Tag: Celebrity Gossip

Singer, actor and human rights activist Harry Belafonte died Tuesday at age 96 of congestive heart failure. He broke racial barriers and balanced his activism with his artistry in ways that made people around the world listen. Belafonte, who was an EGOT holder for his Emmy, Grammy, Oscar and Tony awards, died at his home in New York, his publicist announced.

Style, class and charisma: That was Harry Belafonte as a performer. In the 1950s, his recordings for RCA Victor, which included his iconic version of the Jamaican folk song “Day O” (also known as “The Banana Boat Song”) set off a craze for calypso music. With his good looks and his shirt unbuttoned to his chest, audiences — Black and white — adored Belafonte at a time when most of America was still segregated.

Belafonte was born in Harlem. His parents were from the Caribbean; his mother was Jamaican, and his father was from the island of Martinique. His mother, who was a cleaning lady, took him back to her native Jamaica, where he absorbed the island’s culture.

The singer told NPR in 2011 that his recording of “The Banana Boat Song” was inspired by the vendors he heard singing in the streets.

“The song is a work song,” he said. “It’s about men who sweat all day long, and they are underpaid. They’re begging for the tallyman to come and give them an honest count: ‘Count the bananas that I’ve picked so I can be paid.’ When people sing in delight and dance and love it, they don’t really understand unless they study the song — that they’re singing a work song that’s a song of rebellion.”

And that song of rebellion was a smash. The album Calypso was a best seller, holding a spot at the top of Billboard’s then newly-created album charts for several weeks in 1956.

Years earlier, Harry Belafonte dropped out of high school and joined the Navy. After serving in World War II, he was working as a janitor’s assistant, when someone gave him tickets to a performance at the American Negro Theatre. He was riveted.

He started training there, alongside Sidney Poitier and Ruby Dee. He also started singing in clubs. Pretty soon, he had a recording contract.

In 1954, he won a Tony Award for a revue called “John Murray Anderson’s Almanac: A Musical Harlequinade.” He starred in movies and appeared on TV variety shows. In 1959, he was given a one-hour show on CBS. Called “The Revlon Revue: Tonight With Belafonte,” the program had dance numbers, folk songs, and both Black and white performers. The program won an Emmy Award — the first for an African-American.

Revlon asked him for more shows. According to Belafonte, CBS stations in the south complained about its integrated cast. In interviews, he said he was asked to make it all-Black. He says he refused, and left the show.

Belafonte was one of Dr. Martin Luther King, Jr. ‘s most trusted friends. In 1963, he helped organize the Freedom March on Washington, where King delivered his “I Have A Dream” speech.

Clarence Jones, who helped draft that speech, told NPR’sFresh Air in 2011 that it was Belafonte who explained to them how to use the power of television. “He said,” Jones recalled, “‘You have to look at this as a media event, not just as a march.” And so, for example, Harry was responsible for assembling what was called the ‘celebrity delegation,’ a lot of celebrities from Hollywood and performing artists. And he was very firm that they should sit in a certain strategic part on the podium, because he knew that the television cameras would pan to them, would look to them. And so he wanted to be sure that they were strategically situated, so that in looking at the celebrities, they’d also see a picture of the march and the other performers.”

When Dr. King was held in a Birmingham jail, Belafonte raised money to bail him out. Coretta Scott King wrote in her autobiography, “Whenever we got into trouble or when tragedy struck, Harry has always come to our aid, his generous heart wide-open.”

His relationship with the King family later turned rocky, after Belafonte filed a lawsuit against King’s estate in 2013, over the fate of three documents that the civil rights leader had given him, and which Belafonte tried to auction off in order to fund non-profit work; the family claimed that the singer and actor had “wrongfully acquired” the documents. Belafonte and the estate settled out of court the next year, with Belafonte retaining the materials.

Throughout his career, Belafonte received numerous honors for his humanitarian work and the arts. He also helped organize Nelson Mandela’s first trip to the U.S. after he was released from prison.

He was also an outspoken critic of people in power, including President Obama, whom he once chastised for not showing enough concern for the poor. He singled out African-American artists Jay-Z and Beyonce, telling an interviewer they’ve “turned their back on social responsibility.” Jay-Z responded on his track “Nickels And Dimes”: “Mr. Day O, major fail.” The two men eventually made up.

Harry Belafonte was an activist into his 90s. He told NPR in 2011 that was something he learned from his mother.

“She was tenacious about her dignity not being crushed. And one day, she said to me — she was talking about coming back from a day when she couldn’t find work. Fighting back tears, she said, ‘Don’t ever let injustice go by unchallenged.'”

As his good friend Sidney Poitier once put it, Belafonte was an “invaluable energy force” and “always a gutsy guy.”

Harry Belafonte is survived by his wife, Pamela Frank; four children; two stepchildren; and eight grandchildren.
Copyright 2023 NPR. To see more, visit https://www.npr.org.

RankTribe™ Black Business Directory News – Arts & Entertainment

RankTribe™ Black Business Directory News – Arts & Entertainment

FARMINGTON HILLS — What comes to mind when you think of Farmington Hills?

Maybe it’s summer baseball at Founders Sports Park, the sprawling office parks, football games at Herrington Field or the city’s uniquely diverse population. Heck, maybe it’s even the King of Farmington.

In any case, you probably don’t think of dirt roads and apple trees.

“There isn’t much that looks the same,” said Brian Golden, a lifelong resident of the area. “The closest you could get to what it used to be like would be to drive along 13 Mile and Drake.”

Farmington Hills turns 50 this year, though people have lived in the area much longer. Cityhood played a major role in taking Farmington Hills from a rural community whose main export was apples to a place known for its affluence and diversity.

Farmington Township becomes Farmington Hills

According to local history buffs like Golden, a man named Arthur Power settled in what’s now the city of Farmington in 1824. He’d come from Farmington, New York, and named the new community after it.

Modern day downtown Farmington was known as the village of Farmington and what’s now Farmington Hills was known as Farmington Township. The township was far less populated than the city is now.

“We used to have tractor pulls and rodeos at 12 Mile and Farmington,” said Farmington Hills Councilman Ken Massey, who’s lived in the area his whole life.

The township’s population grew enough that, in the 1960s, residents started paving roads, building new schools and considered joining up with Farmington to become one city.

“The discussion was that we should become part of Farmington,” Massey said. “I’m in ninth grade and I’m sort of hearing all this discussion and reading what was in the papers. What was being said was that we should do it, but there was a lot of pushback.”

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A vote to merge the two communities failed in 1970, so township residents voted to incorporate on their own in May 1973. They called the new city Farmington Hills.

“I was in favor of it,” lifelong resident Tony Ferrate said. “We wanted to see improvement, and we got that.”

Kickstarting a bustling suburban community

According to Massey, cityhood put Farmington Hills on the map and brought in an influx of new businesses.

“All of a sudden, people knew where the city was,” he said. “That’s where the reputation of Farmington Hills as an affluent community came from.”

Ferrate said residents quickly saw better municipal services, too. Michigan is a home rule state, which gives cities the ability to impose their own tax rates and determine what happens to those dollars.

“It had a tremendous good impact,” he said. “All of a sudden, we got services that we’d only dreamed about before such as water, sewers, paved streets, fire protection and police protection. We got all of the benefits that a city would have.”

New residents also flooded into the city. Farmington Hills is, according to U.S. Census data, Michigan’s 14th most populous community. Over the years, the community has attracted a diverse population. One newer business, Centric Place on 36216 Freedom Road, hopes to help elevate that aspect of the city.

Centric Place serves as a co-working space and provides resources to Black artists and entrepreneurs.

“We saw there was a ton of support in Wayne County and Detroit, and not so much in Oakland County,” said Rachel Allen, who co-owns Centric Place with her husband, Gerrard. “The impact we are trying to have is bringing more diverse businesses and entrepreneurs to the community.”

Many residents say diversity is a major reason they chose to live in Farmington Hills. The Allens, who moved to the city for its school district, say it’s a perk they discovered through their kids.

“We felt it’s important that our kids are surrounded by a society that’s a makeup of the larger country,” said Tom Hanson, who grew up in Farmington and chose to raise a family in Farmington Hills. “It helps build character and the ability to communicate effectively with people who don’t look like them.”

Though the large fields and small-town feel are gone, Farmington Township lives on at the history center Golden runs at Heritage Park, 24915 Farmington Rodd. He thinks Farmington Hills has a story worth telling.

“I have always felt it’s necessary to have some sort of historical museum in a community that’s as old as us,” he said.

Farmington Hills will host a birthday celebration this summer at Founders Sports Park, 35500 8 Mile Road. Massey said the celebration will offer family-friendly opportunities for neighbors to spend time together.

Contact reporter Shelby Tankersley at stankersle@hometownlife.com or 248-305-0448. Follow her on Twitter @shelby_tankk.

RankTribe™ Black Business Directory News – Arts & Entertainment

I would not recommend showing up an hour and 20 minutes into a Broadway show, but it sure would be nice if you could do that at Good Night, Oscar. The play, structured around Oscar Levant’s appearance on The Tonight Show With Jack Paar in 1958, idles in neutral for the bulk of its run time, falling into that Wikipedia-theater trap of having characters relay their histories to each other via factoid. But once the TV taping starts, the thing shifts into gear and the performances come to life — or really, one key performance. Sean Hayes as Levant, a piano virtuoso and wit who made appearances on Jack Paar between hospitalizations for mental illness, is who everyone is here to see, and like his character, he rises to the occasion once the cameras are on. Hayes is witty and rueful when he’s trading quips with Paar and then pulls off an 11-o’clock (or really, 9:30 p.m.) feat of piano-playing in character. It’s a sequence that’s rich and spectacular, bringing to bear all the elements of the play that had been merely stated earlier. It’s a performance about the self-destructiveness of performance, self-immolating but also making the production burn bright.

It does, however, take a lot of explaining to get there. Levant is an obscure subject to put at the center of a play. Doug Wright’s script fills us in as Paar (Ben Rappaport, charming with more than a dab of slime in his hair) tells NBC head Bob Sarnoff (Peter Grosz) that Levant’s daringly risqué quips bring in the TV viewers and then Levant’s wife, June (Emily Bergl), describes the state of their marriage. She has checked Oscar into an institution, and she’s also decided that appearing on the show will do him good and wangled a four-hour pass to go on The Tonight Show. Once Oscar does show up, there’s more exposition to be had, much of it via an overeager NBC PA named Max (Alex Wyse), who’s conveniently a pop-culture obsessive. In between episodes of being berated by Oscar, Max briefs us about Levant’s history as a pianist sidekick in the movies, notably alongside Gene Kelly in An American in Paris and as a performer who was often overshadowed by George Gershwin. In his dressing room, starting to spiral before the show begins, Oscar also tries to wheedle more medication out of the orderly who’s supervising his leave (Marchánt Davis, mostly there to deliver a few lines noting that Gershwin was really cribbing from Black artists at the Cotton Club) and confronts visions of the late Gershwin himself (John Zdrojeski, done up in tails like the villain of a 1920s New Yorker cartoon), who acts like the Mozart to Levant’s Salieri. Lisa Peterson, directing, tries to keep things moving by having all these characters speed in and out of Oscar’s dressing room at a clip that makes you feel like you’re watching The Marvelous Mrs. Maisel crossed with Frasier, but the amount of context being stuffed down our gullets deadens the vitality. You can’t get to door-slamming comedy with that much insulation.

All this is really purpose-built around Hayes, who has found in Levant (after, reportedly, conflict with a previous playwright) a character that doesn’t necessarily match his talents as much as give him the opportunity to bring out skills he hasn’t displayed before. On Will & Grace, Hayes won an Emmy for his flamboyantly upbeat work as Jack, but playing Levant allows him to shift into a weightier register and display his talent at the piano. Early in the evening, he’s heavy on the outside-in affectation, emphasizing his jowls and lumbering around as if to make it clear that this is a Serious Performance. It’s a style that feels akin to any number of Oscar-winning biopic performances, or (as I thought in a doubtful moment) Ralph Fiennes as Robert Moses — more about telegraphing that you’re transforming into someone than providing insight into them. But soon, Hayes grows looser and more comfortable. He’s at home with Levant’s witticisms as approximated by Wright, which depend on the kind of old-fashioned comic timing Hayes has in spades — “The network feels …” Sarnoff starts telling Oscar at one point, to which he responds, “The network feels!?” Hayes soon starts to lock in on the character’s internal conflict about his role as an entertainer. He loves an audience, but his persona involves beating himself up for their pleasure. He wants to perform his own work but doubts his own talent. Wright’s writing is best when it emphasizes the way that the people around Oscar make excuses to themselves about using him for their own means, whether for ratings (in Paar’s case) or to calm their own conscience (in June’s). In this telling, Oscar’s making excuses for himself too. Hayes emphasizes that childlike “Look at me, I’ll do anything for you” impulse that’s innate in many a performer, the way that the desire to please overrides their own self-preservation, whether they’re doing a pratfall or playing a concerto.

All that is better enacted than talked about, so Good Night, Oscar only really gets going once Hayes as Oscar starts to perform. In a one-on-one talk with Paar, Hayes nails a series of Levant quips (or approximations thereof; one line about dissecting a frog is really E.B. White), and Rappaport does some good business with a mic, pushing it closer to Hayes’s mouth as he eggs him on to talk about politics, sex, and religion. Then there’s that piano performance. The piece Hayes plays is, as it turns out, crucial to the plot, so I won’t get into it, but the way he plays it is more important than either the title or his skill (though, yes, Sean Hayes can play the piano very well). He conveys depths in the way that Levant reluctantly slides back into his virtuosity over the course of the performance — a coiling resentment of and yet thrill at his own talent. The play, having hit its high point, wraps up quickly soon after, and it’s a letdown to return both Hayes and Oscar to Earth. There’s a lesson in there: To understand performers, you have to see them in action; no amount of describing can substitute. But if you nail that re-creation, you can get at something deep about them. The playing’s the thing, to mangle another famous quote vehicle, wherein to catch their consciousness.

Good Night, Oscar is at the Belasco Theatre.

RankTribe™ Black Business Directory News – Arts & Entertainment

RankTribe™ Black Business Directory News – Arts & Entertainment

OSLO –

In his living room in Norway, while the TV broadcasts pictures of the violence back home in Khartoum, Khalid Albaih does what he has become known for in the Middle East and beyond: draw cartoons.

His latest, entitled The Dog Fight, depicts the two main Sudanese foes, army chief General Abdel Fattah al-Burhan and paramilitary leader General Mohamed Hamdan Dagalo, as dogs fighting over a piece of meat in the shape of Sudan.

“Art is needed in times like this because it is important to show people art is about hope, art is about showing there is a different way to talk about things,” Albaih said. “Art is continuous resistance. Art is our way to continue fighting.”

Albaih, 42, known in the Middle East for cartoons on the “Arab spring,” government misrule and wars in Syria and Yemen, drew attention beyond the region in 2016 with a drawing of African American football player Colin Kaepernick kneeling, his afro in the shape of a clenched fist.

The image went viral and was worn on T-shirts by prominent Black artists. The rapper Snoop Dogg posted himself wearing it on Instagram.

In Oslo, Albaih is co-head of the arts programme at the Kawaakibi Foundation, a group founded in the wake of the 2011 “Arab spring” protest movement to explore ways media can promote democracy and human rights in the Middle East.

With the Internet still up but limited in Khartoum, Albaih is in constant communication with friends and family or reposting practical advice to his social media followers, such as how to behave at checkpoints, in the hope of helping those trying to leave.

RankTribe™ Black Business Directory News – Arts & Entertainment

Related The Black Badge of Shame

Ralph Yarl was shot in the head because he was Black. And on a white man’s porch. On April 13, the 16-year-old Staley High School student was doing what  big brothers do: using the family car to pick up his twin little brothers. The friends who were babysitting the twins live on Northeast 115th Terrace. Ralph rang the doorbell at Northeast 115th Street: a common mistake in Kansas City since nearby streets have names that alternate between “Terrace,” “Boulevard” and “Street.”

As opposed to being neighborly or grandfatherly and directing the teenager around the corner to Northeast 115th Terrace, 84-year-old Andrew Lester directed his gun towards Ralph’s forehead — and pulled the trigger. Ralph fell to the ground. Then Lester shot him again and said, “Don’t come around here.”

The confused, terrified and bleeding teenager got up and stumbled to a nearby neighbor’s door asking for help — to no avail. After Yarl was rebuffed by a second neighbor, finally, Zach Dovel, 20, brought him some towels to stop the bleeding while they waited for the ambulance.

“The worst part was seeing him get down on his knees — it looked like he was praying. He thought he was going to die,” Dovel told The New York Times.

Black children shouldn’t have to pray not to die for being good big brothers. This is my message to conservatives who say Black folks are “obsessed” with race — and my message to All Lives Matter-ers who say they don’t see race. Black folks are forced to think about race when our children are targeted with deadly force for being too tall or targeted for wearing hoodies in the rain or targeted for  jogging down Georgia roads or targeted for ringing Kansas City doorbells. Black folks are not obsessed with race — we’re scared that All Lives Matter racists — are going to kill our children because of their race.

This is why we have ‘The Talk’ with our kids. It’s likely that Ralph Yarl’s parents had The Talk with him.

Even though most Black folks know that The Talk is often ineffective against race-obsessed white folks who hold ‘The Gun’ — race-obsessed white folks who are obsessed with telling Black folks where we can and cannot go and where we can and cannot be. Including being in our own Black skin.

Being Black while Black.

Historically, being Black has been reason enough for white Americans to kill their fellow Black Americans. This is Black history. The same Black history that Missouri legislators are trying to ban in Missouri schools — including Ralph Yarl’s Staley High.

As a result of Missouri Senate Bill 775, which went into law on Aug. 28, 2022, 301 books were banned in Missouri including, “Blues: A History of American Music,” “Reflections in Black: A History of Black Photographers 1840 to the Present,” and “The History of the Blues and African Art: An Introduction.” The common themes of this list are Black history and art. Teachers teaching this Black history to Missouri students could be charged with a Class A misdemeanor, possibly resulting in one year in jail and a $2,000 fine.

Teachers teaching this Black history to Missouri students could be charged with a Class A misdemeanor, possibly resulting in one year in jail and a $2,000 fine.

In February 2023 — Black History Month — the Missouri Association of School Librarians and the Missouri Library Association (along with the Missouri ACLU) sued the state over the law and the resulting book bans. As opposed to rectifying SB 775’s obviously racist and homophobic (the law led to many LGBTQ books being banned as well)  impacts, the Missouri House legislators voted on April 11 to defund all of Missouri’s public libraries. Around $4.5 million that would have been included in Missouri’s state budget was stripped down to zero. Missouri’s lawmakers would rather fire all Missouri librarians than allow Missouri’s students to have access to books about Black history — especially books about Black art history and queer people.

Ralph Yarl is an artist. He’s a talented saxophonist who plays in the Staley High jazz band. Blues music is the foundation of jazz. White American Missouri legislators want to put teachers in jail who teach Ralph Yarl “Blues: A History of American Music.” Historically, Black musical artists and literary artists have been on the front lines of communicating the full rich humanity of Black humanity as a form of resistance to white supremacy. From John Coltrane to James Baldwin to Nina Simone, Black artists have tried to appeal to America’s conscience by creating art that articulates the souls of Black folk — while intending to move the Soul of America, to shift the Soul of America towards social justice.

When 84-year-old white man Andrew Lester shot 16-year-old Black boy Ralph Yarl in the head, he fired a shot from the past. We know this because, after the second shot, he said, “Don’t come around here,” as if it were 1953, not 2023. In 1953, Andrew Lester was 14 years old. It is likely that someone white had a very different version of The Talk with him about Black people. Or maybe Andrew Lester just paid attention to how adult white Americans treated Black Americans. Or maybe both. When 84-year-old Andrew Lester directed his revolver at the 16-year-old Ralph Yarl who was on this porch in need of directions, Lester was confirming the power of racialized stories.

The power of the white Supremacist Talk.

But Ralph Yarl survived.

To play jazz.

To learn that jazz originated from the blues.

To learn that Black life is rooted in the blues.

To learn American lessons that white Missouri legislators would prefer his brain not learn at Staley High.

But lessons he learned anyway because a white American shot him in the head.

This is The Talk, the American Talk, courtesy of that most American of American mouthpieces: The gun muzzle.

RankTribe™ Black Business Directory News – Arts & Entertainment

A true masterpiece and ode to jazz music, Jean-Michel Basquiat‘s “Now’s the Time” will make its debut at Sotheby’s Contemporary Evening Auction this May.

The monumental artwork, measuring over 7 feet in diameter, is expected to sell for more than $30 million. Basquiat’s work has become one of the most recognizable and respected visual idioms of the 20th century, incorporating elements of street art, figuration, and abstraction.

The painting is a recreation of Charlie Parker’s 1945 composition of the same name and immortalizes the legendary jazz saxophonist, who also embodied the spirit of freedom and improvisation that was central to Basquiat’s artistic practice. Basquiat’s love of classical music and jazz, which was deeply influenced by his father, became a major component of nearly every aspect of his life.

He was exposed to a variety of emergent music styles from the avant-garde of No Wave to the burgeoning Hip Hop scene, which inspired him to produce the highly influential Hip Hop record “Beat Bop” in 1983. Basquiat’s legacy continues to inspire artists outside the bounds of painting with his genre-defying style.

“Now’s the Time” painting exemplifies the greater recognition and admiration of Black artists, past and present, that was central to Basquiat’s own artistic practice. It is a testament to his artistic skill and reverence for jazz music, and the legacy of the painting is still present today.

Generations of hip hop artists, from JAY-Z to Nas, routinely namecheck Basquiat as an aspirational symbol, given the artist’s vaunted place within the cultural pantheon.

The painting’s title and its emphatic exclamation signify a pivotal moment in Basquiat’s career when his star shined brightest, and he was at the absolute apex of his international success as an artist.

Basquiat’s masterpiece showcases a unique blend of simplicity and maturity, which differentiates it from his previous street art-based paintings. It replicates a vinyl record pressing with only a few inscriptions scrawled upon the black matte surface.

In conclusion, the “Now’s the Time” painting is a masterpiece that reflects Jean-Michel Basquiat’s passion for music and his place in the pantheon of Black artists.

The painting has remained in the renowned collection of Peter Brant for nearly 40 years and will now make its debut at Sotheby’s auction, where it is expected to fetch over $30 million.

The work exemplifies Basquiat’s love of jazz music and the way it fundamentally impacted his practice, while also showcasing his unique blend of artistic practices. The painting’s legacy continues to inspire artists today, outside the bounds of painting, with its genre-defying style.

Images: Sotheby’s

RankTribe™ Black Business Directory News – Arts & Entertainment

The Rochester chamber orchestra Cordancia is entering a new era, with a new conductor at the creative helm.

On April 29 and 30, Evan Meccarello is scheduled to lead his first program as Cordancia’s conductor and artistic director, with a concert titled “Florence Price and the Machine.” Three of the four works to be performed were written by composers of color, and two of the pieces were written by living composers. While this kind of inclusive programming is becoming more of the rule than the exception, it is still rare to see works from the classical canon — written almost exclusively by white composers who died long ago — not be the focus.

Meccarello said his plan for Cordancia and its concert programs is to continue realizing the vision of the orchestra’s founders, Pia Liptak and Kathleen Suher, who started the orchestra in 2009.

“I really have the goal of continuing their tremendous work of bringing rarely played music, both from far into the past and from contemporary living composers,” Meccarello said. “So when approaching Cordancia, it was such a great fit for me because I believe in their mission of doing interesting, unusual programs that you cannot hear other places in Rochester.”

As the title “Florence Price and the Machine” suggests, the program looks at musical compositions as artistic machines. But it’s also about how the machine of culture affects artists, particularly Black artists.

Composer Florence Price’s monumental Symphony No. 1 was the first piece by a Black woman to be performed by a major American orchestra, and has seen a recent resurgence in its inclusion in orchestral programs. Meccarello called “Fast BLACK Dance Machine,” a piece by Haitian American composer Daniel Bernard Roumain to be performed by Cordancia, “a statement about the machine of Black music, and specifically Black dance music in America, and its place belonging in the concert hall.”

“Because machines are made by people, they can be changed by people,” Meccarello said. ”Systems can be changed by people because they’re created by people. And I’m really encouraged by the changes that I’ve seen in the artistic world, and in the world of music recently.”

Cordancia performs “Florence Price and the Machine” at 7 p.m. on April 29 at Greece Baptist Church, and at 3 p.m. on April 30 at Lutheran Church of the Incarnate Word. General admission is $20; students and seniors are $15. Visit cordancia.org for more information.

Daniel J. Kushner is an arts writer at CITY. He can be reached at [email protected].

RankTribe™ Black Business Directory News – Arts & Entertainment