barriers in an industry that had long worked to exclude artists that looked like him.”

“Quincy Jones brought laughter, celebration, happiness and joy into the homes of millions. As a musician, composer, producer, and arranger, he changed our culture, and he changed our world,” added Bass.

Film scoring led to another trailblazing moment for Quincy Jones. He became the first African American to be nominated for an Academy Award for best original film score in 1967 for In Cold Blood. The same year he was also nominated for best original song for, The Eyes of Love, from a film titled Banning.

“He was unmatched in the creativity of his many productions. I will never forget how he worked with me to present Nelson Mandela, where 90 thousand people showed up at the Los Angeles Coliseum following his release from prison in South Africa. Quincy Jones will never be forgotten,” remembers Congresswoman Maxine Waters (D-CA-43).

Over his career, Jones received 80 Grammy nominations and won 28 of them. He released 16 studio jazz albums, 24 soundtracks albums, three live albums, and four compilation albums.

1n 2011, President Barack Obama honored Jones with the National Medal of Arts.

Jones is survived by his seven children and six grandchildren.

“Jones has provided a soundtrack to the best moments of so many lives – and to the deepest movements of change in this country. Our city is forever bettered by his gifts. We celebrate his life, and we mourn this loss,” Bass paid tribute to Jones.

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Art

At Oakland Symphony’s 2024-25 Season Opening, Music Director Kedrick Armstrong Will Make History

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland. Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Published

1 month ago

October 22, 2024

Oakland Post

Music Director Kedrick Armstrong. Photo by Scott Chernis.

By Oakland Post Staff

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland.

Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Armstrong, 30, is not a new face to Oakland as he has been an active partner with the Oakland Symphony over the last few years both on and off-the-stage.

From 2022-24, Armstrong led three Oakland Symphony programs and guest-conducted the orchestra, showcasing his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.

On his Oakland Symphony subscription debut on Feb. 16, Kedrick led the World Premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

On April 16, 2023, Armstrong conducted the Oakland Symphony’s Family Hype concert, presented in partnership with Ronald McDonald House Charities of the Bay Area. Armstrong first led the orchestra for a free “Summerstage at City Hall” concert at Oakland City Hall on Aug. 4, 2022.

The music program “Kedrick Armstrong Inaugural Inextinguishable Oakland!” will include commissioned works from master drummer Allison Miller and Bay Area artists – Ethiopian artist Meklit and Latin percussionist John Santos – in celebration of Living Jazz’s 40th anniversary.

Oct. 18 musical program:

Julia Perry: A Short Piece for Orchestra

Celebrate the 40-Year Anniversary of Living Jazz with three jazz-rooted compositions.

“Valley of the Giants” (for Eddie Marshall); Allison Miller, composer; arranged and orchestrated by Todd Sickafoose. Featured artist: Allison Miller, Drum Set; guest artist: Dayna Stephens, Saxophone.

Medley: “Ethio Blue, My Gold, Stars in a Wide Field”

Songs and Lyrics by Meklit; arrangement and orchestration by Sam Bevan. Featured artist: Meklit, Vocals; guest artists: Sam Bevan, Bass, Colin Douglas, Drumkit, Marco Peris Coppola, Tupan/Percussion.

“Un Levantamiento (An Uprising)”

Composer, percussion: John Santos; arrangers: Saul Sierra and John Santos. Featured artist: John Santos, güícharo, bongo; guest artists: Pedro Pastrana, Puerto Rican cuatro; Maria Cora, spoken word.

Carl Nielsen: Symphony No. 4, “The Inextinguishable”

Pre-concert talk by John Kendall Bailey begins at 7:05pm.

For tickets, go to: https://oaklandsymphony.my.salesforce-sites.com/ticket/#/events/a0SUu0000001rYXMAY

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Bay Area

Radio Personality and Voiceover Actress Miranda Wilson to be Honored by Radio Museum

Radio personality Miranda Wilson will be among the honorees at the Bay Area Radio Museum and Hall of Fame gala luncheon on Saturday, Oct. 19 at the Basque Cultural Center in South San Francisco. Wilson will be among what the organization refers to as the Class of 2024 who were selected by active members of the California Historical Radio Society (CHRS) and previous inductees into the Bay Area Radio Hall of Fame (BARHOF).

Published

2 months ago

September 22, 2024

Oakland Post

Radio personality Miranda Wilson.

Special to The Post

Radio personality Miranda Wilson will be among the honorees at the Bay Area Radio Museum and Hall of Fame gala luncheon on Saturday, Oct. 19 at the Basque Cultural Center in South San Francisco.

Wilson will be among what the organization refers to as the Class of 2024 who were selected by active members of the California Historical Radio Society (CHRS) and previous inductees into the Bay Area Radio Hall of Fame (BARHOF).

A Skyline High School graduate, Wilson attended San Francisco State University where she majored in the Theatre Arts and Broadcast Communication Arts before embracing a career in radio.

According to her biography, Wilson is a two-time winner of the Golden Gate Chapter of American Women in Radio and Television Award as Best Midday Host and recipient of numerous honors from organizations including the NAACP, 100 Black Women SF, and Delta Sigma Theta Sorority, Inc., San Francisco Alumnae Chapter’s Delta Image Awards.

Her radio career spanned more than 30 years, working in promotions/marketing at KSOL, as public affairs director at KDIA, 18 years as midday host at KKSF 103.7 in San Francisco, and former host of Sunday Morning Inspiration on 102.9 KBLX San Francisco.

A nationally known voiceover actress, Wilson can now be heard on the nationally syndicated Smooth Jazz Network, WJZA Smooth Jazz 101.1 Atlanta and on Florida’s 106.3 The Seabreeze. Every week, Wilson also shares the inspiring social media feature “Sunday Morning Coffee Moment” on Instagram and Facebook.

Wilson is one of three program hosts being honored. The categories of award and honorees include:

Program host: Trish Bell, Marvelous Mark McKay, and Miranda Wilson
News: Liz Saint John
Sports: Tom Tolbert
Engineering: Kent Hedberg
Management: Richard Sands
Specialty: Sandee Althouse
Educator: Kevin Gorham
CHRS Board Honoree: Larry Bensky
Plus the 2024 BARHOF legends (recognized for lifetime achievement): Clarence Cassell, Bonnie Chastain, Frank Knight, Dick Leonard,

For details of options to attend, go to https://califomiahistoricalradio.com/barhof-luncheon-form/ and book to join! You do not have to be a member of CHRS to attend, but advance reservations are required.

Sources for this story include Rachel Lee, California Historical Radio Society executive director and Miranda Wilson.