Tour a West Village Town House Transformation That Says Oui to Vintage Charm

French interior designer Margaux Lafond established her New York–based studio in 2020 after years of working Stateside with top talents, like ASH and Rafael de Cárdenas. As a solo act, her very first job was for friends of friends in Paris. “They reached out for my help renovating a bathroom and a study,” she says of the smallish project, which she happily took on.

Fast forward two years: Friends of those clients called Lafond desperately in need of a designer who could manage the decoration of an entire five-story town house as soon as possible. “That’s why you have to say yes to everything,” she smiles. Coincidentally, Lafond’s new (also French) clients Thérèse M’Boungoubaya and Martin Mignot live with the very same “just say yes” zeal. Or is it joie de vivre?

“I only visited New York once before [we moved here],” admits M’Boungoubaya, founder of Koba Skincare. When the couple received word that Mignot would be heading up the new New York office of his venture capital firm, they began viewing apartments from their home in London. “​​We never saw the house in person,” M’Boungoubaya remembers. “The decision was based on photos and a FaceTime walkthrough.”

M’Boungoubaya and Mignot signed a lease for the West Village town house in the spring, with plans to relocate over the summer and settle before school started for their two young daughters. Due to the constrained timeline, Lafond tackled the project in two phases—first outfitting the home with essentials and rental furniture (“almost like an Airbnb,” she says), and then completing the design and installation once the family had arrived. “Basically, they said, ‘We’re getting our visas on this date and our fight is on that date.’ So, I had six weeks to make it happen,” Lafond recalls. Happily, the two-pronged approach worked: “We ended up designing something that matches how we actually live,” M’Boungoubaya affirms.

“The interior architecture features this very nice, but very early-2000s aesthetic,” Lafond observes. Vintage furniture from the family’s collection helped to create a more timeless feel. The designer purchased additional vintage pieces—a pair of Camaleonda lounge chairs, a Pierre Paulin oyster chair and ottoman, plus others—avoiding lead-time issues and investing in quality items the clients can cherish. “These are going to follow us for the rest of our lives,” M’Boungoubaya says. “They’re part of the family.”

As a nod to her Congolese heritage, M’Boungoubaya asked Lafond to source new decorative items from African and African American artists and artisans. “It’s part of who I am,” she emphasizes. Much of the art and textiles throughout are a result of this effort. “I use my house as a bit of a showroom. When people go into the kitchen, they are astonished by the art,” she says, referencing the striking work by South African artist Lindokuhle Khumalo, commissioned by Mignot. Entertaining on the first floor, where there’s an eat-in-kitchen with a wood-burning pizza oven and generous dining room, gives M’Boungoubaya a chance to hype up-and-coming artists. “It’s also a good ice breaker,” she says. “If I can help [draw attention to an artist], I’m very happy about it.”

One flight down, Lafond transformed the dark ground-floor nook into a cozy den with plush, family-friendly furniture. Upstairs, the girls have their own haven—a combined playroom-bedroom. In the bedrooms, the designer installed a series of floor-to-ceiling curtains on tracks, creating flexible rooms within the rental’s existing floor plan and providing sufficient darkness for sleep. On the top floor, M’Boungoubaya and Mignot’s retreat features an airy reading nook, a cocooned bedroom and bath, plus separate walk-in closets.

The town house, which once felt like a mere collection of rooms in a real estate listing, now tells the story of a family’s journey across continents, a designer’s vision, and a commitment to cultural legacy. From the basement den to the tranquil top floor, every corner is infused with intention and identity, a testament to the power of ‘yes’—and the magic of a space that doesn’t just house a family, but reflects them.

RankTribe™ Black Business Directory News – Arts & Entertainment

Seniors, do these things before you graduate

It’s graduation season in Stillwater.

In three short weeks, students clad in their graduation regalia will walk across the stage and into the next chapter of their lives. 

Before our graduates take their last final, snap their last grad photo or hit The Strip for a night of reviling, there are a few things to cross off the OSU bucket list.

Seniors, here are a few things to do before you graduate.

Cowboy Baseball

Day or night during the spring semester, O’Brate Stadium is the place to be. Food, friends and a Cowboy victory make for a perfect day. Tickets range between $10-$15, depending on demand, but entry is free if you have an All-Sports Pass. The next home game is Thursday at 6 p.m. and tickets are $10. 

Calf Fry

Dust off your boots, and grab your cowboy hat. It’s Calf Fry! Stillwater’s biggest country music festival is May 2-4 at Tumbleweed Dance Hall & Concert Venue. If you can pull yourself away from studying, head out for all three days, or only one, and experience a summer send-off fit for a Cowboy.

Concert on Washington Street 

Coney’s on The Strip isn’t a place only for good food and drinks. Next to the Stillwater favorite sits a stage where local and student bands make a name for themselves. The concerts are free and a great way to spend a night out. 

Release Rader, a student-run music club on campus, is hosting a music festival from 4 p.m. to midnight on May 3. The festival will feature more than 10 student bands and is free. 

Eskimo Joe’s 

People, you have four weeks left, and not eating at Joe’s is a crime. Go to Joe’s before you graduate.

It’s that simple. 

OSU Museum of Art 

The OSU Museum of Art on Husband Street is home to many wonderful works, including the current exhibit titled, “Memories & Inspiration,” Kerry and C. Betty Davis Collection of African American Art. The Museum is open from 11 a.m.-4 p.m., Tuesday-Saturday. 

Theatre Production

If you have yet to go to one of the many productions of the OSU Theatre Department, there is one show left this semester. Students work tirelessly to bring drama and fun productions to the OSU stage. The next production is titled “May We All,” a country-themed performance with shows Friday-Sunday.

The Lakes: Boomer and Carl Blackwell 

Lakes with walking trails. Need I say more? To make your final weeks in Stilly fun, you need only a picnic blanket and a nice day. 

The Ranchers Club

Ranchers promises a fancy atmosphere and some fine dining options for Cowboys. If you have the funds and want to treat yourself, it’s a great place to have a nice meal to celebrate graduation. 

Taylor’s Restaurant 

Taylor’s is a student-run eating option on campus. From 11 a.m.-1:15 p.m., Tuesday-Friday, you can enjoy a meal your fellow students prepared with a new weekly menu. Check it out in Nancy Randolph Davis and make a reservation online.

Theta Pond 

The end of the year is always a mixture of stress and anticipation. If you need to take a break, claim a bench at Theta Pond. Do not leave campus without spending an afternoon chilling at the quaint pond. (Throwing the goalpost in during Homecoming does not count as a visit.)   

Graduation Pictures

Many graduates are out taking pictures, but you don’t need a professional to do it. Grab a friend and go for a photoshoot. Have fun and capture memories you will remember forever.

Enjoy these last few weeks, Cowboys.

news.ed@ocolly.com

RankTribe™ Black Business Directory News – Arts & Entertainment

USC unveils statue to first Black students including Greenville man

A statue unveiling Friday morning will honor the first three Black students to enroll in the University of South Carolina, post-reconstruction.

Greenville native Robert G. Anderson joins Henrie Monteith Treadwell and James L. Solomon Jr., forever enshrined on USC’s high honor quad known as “the horseshoe” with a 12-foot bronze sculpture, commissioned by international artist Basil Watson. It marks the 60th anniversary of the trio’s enrollment.

The ceremony will be at the McKissick Museum, the former site of the Osborne Administration Building where Anderson, Treadwell of Columbia, and Solomon of McDonough, Georgia, had a photo taken of their historic first steps as university students in 1963.

“It helped change history at our beloved university,” said Dorn Smith, former chairman and current member of USC’s board of trustees, about the group’s bravery during the September 1963 school year. “I thought it was imperative to honor who helped to integrate this school with such style and class.”

The McKissick Museum around The Horseshoe at the University of South Carolina in downtown Columbia, S.C.

According to the USC board of trustees, with the addition of Anderson, Treadwell, and Solomon, there are six statues of Black students on the university campus, including Richard T. Greener, the school’s first Black professor, George Rogers, a college football Hall of Famer, and A’ja Wilson, a Women’s Olympic basketball champion.

The university’s effort to remember the historic enrollments and put the students’ experience in context began in February 2022, according to Thad Westbrook, USC board of trustees chairman.

Who is Robert G. Anderson of Greenville, S.C.?

Anderson was a graduate of the now-defunct Sterling High School in West Greenville.

He first attended Clark Atlanta University before enrolling at USC in September of 1963, according to the school’s website.

After graduation, Anderson had a decorated career as a New York City social worker, assisting Cuban refugees and families in the Bureau of Child Welfare system and operating an alcohol counseling program. He also served on a combat tour during the Vietnam War and worked for the Veterans Administration after retiring from social work.

“I’m moved and proud that Robert is being recognized; everybody doesn’t get a statue,” said Alan Mitchell, Greenville County council member and Sterling High alumni member. “This is fantastic, and I applaud the University for taking this step.”

During the Library Demonstration on March 16, 1960, Sterling High students Robert Anderson and Benjamin Downs were arrested.

Anderson died in 2009, but his sister Carmen Smith and several other relatives plan to attend the statue unveiling, according to Jeffrey Stensland, USC vice president of institutional relations and public affairs communication. Treadwell and Solomon are also expected to attend the ceremony.

“I’m glad to see the trailblazers being recognized, living or not… especially at the level of USC,” said Mitchell.

What happened in 1963 at the University of South Carolina?

As a junior in high school, Treadwell began the legal process against the University of South Carolina in May of 1962 after being denied admission into the school.

After winning a class action lawsuit, Treadwell resubmitted her application for USC in August 1963 and was admitted. Shortly after, her uncle’s home was bombed. He survived.

Treadwell’s legal win allowed James Solomon and Anderson to be admitted, as well, in September. The admissions came following desegregation in 1951 and nine years after Supreme Court Brown vs. Board of Education in 1954.

According to the USC website, Anderson and the two others faced harassment through bigotry, racial slurs, and violence. Anderson recounted white students bouncing a basketball after hours outside of his dorm room or waving a broomstick followed by a racist remark while walking across the horseshoe during the fall 1963 semester.

In 1988, Anderson returned to campus for an anniversary that, according to Solomon, had changed his perception of the university, according to USC’s website.

University of South Carolina Board of Trustee and NBA Hall of Fame member Alex English enrolled at USC in 1972, almost a decade after Anderson, Solomon, and Treadwell. Their statue will stand in the horseshoe where English recalls having to walk around as a child growing up in Columbia because he is Black.

“All the people that have come before and after me; watching the university grow and remembering my days as a kid, not being able to walk across the campus,” said English.

He estimates there were nearly 7,000-to-10,000 Black students during his time at USC.

“Knowing we had three brave people to make this happen has contributed to making the state of South Carolina exceptional,” he added.

The significance of McKissick Museum

The Welcome Center in McKissick Museum was established in 1976 and overtook the location of the original Osborne building. Its place on campus has significant meaning as the majority of visitors and students on campus frequently patronize the corridor.

Board of Trustee member Dorn Smith called the photo of the three students walking up the steps a beautiful and iconic photograph that needed to be visible to all who come to the university.

“We handpicked this spot (for the statue),” said Smith. “They are going be at the apex of the horseshoe, where everyone is going to walk past that statue.”

Story Link:Arts supporters hope to encourage Black artists to create films and theatre in Greenville

– A.J. Jackson covers the food & dining scene, along with arts, entertainment and downtown culture for The Greenville News. Contact him by email at ajackson@gannett.com, and follow him on X (formally Twitter) @ajhappened. This coverage is only possible with support from our readers.Sign up today for a digital subscription. 

RankTribe™ Black Business Directory News – Arts & Entertainment

Obsidian Beer Hall takes over former Toggle’s space in downtown Everett

Everett — As a college student at the University of Washington, Craig Chambers would drink beer — most of it of the Coors Light, macrobrew variety.

It was only after he transferred to the University of Montana that he discovered what beer could really be and that craft beer is about so much more than what’s in the bottle.

Craig Chambers cracks a smile while speaking with a guest at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Craig Chambers cracks a smile while speaking with a guest at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

“I fell in love with Big Sky Brewing, specifically their brown ale,” said Chambers, whose tastes skew to the more malt-forward beers over hoppy ones. “But really I just loved the vibe of their place. It felt like so much more than just a restaurant and brewery. It was a place I could just drink, hang out and be myself.”

That feeling stuck with Chambers and drove him to open his own “vibe” spot. Chambers recently opened Obsidian Beer Hall in downtown Everett. Located in the former home of Toggle’s Bottleshop along Hewitt Avenue, Obsidian is designed to be a place to unwind and chill out while throwing back a pint of beer or a glass of wine.

Craig Chambers takes orders while working behind the bar at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Craig Chambers takes orders while working behind the bar at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

“I want people to enjoy coming in, sitting down and staying as long as they want,” said Chambers. “Hang out and have a good time. That’s the vibe.”

The ambiance of Obsidian is definitely chill. Instead of large tables and hard-back chairs, Chambers has gone with plush sofas, mid-century-modern lounge chairs and a bar top that zigs and zags to create small tables rather than the normal straight-line bar. The overall feel is a place to sit down, talk, laugh and enjoy oneself.

People make themselves at home at the front of Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

People make themselves at home at the front of Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

“We wanted a different feel,” said Chambers, who spent time working for Diamond Knot Brewing for two years after graduating from Montana.

As a Black-owned business, it is also important for Chambers to represent his perspective in the craft beer world. Nationwide, less than 1% of all breweries are Black-owned. In Washington, three of nearly 400 breweries in operation are Black-owned.

Chambers said he hopes to regularly have beers on tap from those three breweries: Metier Brewing and 23rd Avenue Brewery in Seattle, and Sage Brewing in Pasco.

It’s more than just beer, though. There’s hip-hop on the stereo and art on the walls from Black artists and other minority artists in the community. Currently, Obsidian is showcasing works from Yolanda Galery and OviArt.

Work by Seattle artist Yolanda Galery hangs on one of the walls at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Work by Seattle artist Yolanda Galery hangs on one of the walls at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

“For me, it’s all about representation in the community and making sure everyone feels welcome here,” said Chambers, who also keeps a number of non-alcoholic options on the menu for those not drinking alcohol. “We’re not just catering to one type of customer. I want Obsidian to be a reflection of the community as a whole.”

In the future, Chambers plans to open a small gallery at the back of the space, where Toggle’s used to house its bottleshop fridges. The hope is to feature a diversity of art from a broad spectrum of local artists from all backgrounds.

Artwork by Colombian-born OviArt hangs on a wall at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Artwork by Colombian-born OviArt hangs on a wall at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

The taplist will be dominated by local and Washington breweries. Over the past few months, Chambers has been making pilgrimages to beer-centric locales suchaas Bellingham and Seattle to taste-test breweries’ best beers. He said he’s not only testing the beer but also the vibe of the people and places he’ll be sourcing from.

Overall, Chambers’ hope is to have beers on tap that visitors can’t find anywhere else.

“I want hard-to-find beers that are unique,” said Chambers.

Beer is served in can-shaped glasses at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Beer is served in can-shaped glasses at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Chambers hosted a standing-room-only grand opening for his beer hall earlier this month. Prior to the opening, he reached out to 5 Rights Brewing owner R.J. Whitlow about doing some social media collaboration and aksed if Whitlow would send over a beer he could put on tap for the celebration.

Laid back seating lines the walls at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Laid back seating lines the walls at Obsidian Beer Hall on Friday, April 12, 2024, in downtown Everett, Washington. (Ryan Berry / The Herald)

Whitlow did him one better, offering to brew a one-off specialty beer just for the occasion.

“We were honored to be a part of the opening festivities,” said Whitlow, who brewed a red ale, Ribbon Cutting Red, for the Obsidian grand opening. “We love being part of this amazing craft beer community, and as always we will do our part to help out in any way we can.”

Obsidian Beer Hall is open Thursday through Sunday. Chambers has hopes to eventually open his own kitchen. For now, he’s offering snacks, though outside food is also welcome.

Obsidian Beer Hall

Where: 1420 Hewitt Ave., Everett

Hours: 1-8 p.m. Thursday and Sunday; 1-10 p.m. Friday and Saturday

Contact: 206-321-7437

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Beyoncé takes a victory lap with ‘COWBOY CARTER’

cowboy carter.jpg

Beyoncé doesn’t need anyone’s permission to make country music. Beyoncé making a country-infused album is not an attack on country music. “COWBOY CARTER” is not a country album — it’s a Beyoncé album, by her own definition. Maybe, with that out of the way, we can have an adult conversation about this album?  

The best thing that can be said about “COWBOY CARTER” comes from the album itself, through a spoken word intro on “SPAGHETII”: “Genres are a funny little concept, aren’t they? In theory, they have a simple definition that’s easy to understand. In practice, well, some may feel confined.” Like, that’s it, that’s the album.  The vibe is much less country, and more “this is some music Beyoncé wanted to make for herself.” 

“COWBOY CARTER” feels less like a cohesive project, and more like a couple of extended plays tacked together. That’s not bad, but it does create a disjointed effect, particularly with the frequent genre changes. And there are a lot of genre changes, from country, bluegrass, folk and other roots music, to four-on-the-floor dance bops and opera. You should pity the record store clerks who’ll have to find somewhere to put this album.

You’ve got your country-adjacent songs: “16 Carriages,” “Protector,” “Texas Hold ‘Em,” “Daughter,” “Alligator Tears,” “Just for Fun” and “II Most Wanted.”  That might seem like a lot, but it’s a 27-song album. For the most part, the album feels authentic and like a labor of love. But there’s also the branded marketing single “Levii’s Jeans,” featuring Post Malone. It’s a soulless corporate anthem which proves that when COWBOY CARTER is bad, it’s really bad. 

 It’s also worth noting the album’s two covers of “blackbird” by The Beatles and “Jolene” by Dolly Parton. Parton, for what it’s worth, has spent years cajoling Beyoncé to cover her song, and it appears that she genuinely loves the cover. Unfortunately, there are probably not a lot of people who can say the same. “Blackbiird” received similar praise from Paul McCartney, but fortunately works a lot better as a song. “Blackbiird,” originally written in support of the Little Rock Nine, also contains most of the album’s features: Brittney Spencer, Tiera Kennedy, Reyna Roberts and Tanner Adell.  

As much as COWBOY CARTER is a country album in genre, it’s an album about country music. Beyoncé was born in Texas to a Louisiana Creole mother. She grew up going to rodeos and has performed at the Houston Livestock Show and Rodeo four times. Beyoncé is as American, and as country, as anyone else contributing to the genre. There are a lot of people who don’t agree with that statement, though, and there are some undeniable racial overtones in the discourse. Beyoncé is smart, and she’s aware of those overtones. Consequently, the resulting album has a lot to say about the identity of country music.  

In “Ya Ya,” Beyoncé describes the second half of the album using the term “rodeo chitlin’ circuit.” The Chitlin’ Circuit, a segregation-era phenomenon, was a group of venues across the southern and eastern United States that allowed Black artists to perform. The press release for the album draws attention to the fact that “cowboy” itself is a racially loaded term — white cowhands were, well, cowhands — but Black cowhands were called cowboys. In addition to the artists featured on “Blackbiird,” “COWBOY CARTER” also features country-infused rapper Shaboozey and Linda Martell, the first commercially successful Black female country singer. Beyoncé has a clear intention of saying, “hey, not only can I make country music, but other Black people can, too.” 

“COWBOY CARTER” is a weird album. It’s undeniably a Beyoncé album, and at times, it’s undeniably country. If anything, it reaffirms Beyoncé’s immense skill as an artist. A common phrase that comes up in negative reviews of the album is a facetious, “Why sing one note when you could sing 10?” But seriously, why not? At this point, Beyoncé isn’t showing off — she’s taking a victory lap.

RankTribe™ Black Business Directory News – Arts & Entertainment

Black Art Jazz Collective Celebrates 10 Years at Old Lyme’s Side Door

OLD LYME — Black Art Jazz Collective celebrated its tenth anniversary with a new album Truth to Power, and a return the stage of The Side Door Jazz Club in Old Lyme last Friday. The album is currently enjoying a second week at #1 on the JazzWeek’s Radio Jazz Charts.

The Side Door event was the collective’s first major appearance since the album’s release. A dynamic group of diverse voicings and personalities, its members all have one thing in common: off-the-charts virtuoso musicianship. Led by tenor saxophonist Wayne Escoffery, the performance featured James Burton III on trombone, Victor Gould on piano, with guests Josh Evans on trumpet, Eric Wheeler on bass and Brian Richburg Jr. on drums.

Most of the members of the collective are bandleaders in their own right, as well as composers and academics. The collective was in fact formed with both artistic and educational missions in mind: to give a platform to original compositions, but also to shed creative light on Black history and identity. Jeremy Pelt, founding member, explained it on Instagram:

“Part of the mission of BAJC from its inception was that our voices be heard. Interpretation has its place in music, but even more than interpretation for us is the ability to extend our voices through composition. Just like when you listen to Art Blakey — he always wanted his sidemen to write. It was all about developing new voices and new melodies.”

Drawing from multiple compositional voices, the music of BAJC has an integrated contemporary sound that is also reminiscent of the 1950s and 1960s, recalling fluidly shifting collectives like Art Blakey and The Jazz Messengers.

One inspiration is Jackie McLean, a member of the late-1950s Jazz Messengers. McLean, an alto saxophonist and a force of nature in the 50s and 60s hard bop scene in New York, was a leader in community and university education in jazz in Hartford, where he was mentor for generations of students, including the three horn players onstage on Friday at The Side Door — Escoffery, Burton, and Evans.

BAJC has an ongoing history with Connecticut. Its inaugural album in 2014 was Presented at the Side Door, a live recording which helped establish The Side Door’s reputation as a premiere room for jazz performance.

The show on Friday night highlighted songs from three of four albums in BAJC’s catalog. It opened with the tone-setting, spacious first track on the new album, “Black Heart” by pianist Xavier Davis.

The most powerful performance in BAJC’s show closed the first set, played in memoriam.  Written by Dwayne Burno, an original member of BAJC who passed away only a year after the band’s inception, it was introduced by Escoffery:

“‘Devil Eyes’ is something of a band theme song. I still have Burno’s hand-written penciled part for me here on the bandstand. I remember him writing it down backstage at Dizzy’s Coca Cola Club just before we went on for our first gig — very stressful. But of course, the notation is pretty much immaculate. He passed away before we could record it with him.”

“Devil’s Eyes” is also just a smoking tune, rendered at breakneck speed. As an album description put it, it’s “all killer, no filler.” It launched from a dizzying melodic statement into three blazing horn solos delivered with such intensity that they seemed to overcome each player, in turn.

Playing any instrument requires breath, of course, like sustaining the physicality of running a marathon on keyboard, fretboard, or drum set. But with the BAJC’s front-center trio of horn players on this intimate stage, the performance highlighted how breath — inspiration, expiration — and in-the-moment improvisation can be woven together. Given BAJC’s mission and its Truth to Power testimonial, it highlights how improvising can be a life-affirming statement of Black solidarity.

In the second set, trombonist Burton introduced a composition inspired by his family roots — noting the recent release of Beyonce’s  Act II: Cowboy Carter Black country album:

“In my household growing up, there was a bunch of different music playing, including country music. One day I said, ‘Wait a minute. Why do we listen to this? We’re Black.’ My mother replied, ‘It’s because my side of the family is from Oklahoma, and we’ve always listened to country music.’”

This led to Burton’s propulsive “Tulsa” commemorating the 1921 Greenwood Massacre and destruction of Tulsa’s prosperous Black business district. Looking into this moment in history is an entire education, and a sorrowful one.

But as BAJC demonstrates, giving voice to the past, making and performing work like “Tulsa,”  can also transform and heal. 

RankTribe™ Black Business Directory News – Arts & Entertainment

Who says soap operas are dead? ‘The Gates’ gives hope for genre’s revival.

For the first time in 25 years, a new daytime drama has entered production: The Gatesfollowing the lives of a wealthy Black family in their gated community — comes to CBS in January 2025.

The showrunner and head writer for the show is veteran soap scribe Michele Val Jean, known for her Emmy Award-winning work on The Bold and the Beautiful (B&B) and General Hospital (GH). Val Jean’s new job makes her the first Black person and first Black woman to oversee a daytime soap opera as showrunner/EP. She was also the first Black female head writer of a daytime drama. The Gates is a CBS Studios/NAACP production venture in partnership with P&G Studios (which long ago was behind As the World Turns, Guiding Light and Another World).

The time slot, premiere date and cast for The Gates are still to be determined, but it’s expected to occupy the spot vacated by The Talk.

The last time a broadcast network premiered a daytime soap that was centered on a Black family was in 1989 with NBC’s Generations, which Val Jean wrote for and which lasted only a year. An industry expert tells Yahoo Entertainment that she expects The Gates to do well and bolster the genre.

What does a new soap opera mean signify?

“A rising tide lifts all boats, so a new soap can only be good for daytime,” TV expert and Soap Opera Digest columnist Carolyn Hinsey tells Yahoo Entertainment.

It’s been a challenging decade for soaps. They became a fixture on TV in the 1950s; 20 years later, there were 19 on the air — with 50 million people, including many men, watching in a given week. Like other genres, soaps experienced reduced viewership with the rise of cable. The shows — known for their intensely loyal fanbases — were also treated as dispensable. Preemptions beyond breaking news — like airing O.J. Simpson’s 1995 trial (and 1994 pretrial) — deeply cut ratings. In the 2000s, as reality TV boomed and streaming was birthed, soaps were pulled by panicked TV execs for cheaper-to-produce talk shows.

Today, just four soaps remain: B&B, GH, Days of Our Lives and The Young and the Restless. (Days moved to streamer Peacock in 2022, ending its 57-year run on NBC.)

Michele Val JeanMichele Val Jean

Michele Val Jean is The Gates showrunner and head writer. (Sonja Flemming/CBS)

It hasn’t been lost on soap viewers — who still clamor for the return for All My Children, One Life to Live and ATWT, all taken off the air in the 2010s despite fervent “save our soap” campaigns — that, with the cancellation of The Talk, soaps’ replacements have now been axed themselves. While soap ratings have absolutely declined over the years, talk shows, even those headlined by stars like Kelly Clarkson and Drew Barrymore, have lagged behind soaps in ratings. To have a new soap launch, likely in the time slot of a replacement now 15 years later, brings it full circle.

Hinsey says she “absolutely” sees The Gates as a vote of confidence for the genre. “None of the talk shows that replaced soaps have shown the longevity of the shows they replaced — or earned the same loyalty from daytime viewers,” who have the shows trending daily on X.

As for the addition of a new show, “I’m surprised it took this long,” she says. “I honestly thought some combination of All My Children and One Life To Live would have been rebooted by now for the ABC lineup or maybe even for Hulu,” as has long been rumored. “Many of those ABC actors have cycled through General Hospital, so we know they still look great and are available to work.”

Viewer demand for drama series done right remains strong.

“I think the success of continuing dramas like Grey’s Anatomy, Suits, This Is Us, The Crown, etc., on streaming services bodes well for a new daytime soap,” Hinsey says. “There are so many ways to keep up with our shows now. I have a 78-year-old neighbor who watches Days of our Lives on Peacock. Where there’s a will there’s a way!”

Can The Gates accomplish what Generations didn’t?

Expectations for The Gates is high. Executive producer Sheila Ducksworth, who is president of the CBS/NAACP production partnership, said in March it will be “everything we love about daytime drama from a new and fresh perspective.” The show “will salute an audience that has been traditionally underserved.” There will be “multidimensional characters, juicy storylines and Black culture front and center.”

“I’ve known Michele Val Jean since the 1990s, when she worked on GH, and I have a lot of respect for her work,” Hinsey says. “Michele understands the genre and is an excellent dialogue writer.” (Val Jean and Ducksworth were not available for interviews for this story.)

As far as casting, “Debbi Morgan and Darnell Williams were wildly popular as Angie and Jesse on AMC, so they’d be a good start,” Hinsey suggests.

ALL MY CHILDREN - ALL MY CHILDREN -

Debbi Morgan and Darnell Williams were a soap opera “supercouple” on All My Children. (Donna Svennevik/Disney General Entertainment Content via Getty Images)

Many of today’s most successful Black actors got their start on soaps, including Laurence Fishburne, Angela Bassett and Michael B. Jordan. The late Ellen Holly had the distinction of being the first Black soap star in 1968. Y&R has been perhaps the most successful and robust family, striking gold with the Winters family: Shemar Moore, Victoria Rowell, Kristoff St. John and Tonya Williams. However, Black characters are seen as an unsung part of the genre.

Generations broke ground in 1989 as the first soap to debut with a core Black family. NBC pulled the plug after just 13 months, saying it didn’t perform. The odds seemed stacked against it, however; for one thing, it was up against the No. 1 show, Y&R; in other markets, and it aired at 2:30 a.m. in the pre-DVR era. It’s also been reported that Nielsen, which measures media audiences, didn’t track as many Black households. A 2024 Nielsen study showed that Black audiences consume more media than the rest of the population, and feel underrepresented in the media.

The cast of The cast of

The cast of Generations celebrates its 400th episode. The show debuted in 1989 and was canceled just 13 months later. (Joseph Del Valle/NBC/NBCU Photo Bank)

The Gates promises to deliver on representation. Teeing it up for success is diversity behind the scenes and in the writers room under the guidance of a woman who has penned more than 2,000 episodes of daytime TV. It also has NAACP backing, with the goal of increasing the visibility of Black artists on broadcast and streaming platforms. Technology has also greatly improved from the VHS era of the ‘80s. Instead of the show being pitted against the top soap, Y&R will be one of its lead-ins.

“Soap fans have lost so many shows since [Generations],” says Hinsey. “I think they will make a point to find The Gates and give it a try. It helps that it will air in the time slot after Bold and Beautiful on CBS. If people are setting their DVRs for Y&R and B&B, they can just add one hour.”

If the show does take off, it could be a much-needed boost for a popular genre that’s been underappreciated in the modern era.

“If The Gates does well, which I think it will, I wouldn’t be surprised if ABC rebooted AMC and/or OLTL” next, Hinsey says.

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Beyoncé ‘Call Me Country’ Documentary Featuring Brothers Osborne & Rhiannon Giddens Headed to Max

As Cowboy Carter enjoys a second consecutive week atop the Billboard 200, the world continues to dissect Queen Bey’s latest opus. On Thursday (April 18), via a press release, Max announced a new documentary titled Call Me Country: Beyoncé & Nashville’s Renaissance slated to hit the streamer on Friday, April 26.

Produced by CNN FlashDocs, the upcoming documentary will provide a look at the impact of high-profile acts like Beyoncé and Lil Nas X on the contemporary country music scene and how their contributions connect to the history of Black artists in Nashville.

Trending on Billboard

Earlier this year, Queen Bey made history with “Texas Hold ‘Em,” the lead single for Cowboy Carter, announced and released during the 2024 Super Bowl (Feb. 11). On the chart dated Feb. 24, “Texas Hold ‘Em” reached No. 1 on Hot Country Songs, marking the first time a Black woman had ever topped the ranking. The following week (chart dated March 2), “Texas Hold ‘Em” became the first country song by a Black woman to top the Billboard Hot 100. Following the release of “Texas Hold ‘Em” and its B-side, “16 Carriages,” streaming activity for other Black women in country exploded across the board.

Call Me Country will feature interviews with Grammy-winning country duo Brothers Osborne, “Texas Hold ‘Em” banjo player Rhiannon Giddens, Rissi Palmer, Aaron Vance and Denitia, as well as analysis from a slew of cultural critics and country music experts, including Touré and co-directors of the Black Opry Holly G. and Tanner D.

Cowboy Carter, Beyoncé’s eighth solo studio album, arrived March 29 with 27 tracks that pay homage to the Black roots of country music and envision a distinctively Beyoncé-esque future for the genre. The sprawling album included collaborations with several ascendant Black country stars including Tanner Adell, Brittney Spencer, Reyna Roberts, Tiera Kennedy, Shaboozey and Willie Jones. In addition, country music legends Willie Nelson and Dolly Parton voiced interludes on the album, which Beyoncé described as a “continuation” of her Grammy-winning Renaissance record.

Fans may still be waiting on the visuals, but, in the meantime, they can enjoy the Call Me Country documentary.

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Monongahela Whiskey Exchange brings diversity to local wine and spirits scene

Aaron Kendeall, a whiskey distiller and owner of Monongahela Whiskey Exchange (MWX), found himself drawn into the world of spirits just as he reached the legal drinking age. While studying Japanese in college and exploring Japan, he became captivated by the art of distillation and blending. Kendeall’s background in marketing and journalism serendipitously led him to the spirits industry, where he discovered a deep fascination with its history and chemistry.

“The olfactory nerve, the sensory perception, you are trying to explain color, flavor — you are doing tasting notes and trying to tie together all these sensory perceptions, which are really deep in the human consciousness. It is a really fun thing to get into,” Kendeall said.

He transformed his passion into a brand, not only promoting his own products but also helping other spirit brands gain exposure nationwide, with a particular focus on highlighting minority-owned brands. Kendeall’s journey led him to uncover the rich historical roots of spirits in Western Pennsylvania, challenging the conventional association with Kentucky.

“So much of America’s history of distillation starts with Western Pennsylvania, the story of American whiskey starts along the Monongahela River,” he said.

“During the time when there were only 13 colonies, they preferred wine, brandy, and those things were shipped in. It was only when you got to the frontier, the Allegheny Mountains, where the people had to make their own. That is where beer became popular and these other types of spirits like cider and whiskey,” Kendeall said.

With this realization, he decided to go back to his roots: Pittsburgh. Kendall graduated from Plum Borough High School, then attended West Virginia University and graduate school at Point Park University. Kendeall spent years in Washington, D.C., until 2019.

“Alcohol is also really interesting because it was outlawed, and there is a lot missing history and a lot of nuggets to be found along the way,” he said. “The captain of the first ship to sail into the port of New Orleans after prohibition ended in 1933 was a Black captain from one of the British colonies — there are probably hundreds of stories of everyday folks that we have to uncover.”

In his research, Kendeall has also found Black people at the forefront as gems in the spirits industry. He talks about Elmer Lucille Allen, a Black woman who worked at Brown‑Forman, a distillery company founded in 1870.

“She worked as a laboratory molecular scientist, she also worked at NASA. She is elderly now and she didn’t drink — she was just there for the science but she was a big part of all of the brands like Jack Daniels. Now is time to celebrate those folks,” he said.

Kendeall is also the chief programming and marketing officer for Diversity Distilled, an offshoot of Black Bourbon Society, which was how he connected to Black-owned brands. He is a partner and co-owner of Noire Expedition in the Strip District. Noire Expedition will be part of Barrel & Flow, a Black arts and craft beer festival on Aug. 10 in Pittsburgh’s Strip District.

He is importing brands into Pennsylvania.

“It seems like I’m in a place where I can make some difference — importing brands that you know might otherwise have been available in a controlled state system,” he said. Kendeall is also working with Pennsylvania producers to help them become national and international. Currently, he is importing a Scotch brand from Essex in the U.K.

While his brand is based online, currently retail customers must shop at the state’s Fine Wine & Good Spirits stores. Licensees, bar managers, beverage directors and restaurateurs can find the products by searching Kendeall on The Pennsylvania Liquor Control Board’s Liquor Online Ordering Portal.

Collaborating with a diverse range of partners, from Casa De Reyes Tequila to Redd Rose Vodka and Mt. Pleasant Club Whiskey, Kendeall’s MWX portfolio reflects his commitment to amplifying unique voices and flavors in the spirits industry.

Taylor Redd, 33, of Redd Rose Vodka, is in the MWX portfolio. Redd from Cincinnati, Ohio, began working with Kendeall in July 2023.

“If I could clone Aaron and put him into every distribution office that I talk to, then Redd Rose would probably be all over 50 states today,” she said with a laugh.

Redd started in the industry as a mixologist 11 years ago, but in the early days, she quickly learned that she is an anomaly.

“Less than 2% at an executive level, and Black and minority women only make up less than 0.5% of the spirits industry,” Redd said.

“Aaron has been a greater part of how Redd Rose will continue to grow and continue to be amazing in the marketplace. Even though we have not had much exposure in Pennsylvania, he is making sure that our brand is being pushed out there and has been a tremendous help in all aspects,” Redd said.

Troy Hughes of Mt. Pleasant Club Whiskey, based in Washington, D.C., is also part of the MWX portfolio. Hughes met Kendeall years ago in Louisville, Ky., at a whiskey event with the Black Bourbon Society. The brand began after Hughes found a 110-year-old bottle of whiskey in his house, and then he, along with a friend, began reviving the brand.

“Black people are very underrepresented in the industry, especially on the production side, it’s important,” Hughes said. “Working with Aaron, it’s such a cool thing to work with people like that.”

Shaylah Brown is a TribLive reporter covering art, culture and communities of color. A New Jersey native, she joined the Trib in 2023. When she’s not working, Shaylah dives into the worlds of art, wellness and the latest romance novels. She can be reached at sbrown@triblive.com.

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Grunion Gazette Calendar: Week of April 18-24.

April 18

Thunder Thursday: Presented by Visit Long Beach & Acura Grand Prix of Long Beach. The Pike Outlets. 6-10:30 p.m. Free. thepikeoutlets.com/events.

3D Sculpting with Sculpt GL: Presented by Long Beach Public Library. Billie Jean King Main Library, 200 W. Broadway. 4-6:30 p.m. bitly.ws/CtJx.

Black Nerds Unite: Part 2. Presented by Long Beach Public Library. Brewitt Neighborhood Library, 4036 E. Anaheim St. bitly.ws/CtJx.

Signal Hill Library book sale: Thursday, April 18. 1800 E. Hill St. Fill a bag for $5. Cash only. Noon-4 p.m.

Dive into School: Early Math. Presented by Long Beach Public Library. Michelle Obama Neighborhood Library, 5870 Atlantic Ave. 3:30-4:30 p.m. bitly.ws/CtJx.

Financial Literacy For Adults: “Increase Cash Flow and Debt Management.” Presented by Long Beach Public Library. Harte Neighborhood Library, 1595 W. Willow St. 5:30-7 p.m. bitly.ws/CtJx.

Read and Create: With Agape Children’s Museum. Burnett Neighborhood Library, 560 E. Hill St. 2-3 p.m. bitly.ws/CtJx.

University Brass Quintet/ Brass Ensemble: Presented by Bob Cole Conservatory of Music. Daniel Recital Hall, 1250 Bellflower Blvd. 7:30 p.m. $10-$20. shorturl.at/hlG08.

April 19

Acura Grand Prix of Long Beach: Runs through Sunday, April 21. Marina Green Park, 386 E. Shoreline Drive, Long Beach. For times and ticket cost, visit gplb.com.

Shared Science Hands-On STEM Workshop: Presented by Long Beach Public Library. Dana Neighborhood Library, 3680 Atlantic Ave. 10:30-11:30 a.m. bitly.ws/CtJx.

String Chamber: Presented by Bob Cole Conservatory of Music. Daniel Recital Hall, 1250 Bellflower Blvd. 7:30 p.m. $10-$20. 562-985-7000, shorturl.at/hlG08.

African American Artist Showcase: Presented by African American Cultural Center of Long Beach and Museum of Latin American Art. Friday, April 19. Expo Arts Center, 4321 Atlantic Ave. 5:30-6:30 p.m.

April 20

30-minute Beach Clean-up: Presented by Justin Rudd. 1 S. Granada Ave. at Ocean Blvd. 9:30 a.m. shorturl.at/ahxEJ.

Arts Film Series: “Hamlet.” Presented by Long Beach Public Library. Billie Jean King Main Library, 200 W. Broadway. Noon-2:30 p.m. 562-570-6729, bitly.ws/CtJx.

Blackout Poetry and Friendship Bracelets: Presented by Long Beach Public Library in honor of The Tortured Poets Department, Taylor Swift’s new album. Harte Neighborhood Library, 1595 W. Willow St. 2-4 p.m. bitly.ws/CtJx.

Dia de los Ninos Family Event: Presented by Long Beach Public Library. Burnett Neighborhood Library, 560 E. Hill St.11 a.m.-3 p.m. 562-570-1041, bitly.ws/CtJx.

Earth Day Tree Planting: Office of Climate Action and Sustainability, E. 14th St., and Locust Ave. 9 a.m.-noon. 562-570-6396, shorturl.at/gtHW7.

Game Day: “Hnefatafl (Viking Chest).” Presented by Long Beach Public Library. Billie Jean King Main Library, 200 W. Broadway. 3-4:30 p.m. bitly.ws/CtJx.

Music of the Spirit: Presented by Chamber Choir. Los Altos United Methodist Church, 5950 W. Willow St. 7:30 p.m. $5-$20. 562-985-7000, shorturl.at/hlG08.

Recycle? Upcycle!: Presented by Long Beach Public Library. Mark Twain Neighborhood Library, 1401 E. Anaheim St. 2-3 p.m. bitly.ws/CtJx.

Spring Tea Party: Presented by Long Beach Public Library in celebration of National Tea Day. Brewitt Neighborhood Library, 4036 E. Anaheim St. 1-2 p.m. bitly.ws/CtJx.

The Fabulous 50s: Presented by the Long Beach Primetime Players. Long Beach Senior Center, 1150 E. Fourth St. Noon. 714-269-7496.

Vivaldi Il Veneziano: Presented by Musica Angelica Baroque Orchestra. First Congregational Church of Long Beach, 241 Cedar Ave. 7:30-9:30 p.m. $40-$80. 562-276-0865, shorturl.at/krxQZ.

Transparent Families Outing: Presented by LGBTQ Center Long Beach. Colorado Lagoon Park, 5119 E. Colorado St. 1-3 p.m. kcoughlin@centerlb.org for more info.

Dirtbags Pre-Game Concert: Presented by Friends of the Recreation Park Bandshell. 701-939 Federation Dr., across from Wilson High School. 4:15 p.m. Free. More info: forpbs.org/dirtbags.

April 21

Educational Symposium: “Jerusalem: Crossroads of Three Abrahamic Faiths.” Presented by South Coast Interfaith Council. The Pointe Conference Center at California State University Long Beach, 1250 N. Bellflower Blvd. 562-983-1665, shorturl.at/ruvyS.

Pop-Up Market: Presented by Rose Park Roaster, 800 Pine Ave. 9 a.m.-2 p.m. roseparkroasters.com.

April 23

Coloring Calm: Meditative Art. Presented by Long Beach Public Library. Harte Neighborhood Library, 1595 W. Willow St. 5:30-6:30 p.m. bitly.ws/CtJx.

Networking Luncheon: Presented by Long Beach Area Chamber of Commerce. Parker’s Lighthouse, 435 Shoreline Drive, Long Beach. 11:30 a.m. $25 for members/$35 for non-members. shorturl.at/hijLO.

Tie-Dye Textiles: Presented by Long Beach Public Library. Billie Jean King Main Library, 200 W. Broadway. 4-6:30 p.m. 562-570-7500, bitly.ws/CtJx.

April 24

Drag Bingo: The Bungalow, 6400 E. Pacific Coast Highway, Suite 200 7:30 p.m. bitly.ws/RUme.

Movie Trivia Night: Presented by the Art Theatre, 2025 E 4th St. 6:30 p.m. Free. arttheatrelongbeach.org.

Teen Cafe: Tiny Library Desk Listening Sessions. Presented by Long Beach Public Library. Michelle Obama Neighborhood Library, 5870 Atlantic Ave. 4:30-6 p.m. bitly.ws/CtJx.

Teen Matinee: “Teenage Mutant Ninja Turtles: Mutant Mayhem.” Presented by Long Beach Public Library. Los Altos Neighborhood Library, 5614 Britton Drive. 4-5:55 p.m. bitly.ws/CtJx.

Queer Film Club: Presented by the Art Theatre, 2025 E 4th St. 8:30 p.m. Free. arttheatrelongbeach.org.

Ongoing

Book Drive: AOC7 Neighborhood Organization is accepting new and gently used children’s books through April 30. Drop off location: 4362 Atlantic Ave. More info: tinyurl.com/AOC7BookDrive.

Art of Wood Carving: Presented by California Carvers Guild. Meets from 8 a.m. to noon every Monday and Wednesday. Senior Center, 1150 E. Fourth St., Room 207. 562-570-3500.

Club of Harps: The harmonica club for all skill levels meets every Wednesday and Thursday at the Long Beach Senior Center, 1150 E. Fourth St. 1:30-3 p.m. clubofharps.org.

Accordion Meet-Up: Accordion players (all levels) and listeners are invited to the jam held on the first Saturday of every month at the Long Beach Senior Center, 1150 E. Fourth St. For more information, contact program coordinator Dave at 310-210-3297.

Exhibit: “Portraits, Figures and Animals from the Artist Journey of Bernette Derpaulian.” Long Beach Playhouse Gallery, 5021 Anaheim St. Runs through April 28. Gallery hours are 10 a.m.-5 p.m. weekdays.

“Hamlet”: Adapted by James Rice and Amanda Karr. Long Beach Playhouse Mainstage Theatre, 5021 Anaheim St. $10-$35. Runs thru May 6. shorturl.at/MSW89.

“Hat Box”: Directed by Lola Binks. Garage Theatre, 251 E. Seventh St. $20-$25. Runs thru Apr. 20. bitly.ws/BEY8.

“Million Dollar Quartet”: Presented by Musical Theatre West. Carpenter Performing Arts Center, 6200 E. Atherton St. Runs through April 28. $23 and up. 562-856-1999, musical.org.

Upcoming

59th Congressional Cup: World championship regatta presented by the Long Beach Yacht Club. Runs April 24-28. For more information: thecongressionalcup.com.

Festival of Great Reads 2024: Presented by Long Beach City College. 1305 E. Pacific Coast Highway. Saturday, April 27. 10 a.m.-3 p.m. Free. festivalofgreatreads.org.

Tiny Film Fest: Saturday, April 27. Short film screenings at the Art Theater, 2025 E. 4th St. $25/program block; $35 for reception and daytime lounge access. tinyfilmfest.org/program.

Celebration of the Young Child: Presented by city of Long Beach. Saturday, April 27. BJK Main Library, 200 W. Broadway. 10 a.m.-2 p.m.

7th Annual Touch-A-Truck: Presented by Justin Rudd. Sunday, April 28. 5000 E. Ocean Blvd. 9 a.m.-1 p.m. Free. Attendees encouraged to bring peanut butter/canned tuna for donation to local food banks. JustinRudd.com/truck.

Send calendar announcements two weeks prior to the scheduled event to editor@gazettes.com.

RankTribe™ Black Business Directory News – Arts & Entertainment