Monthly Archives: April 2009

ON THIS DAY IN BLACK MUSIC HISTORY: APRIL 16

#1 R&B Song 1977:   “At Midnight (My Love Will Lift You Up),” Rufus, featuring Chaka Khan

 

Born:   Tony Williams (the Platters), 1928; Roy Hamilton, 1929

 

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1949   Roy Milton charted R&B with “Hucklebuck,” reaching #5. The singer, bandleader, and drummer (an unusual combination) charted R&B tewnty-one times between 1946 and 1961. His first nineteen hits all made the Top 10.

 

1960   The latest installment of the Biggest Show of Stars ’60 tour—including Joe Turner, Llyod Price, Little Anthony & the Imperials, LaVern Baker, Clyde McPhatter, the Coasters, Jimmy Jones, Sammy Turner, and Jimmy Reed—began their travels at the Municipal Auditorium in Norfolk, VA.

 

1966   Percy Sledge entered the R&B hit list with what would become an all-time soul classic, “When A Man Loves A Woman,” reaching #1 both R&B and pop.

 

 

1969   The Fifth Dimension’s “Aquarius/Let The Sun Shine In,” charted in England on its way to #11. The original American release, which was shortened for radio play and which omitted most of “Aquarius,” was accidentally issued in England. The radio edit became the British hit and was never corrected.

 

1988   DJ Jazzy Jeff & the Fresh Prince landed on the R&B hit list with “Parents Just Don’t Understand,” reaching #10 and #12 pop. It was the first of three Top 10 hits for the rappers, who were actually Jeffrey Townes and actor/rapper Will Smith. (And, no, parents just do understand, which is why they tear children a new ass to prevent children from messing up more than they could 😉

 

1990   Anita Baker, Natalie Cole, Bonnie Raitt, and Mica Paris sang “Blowin’ in the Wind” at Nelson Mandela-an International Tribute to a Free South Africa concert at Wembley Stadium in England.

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RECORD STORE DAY: APRIL 18, 2009

Last year I had the pleasure of celebrating “Record Store Day.” Once a year, indie music shops hold the event in indie record stores across America that cater to the needs of the black vinylphiles. Record shops sell old—and new—albums and use this time to get out the word about the beauty and exquisite sound that only a record (45 RPM, 33-1/3 LP, 78 LP) can give.

Record Store Day: April 18, 2009
Record Store Day: April 18, 2009
 
Record Store Day was conceived by Chris Brown, and was founded in 2007 by Eric Levin, Michael Kurtz, Carrie Colliton, Amy Dorfman, Don Van Cleave and Brian Poehner as a celebration of the unique culture surrounding over 700 independently owned record stores in the USA, and hundreds of similar stores internationally. This is the one day that all of the independently owned record stores come together with artists to celebrate the art of music. Special vinyl and CD releases and various promotional products are made exclusively for the day, and hundreds of artists in the United States and in various countries across the globe make special appearances and performances. Festivities include performances, cook-outs, body painting, meet & greets with artists, parades, djs spinning records and on and on. Metallica officially kicked off Record Store Day 2008 at Rasputin Music in San Francisco on April 19, 2008, and Record Store Day is now celebrated the second Saturday every April. In 2009 Record Store Day will take place on April 18. One band that is planning to release vinyl records is Green Day, who announced on March 13, 2009 that they are planning to release their entire catalog on vinyl in 2009. The vinyl edition of their hit album Dookie is set to be released a few days before Record Store Day. Currently, there are plans for Record Store Day celebrations in the US, Japan, The United Kingdom and Australia. Record Store Day is currently managed by Eric Levin, Michael Kurtz, Scott Register, and Carrie Colliton. The event is sponsored by NARM, the National Association of Recording Merchandisers.
 

 

Stores will have specials for their customers, with discounts if you buy a record, or even a free LP when purchasing an LP.

Music runs the gamut of blues, rock ‘n’ roll, jazz, country & western, and gospel, among the many different genres. Various types of LPs will be in-stock:  12″, 7″, even my beloved favourite—the gatefold-sleeve format. Some stores will have live entertainment, food, and exclusive releases from some of the artists who perform on the stage. This will be a great time to discover the joy of black vinyl if you are new to it; or, it will be the time to renew your love of wax, whether it is an oldie LP, or a new up-and-coming singer/songwriter/group release.

Here are just some of the artists releasing new music on LPs:

Ben Harper 10″ “Shimmer and Shine”/”Spanish Red Wine” B-side, “Spanish Red Wine” is unreleased
Black Kids Wizard of Ahhhs 10″ first time on physical format
Black Moth Super Rainbow Born on a Day 7″ Two tracks from the forthcoming studio recorded album, Eating Us
Blitzen Trapper “War is Placebo/Booksmart” 7″ – two exclusive tracks w/die cut sleeve
Bob Dylan 7″–“Dreaming of You”/”Down Along the Cove” tracks recorded live at Bonnaroo; packaged in clear sleeve with 3×5 photo
Booker T “Warped Sister/Reunion Time” 7″ 7″
Brandi Carlile 7″ single “Downpour”/”A Promise To Keep” “Downpour” is the live track recorded in Boston

This Saturday, April 18, will be the 2nd anniversary of “Record Store Day.” Make it a date to check out the local indie record stores near you.

For more information on “Record Store Day”, check out their website here.

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COLORLINES- SCAPEGOATING BLACKS. AGAIN. WHAT ELSE IS NEW?

 


April 16, 2009 ColorLines Direct. News and commentary from ColorLines magazine and RaceWire blog.

headline image
Scapegoating Blacks. Again.
Media pundits blame the financial disaster on laws designed to help Black people buy homes. Here’s what actually happened.
The State of Immigrant U.S.A.
We map the country’s sanctuary cities, bans on drivers’ licenses and where cops act as ICE officials.
Chronicling Gay Muslim Life
Filmmaker Parvez Sharma recounts the perils and rewards of producing the documentary A Jihad for Love.


Listen to Compact for Racial Justice Forum Call – Race & Recession [AUDIO]
If you missed this week’s Racial Justice Forum call on “Race & Recession” you can listen to a recording available on RaceWire.
Light a Candle for Angie Zapata
The murder trial for Angie Zapata began this week. Julianne Hing begins her coverage on a trial that will set a precedent as the first transgender murder case to be tried under Colorado’s hate-crimes law.
Priced Out of Justice
If you’re accused of a crime, you have a right to a competent lawyer. That’s what the Constitution says, but is this what happens in courts?

Compact For Racial Justice
The Obama Presidency signals a desire for a new, more substantive discussion about race in America. The Compact for Racial Justice addresses this need by transcending talk of personal prejudice with compelling evidence of institutional racism and realistic proactive solutions. Support the Compact for Racial Justice right now by
signing the pledge here. For more information click here.



 
 


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ON THIS DAY IN BLACK MUSIC HISTORY: APRIL 15

#1 R&B Song 1978:   “Too Much, Too Little, Too Late,” Deniece Williams & Johnny Mathis

 

Born:   Bessie Smith, 1895

 

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1939   The Ink Spots—pioneers of pop who would harmonically branch out and help define the musical genre that led to  rhythm & blues, rock ‘n’ roll, and the sub-genre doo-wop—debuted on the charts with “If I Didn’t Care, reaching #2. They would go on to have forty-six pop hits, but “If I” would become their signature song.

 

 

1944   The Nat King Cole Trio charted R&B with “Straighten Up and Fly Right,” reaching #1 for an astonishing ten weeks while soaring to #9 pop. It was their third #1 in a row and was also their third chart record in a row. Nice way to start a career.

 

 

1950   The Johnny Otis Orchestra, with Little Esther on vocals, charted with R&B with “Misery,” reaching #9. Otis’s band had eighteen R&B hits between 1948 and 1969, and are best remembered for their #9 1959 pop hit, “Willie and the Hand Jive,” which also reached #3 R&B.

 

1956   Hartford, CT’s State Theater held an all-star show featuring the Moonglows, the Cleftones, the Solitaires, the Willows, the Schoolboys, the Royaltones, and Dean Barlow & the Crickets.

 

1960   The Clovers, the Plympics, Robert & Johnny, Etta James, Santo & Johnny, and Ben E. King—in his first appearance after leaving the Drifters—performed at the Apollo Theater’s Dr. Jive Rhythm & Blues Revue.

 

1972   Roberta Flack’s “The First Time Ever I Saw Your Face” reached #1 and stayed there for six weeks. It was the longest-running #1 by a female solo artist since Gogi Grant’s “The Wayward Wind” in 1956.

 

 

1993   Sade began a tour in Copenhagen, Denmark, that would include thirty-five shows, ending in London.

 

1994   James Brown performed at Radio City Music Hall in New York City to a sellout crowd of more than 4,000.

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ON THIS DAY IN BLACK MUSIC HISTORY: APRIL 14

#1 R&B Song 1945:   “Tippin’ In,” Erskine Hawkins & His Orchestra

 

Born:   Sax man Gene “Jug” Ammons, 1925

 

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1956   The Cleftones’ classic, “Little Girl Of Mine” (#57 pop and #8 R&B) was released.

 

1958   The Platters’ “Twilight Time” charted on its way to #1 pop and R&B. The song was written by the group’s manager, Buck Ram, in 1944, with the Three Suns, who had the original hit. Mercury Records created a film clip of the performance by the Platters and used it to promote the record to Tv shows. In retrospect, it can be seen as the first promotional video.

1962   The Shirelles’ “Soldier Boy” charted, becoming their biggest pop hit at #1 for three weeks and #3 R&B. The song, written in a country & western vein, was put together by two writers (Greenberg & Dixon) in a few minutes and tagged on at the end of a recording session. The track, done in about ten minutes, was instantly disliked by the group.

 

 

1967   An all-star, all-Stax Records package toured Europe, including Otis Redding, Sam & Dave, Arthur Conley, Eddie Floyd, Booker T.& the M.G’s, and the Mar-Keys.

 

1969   Little Richard, Fats Domino, the Clara Ward Singers, Buddy Miles, and Jerry Lee Lewis, among others, performed on the NBC-TV special hosted by the Monkees, 33 1/3 Revolutions per Monkee.

1973   Barry White charted with his first single under his own name with “I’m Gonna Love You Just A Little More Baby,” reaching #3 pop and #1 R&B. White recorded in 1965 under the name Barry Lee on both Downey “”Man Ain’t Nothing”) and Veep (“Make It”) labels.

 

 

1979   B.B. King toured the U.S.S.R. for a full month of concerts.

 

1991   The Pointer Sisters performed on Welcome Home America, an ABC-TV tribute to American armed forces returning from the Gulf War.

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SAVE THE DATE: HAPPILY NATURAL: BALTIMORE NATURAL HAIRCARE EXPOSITION: APRIL 25-26, 2009

 

 

 

 

 

Click here to learn about

FREE Seminars & Low Cost Workshops

@Baltimore Natural Hair Care Expo

 

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http://happilynaturalday.com/blog/index.php/2009/04/baltimore-natural-haircare-expo-april-25-26th/

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CHARGES ARE A RARITY WHEN POLICE USE DEADLY FORCE IN CONFRONTATIONS WITH CITIZENS

And even with indictment, such as in the case of the highly publicized Robbie Tolan/Bellaire Police Department case, such convictions are as rare as hen’s teeth. At the worse, they get fired/terminated, are given a 1-2 year sentence, and placed in administrated segregation (away from the general jail/prison population)—–or given probation. Yes. . . .cops are the only people who can legally get away with murder just because they carry a badge and a gun. A licence to murder under color of authority.

Yeah, those who defend the rogue cops who take civilian’s lives will snot and cry and tell people to:  “Go out and become a cop, since cops put their lives on the line.”

Well, newsflash. . . .we all put our lives on the line when we all step out of our doors every day of our lives. We all face danger of losing our lives to criminals.

But, many of us, unlike the guilty citizen-murdering cops on the police force, do not slaughter other humans. Cops are not above the law.

Time they, and those who work among them who trample on people’s rights and lives, learned that fact.

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By ROMA KHANNA and ALLAN TURNER
Copyright 2009 Houston Chronicle

April 12, 2009, 9:53AM

photo
Harris County Sheriff’s Office
Bellaire Police Sgt. Jeff Cotton was indicted in the New Year’s Eve shooting of Robert Tolan.
 
POLICE PROSECUTIONS

Officers rarely face charges after killing or injuring civilians, and even less often are convicted:

 

• Jose Campos Torres: Beaten and drowned in Buffalo Bayou after 1977 arrest. Three HPD officers convicted, assessed one year probation. Five officers then convicted on federal civil rights charges.

• Ida Lee Delaney: Fatally shot after traffic altercation with drunken, off-duty policemen in 1989. Officer Alex Gonzales convicted of voluntary manslaughter; sentenced to two years of probation.

• Byron Gillum: Security guard shot six times in 1989 traffic stop by Houston officer Scott Tschirhart, who was no-billed by two grand juries; fired from department.

• Pedro Oregon: Shot 12 times by six HPD officers in 1998 warrantless drug raid. Officers terminated. Officer James Willis charged with trespass. Acquitted.

• Eli Eloy Escobar: Fourteen-year-old fatally shot in encounter with Houston officer Arthur Carbonneau. Convicted of criminally negligent homicide; sentenced to 60 days in jail, 10 years’ probation.

• Pedro Gonzales Jr.: Died during 2007 struggle with Pasadena officers Jason Buckaloo and Christopher Jones. Charged with criminally negligent homicide. Acquitted. Fifteen-year-old fatally shot in chest after fleeing off-duty police working parking lot security. Officer Kevin Butler no-billed by jury, later returned to police force.

• Jose Vargas Jr.:

Chronicle research

 

 

See images of the case involving a Bellaire police shooting that injured a black man outside his home.


Each time a police officer uses deadly force, wounding or killing a civilian, prosecutors gather facts and grand jurors weigh whether the actions may have been criminal, rarely returning indictments. Even less common, according to a Houston Chronicle review, are cases where an officer is convicted.

 

Last week’s indictment of Bellaire Police Sgt. Jeff Cotton, a white officer who shot a black man in his own driveway in an incident that raised allegations of racial profiling, marks the first time in more than three years that an officer in Harris County has been charged in such a shooting, the Chronicle found in a review of police prosecutions. In recent years, local officers have shot an average of 32 people.

 

Such incidents, ranging from a drunken off-duty officer’s 1989 shooting of Ida Lee Delaney in a traffic spat to the 2003 gunning down of two unarmed teens, have ignited community outrage. But, lawyers say, prosecutors in cases against those sworn to protect and serve have an uphill battle.

 

Only once in more than a decade has a Harris County jury found an officer criminally responsible for injuring or killing a citizen with a weapon.

 

The law is forgiving, lawyers said, and an officer can justify his use of deadly force by claiming he perceived grave peril to himself or others.

 

“Jurors will give police officers more credit because they put themselves in harm’s way to help others,” said Joe Owmby, who until December headed the police integrity division of the District Attorney’s Office and investigated numerous officers. “Jurors will bend over backward to hear it from the (officer’s) point of view, but if it appears an officer did not do what he was supposed to, they are more skeptical.”

 

Deadly force cases are emotionally charged, observed South Texas College of Law’s Geoffrey Corn. “These are hard cases,” he said. “I have a visceral reaction to those who say these cases aren’t fair, that juries don’t convict enough. … When we start saying that juries are incapable of trying this type of case or that, we kind of gut our concepts of justice. Juries are not always right, but if the process is fair, the outcome is respectable.”

Case in 2007 typical

Typical of many cases was Harris County’s most recent deadly force prosecution, that of two Pasadena policemen accused of killing Pedro Gonzales Jr. in July 2007.

 

Gonzales suffered eight broken ribs and a punctured lung as officers Jason Buckaloo and Christopher Jones used force to arrest him. They were indicted on charges of criminally negligent homicide.

 

Testimony in their trial revealed Gonzales was not intoxicated at the time of his arrest, as the officers suspected, but may have been suffering severe alcohol withdrawal.

 

Jurors acquitted the officers, who returned to work.

 

Owmby, who prosecuted the case, said jurors’ perceptions of Gonzales, a chronic alcoholic who often slept on the street, affected the outcome.

 

“The problem we had was that Mr. Gonzales was so ill, the jury just did not want to blame the police officers for what happened,” he said.

 

The only recent conviction of an officer in a fatal shooting came in a case with a sympathetic victim: a 14-year-old boy who had been playing video games minutes before an officer killed him.

 

On Nov. 21, 2003, Houston Police officer Arthur Carbonneau approached a group of youths, looking for two teens who had assaulted a 10-year-old boy. Eli Eloy Escobar, who had not been involved in the assault, tried to leave. Carbonneau detained him. During the scuffle, Carbonneau’s firearm discharged.

 

photo

BRETT COOMER CHRONICLE
Former HPD officer Arthur Carbonneau, shown in 2005, got 60 days in jail in addition to nine years probation for the shooting death of 14-year-old Eli Eloy Escobar in 2003.

 

A grand jury indicted Carbonneau on a murder charge and he was convicted of criminally negligent homicide — the lightest conviction option — and got 10 years’ probation. The judge required him to serve 60 days in jail.

 

Owmby, who prosecuted Carbonneau, said he sees similarities between that case and the one against Cotton, 39, who is charged with aggravated assault by a public servant.

“It appears that in both cases we had an officer who overreacted, who never slowed down to evaluate what was happening and pulled the trigger when it was not necessary,” Owmby said.

Mistake on SUV’s plates

Cotton shot 23-year-old Robert Tolan, a former Bellaire High School baseball player, just after 2 a.m. on Dec, 31. Tolan and a cousin were returning to his parents’ house after getting off work at a restaurant.

 

An officer ran the plates on Tolan’s SUV but pulled up the wrong information, leading him to believe it was stolen.

 

Several officers approached as the men exited the SUV, ordering them to the ground. At one point, Tolan raised up to protest the treatment of his mother, who had come outside.

 

Cotton fired several times, striking Tolan once in the chest.

 

Cotton’s lawyer said last week that he will prove Cotton’s actions were justified.

“When we get our day in court it will come out that the indictment against him was not warranted,” said David Donahue, a spokesman for Cotton’s lawyer, Paul Aman.

 

The case against Cotton will be prosecuted by Clint Greenwood, who joined the District Attorney’s Office in January after District Attorney Pat Lykos asked him to head the police integrity division. Greenwood, a peace officer who defended a number of policemen in his private practice, said he anticipates the Cotton case will be “a difficult case for both sides.”

 

He added, “Cases where a police officer is the defendant can be extremely difficult due to conceptions by the community at large. But, it is my job to advocate on behalf of the citizens of Harris County and I will do so vigorously.”

 

Another case involving police that resulted in a conviction was the 20-year-old fatal shooting of Delaney, a 51-year-old janitor killed in an encounter with three off-duty Houston officers after they had been out drinking.

 

The officers approached Delaney after a traffic altercation. One, Alex Gonzales, in civilian clothes and wearing no badge, charged her car with pistol drawn. She fired at the officer, striking him in the belly. He fired back.

 

Gonzales was tried twice and eventually convicted of voluntary manslaughter, receiving the minimum penalty — two years probation and a $5,000 fine. His light treatment prompted protest.

 

Former City Councilwoman Ada Edwards, who participated in those protests, called the outcome a “miscarriage of justice. I was not a jury member … but this was murder.”

 

 

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MARIAN ANDERSON ((February 27, 1897 – April 8, 1993): 70 YEARS LATER, HER VOICE STILL CARRIES

It was on an Easter April 9, 1939, that the great contralto Marian Anderson thrilled the world and sang her way into history. Denied by the Daughters of the American Revolution the use of Constitution Hall, permission to sing to an integrated audience because of her color, Ms. Anderson, an opera singer, had to sing outside on the steps of the Lincoln Memorial.
 
On Easter Sunday, 70 years ago, Ms. Anderson’s repertoire took only 30-minutes and became a part of history and memory for those fortunate enough to have witnessed her talents and stoic perseverance in the face of hated racial hostility.
 
May she rest in peace, and may her splendid performance in the face of such great adversity never be forgotten.
 
 
 
File:Marian Anderson.jpg
Marian Anderson in 1940.
 
Photographer: Carl Van Vechten. Credit Line: Library of Congress, Prints and Photographs Division, Van Vechten Collection, reproduction number LC-USZ62-42524.
 
 
 
 
File:Marian Anderson - DOI 1943.jpg
Marian Anderson broadcasting a Negro spiritual at the dedication of a mural installed in the United States Department of the Interior building, commemorating the outdoor concert which she gave at the Lincoln Memorial after the Daughters of the American Revolution refused to allow her to sing in Constitution Hall.
Library of Congress Prints and Photographs Division, Farm Security Administration – Office of War Information Photograph Collection. http://hdl.loc.gov/loc.pnp/fsa.8d11637
 
Photo: Gordon Parks January, 1943.
 
The following article reminds us of the profound impact Ms. Anderson had on this nation’s conscious, and of two fine ladies, Blanche Burton-Lyles and Phyllis Sims,  who refuse to let her memory, nor the house located at No. 762 South Martin Street, now known as Marian Anderson Way, be relegated to oblivion.
 
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A Singer’s Chorus

As a Labor of Love, a Society of Two Keeps Marian Anderson’s Voice Alive

SLIDESHOW
              
Phyllis Sims, at a mural in South Philadelphia memorializing Marian Anderson's performances, is curator of a historical society honoring the groundbreaking opera singer.
Phyllis Sims, at a mural in South Philadelphia memorializing Marian Anderson’s performances, is curator of a historical society honoring the groundbreaking opera singer. (Photos By Linda Davidson — The Washington Post)
 
 
“We get a lot of people from down South,” Sims says of visitors to the contralto’s two-story house. (Linda Davidson – The Washington Post)
"We get a lot of people from down South," Sims says of visitors to the contralto's two-story house. 

 

Blanche Burton-Lyles, left, and Phyllis Sims preserve the memory of the contralto who sang at the Lincoln Memorial after being barred from another site by the DAR.
Blanche Burton-Lyles, left, and Phyllis Sims preserve the memory of the contralto who sang at the Lincoln Memorial after being barred from another site by the DAR. (By Linda Davidson — The Washington Post)
 

Washington Post Staff Writer
Thursday, April 9, 2009

PHILADELPHIA
 
Both ladies move about rather gingerly. It’s all the years behind them. It’s the long struggle on behalf of their Marian.
 
Blanche Burton-Lyles and Phyllis Sims are fiddling with the coffee maker in Marian Anderson’s kitchen. “Marian had this whole kitchen put in — even the bars around the windows — and it’s still quite nice,” Burton-Lyles says, moving from the kitchen to a room where there is a life-size portrait of the famous singer.
 
“What’s this?” she says to Sims, picking up a stack of mail. “My goodness. It’s the phone bill! Look at this. We gotta pay the phone bill, Phyllis. Folks downtown will turn the phone off!”
 
Sims shakes her head. It’s been a hard road keeping up Anderson’s home. Both women, who met the famous opera singer as children, visit the museum site daily. “Ain’t nobody gonna turn the phone off,” she sighs.
 
The great contralto used to live in this two-story house at No. 762 on South Martin Street, now known as Marian Anderson Way. She entertained in the basement during those inhospitable years of segregation when she feared what unkind words might ricochet her way in the city’s downtown eateries.
 
The world didn’t care much about blocks like this or the people who lived on them before Marian Anderson trooped down to Washington to give a concert at the Lincoln Memorial — arguably the most famous concert in the city’s history.
You might say she sang her way to freedom that day.
 
It was a nation-shaking event that involved White House operatives and first lady Eleanor Roosevelt. The international media covered the event, staged as a rebuke to racism after the Daughters of the American Revolution denied the opera singer use of Constitution Hall because of her color.
 
Standing there in her fur coat, before that bank of shimmering microphones and 75,000 souls, Marian Anderson became a symbol. And the closer the calendar got to the ’60s and its overnight martyrs and villains, the bigger she became. But her interviews were always brief, sometimes elliptical. She never raised her voice — save upon a stage.
 
The 30-minute performance took place 70 years ago on Easter. This Sunday there will be a tribute concert on the Mall organized by the Abraham Lincoln Bicentennial Commission and the National Park Service. Opera star Denyce Graves will sing “America the Beautiful” and “Ave Maria,” two of the pieces that Anderson performed. The U.S. Marine Band, the Chicago Children’s Choir and Sweet Honey in the Rock will also perform, and former secretary of state Colin Powell will speak.
 
But here, on a quiet street in South Philly, you can get a feel for the life she lived and the family she came from. Anderson’s home is full of memorabilia: rare photos from all around the world and dresses she brought back from Paris, old 33-rpm records and concert programs.
You might come to understand how an opera singer flew from here, through the tyranny and smoke and forgiveness of time, and became a symbol.
 
‘We Fund Us’
Phyllis Sims’s mother did public relations work for Anderson. What that mostly meant was getting word out to newspapers, radio stations and church organizations when the singer was coming home for a visit.
 
Sims waves an arm along the rowhouses. “At one time Marian Anderson owned seven houses on this block.”
 
The big stone edifice across the street is Union Baptist Church. Early in the last century, one could walk by one of the side doors on a Sunday and hear Marian’s young voice floating from the stage. (Just now an elderly woman is walking up to the side door. She’s a volunteer at the soup kitchen.)
 
Burton-Lyles, who trained as a pianist, is founder of the society dedicated to preserving the home; Sims is the curator. They get a paltry amount of funding from the city. They take donations.
 
“My mother and her grew up together,” Burton-Lyles is saying about Anderson. “So I grew up knowing Marian Anderson my whole life.”
 
In another room there’s a framed news article: “While at the Orstein School of Music, Blanche attracted the attention of Marian Anderson. On Miss Anderson’s recommendation, she entered Curtis Institute where she is now studying. Keep your eye on this young musician — she’s going places.”
 
Anderson sang before Eleanor Roosevelt, but so did Burton-Lyles: in 1948 at the Mary Dod Brown Memorial Chapel on the campus of Lincoln University in Pennsylvania.
 
Sims is climbing the narrow steps leading upstairs. She stops in a bedroom and goes into a closet. “This is the dress Marian brought back from Paris for Blanche’s mother,” she says.
 
Burton-Lyles is worried that Sims will get dehydrated: “Get a bottle of water, Phyllis. Phyllis!”
 
Sims ambles back downstairs past Burton-Lyles and into the basement.
“Everybody in South Philly had their homes fixed up like bars. They couldn’t go to the bars downtown,” she says. “This was Marian’s entertainment center. She had a bar, sofa, everything. I remember my parents took me down South. They’d pack chicken and potato salad so we wouldn’t have to stop in those segregated places.”
Neither lady will give her age. “You tell someone your age and they start thinking you can’t do this and can’t do that,” Burton-Lyles says. “Just say I graduated music school in 1954.”
 
This Story
There aren’t a lot of visitors, which both ladies lament. “If we were in Europe, people would be pouring in here all day long!” Sims says.
 
“We get a lot of people from down South who come,” Sims allows. “We get a lot of family reunions. And we get a lot of students during Black History Month. Because of our lack of funding we’re not on the tourist trail.”
 
We fund us,” Burton-Lyles breaks in. “And we get small grants from the city and state. When I say small, I mean small. Fifteen hundred, two thousand. Largest grant we ever got was for twenty-five hundred.”
 
She shakes her head.
 
Sims shakes hers, too.
 
“Sweet Honey in the Rock,” Phyllis starts up, referring to the singing group that will be featured in Washington during the Anderson tribute, “has no connection to Marian Anderson. Now I’ve been knowing Blanche — who knew Marian — my whole life. Why is she not up on that stage?”
 
Burton-Lyles just nods. If she’s heard this spiel before, she’s not tired of hearing it.
On Sunday they’ll be part of a celebratory event at a local church.
When Burton-Lyles retired from teaching, she wanted to go into real estate. “I picked that up from Marian,” she says.
 
A real estate agent was walking the neighborhood with her in 1997 and told her that 762 S. Martin St. was for sale. A renter was living in the house. “He did not know this was her address,” she says of the agent. “And I never said a word until the settlement.”
 
After paying less than $70,000 — “it’s still the ‘hood,” Sims says — for the home of the great opera singer, she came up with the idea for the Marian Anderson historical home.
 
 
‘Keepers of the Flame’
 
 
Anderson was born in 1897 and her musical gifts first drew notice when she was a little girl singing in the church choir. No local music school would accept her after high school because of her color, so she trained under the tutelage of local contraltos. She received her first recording contracts in the mid-1920s. In 1928, there was a solo show at Carnegie Hall. But racism wore on her and by 1930 she was studying and performing in Europe. Her forays across the ocean were bittersweet: Critics admired her, but her venues in the United States were limited.
 
It was 1939 when a clash around opera reverberated like a last battle of the Civil War. Anderson’s manager, Sol Hurok, had a penchant for publicity and tried to book her at Constitution Hall. The DAR, which owned the building, forbade the appearance on account of her race. Interior Secretary Harold Ickes hatched a plan, with President Roosevelt and the first lady’s approval, to have Anderson give an open-air concert at the Lincoln Memorial.
 
Housewives and government workers came; blacks born in the time of slavery and local college kids came; hotel workers, dishwashers and shoeshine men came. An article in the Pittsburgh Courier captured the event: “Although 75,000 persons jammed the park surrounding the Lincoln Memorial to hear Marian Anderson, there is scarcely any way to estimate the untold millions of whites and blacks who listened, and were softened, by this great singer as a symbol of the aspirations of her race. Into millions of homes, over the vast network of the National Broadcasting Company, she sang her message and racial prejudice was tethered by awe.”
 
In 1955, Anderson became the first black person to perform at the Metropolitan Opera. She sang at John Kennedy’s inauguration and during the 1963 March on Washington. She would receive medals from presidents and international accolades. Her private papers are housed at the University of Pennsylvania. Her former rehearsal studio in Danbury, Conn., where she lived for many years, was acquired by the local historical society in 2004.
 
Eileen Mackevich, executive director of the Lincoln Bicentennial Commission, lauds the work of Burton-Lyles and Sims. “I think they are important keepers of the flame, especially when they have limited resources,” she says. Mackevich says there is little she can do to give them a larger role in Sunday’s event. “We did invite all of the people associated with Marian Anderson’s name: the NAACP, Howard University officials. They will all be recognized from the dais. What we are trying to do is re-create the original concert, which, to my mind, has never been done before.”
 
In the mid-’60s Anderson launched a year-long farewell tour. Her very presence on a stage was something glorious and moving. It was as if she herself had become a monument.
 
She refused to live with anger. “You lose a lot of time hating,” she once said.
 
In 1992, a nephew moved her to Portland, Ore. In some of the last photographs taken of her, her hair is white and her face glows. She died on April 8, 1993. More than 2,000 mourners attended a memorial service at Carnegie Hall.
 
‘We’re All Artists’
On some mornings, Burton-Lyles or Sims would come to the door here and find another soul wild about Marian Anderson handing over an item for the home.
 
“A person sent us an article in Russian!” Burton-Lyles says.
 
“Aw honey, people send us articles from all over the country,” says Sims. “Lot of concert programs, too.”
 
“Got a program from Cuba,” says Burton-Lyles. “It’s there on the wall. Phyllis, this coffee is so good!”
Sometimes a neighbor will come and help them tidy up. Other than that, it’s a threadbare operation.
 
“I’m sorry if it feels a little cool in here,” Burton-Lyles says. “We don’t have the heat on. Too expensive.”
 
In February the two women hosted a Marian Anderson Classical Icon Vocal Competition.
 
First prize was $10,000. Burton-Lyles had expected a corporate donor to come through, but it didn’t happen. She dug into her own savings for the cash.
 
For the better part of five hours, not a single visitor has dropped by. They seem undeterred.
 
“It’s mostly by appointment anyway,” Burton-Lyles says.
 
On Saturday evenings Burton-Lyles gets all dressed up and goes over to the Union League, a civic group founded during the Civil War. She’s the entertainment; she plays show tunes. “I play all requests,” she says. She’ll take the tips and pour them right back into the Marian Anderson home.
 
“What we really want to do is have a traveling exhibit,” Sims says. “I could give a historical reading about Marian and Blanche could play the piano.”
 
Burton-Lyles’s ex-husband and her son have passed away. “He was 31 when he passed,” she says of her son. Sims is single. She has a daughter who lives in Chicago.
 
They’ve got each other and they’ve got Marian.
 
“We were all born in South Philly,” Sims says of herself, Blanche and Marian. “We’re all artists. And we’re all Pisces.”
 
Burton-Lyles turns to riffle through another stack of unopened bills. The voice of Anderson singing “Ave Maria” can be heard from the next room.
 
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ON THIS DAY IN BLACK MUSIC HISTORY: APRIL 13

#1 R&B Song 1974:   “Best Thing That Ever Happened To Me,” Gladys Knight & the Pips

 

Born:   Al Green, 1946; Peabo Bryson, 1951

 

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1957   Richard Berry & the Pharoahs’ original version of “Louie, Louie” was released. It went relatively unnoticed until 1963, when the Kingsmen made it into one of America’s all-time party records.

 

1963   Jackie Wilson’s “Baby Workout” peaked at #5 pop but spent three weeks at #1 R&B. Meanwhile, across the Atlantic, Little Eva brought “Locomotion” to the Olympia Theater in Paris.

 

 

 

1970   Dionne Warwick performed at London’s Royal Albert Hall.

 

1985   “We Are the World” by USA for Africa reached #1 in America and stayed there for four weeks.

 

1999   Tina Turner, Whitney Houston, Mary J. Blige, TLC, and Cher performed at New York’s Beacon Theater for VH-1’s Divas Live ’99 show.

 

2000   Revlon sponsored their tenth-anniversary Carnegie Hall Benefit Concert to protect the rainforest, with performances by Gladys Knight, Martha Reeves, the Impressions, and Percy Sledge.

 

File:Gladys Knight aboard USS Ranger (CV-61), 1981.JPEG
Gladys Knight and the Pips perform aboard the aircraft carrier USS Ranger (CV-61) on November 1, 1981, during the special Suzanne Somers show.

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“THE PRINCESS AND THE FROG” RELEASE DATE SET FOR DECEMBER 11, 2009

I am late posting this, but, for those interested in keeping tabs on the upcoming Walt Disney Animation Studios release, “The Princess and the Frog“, here is a news article on the date change of the film’s slated release.
 
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DISNEY MOVES UP ‘PRINCESS’ RELEASE
 
 
March 10, 2009
 
Disney has moved up the nationwide release of “The Princess and the Frog” from Christmas Day to Dec. 11.
 
 
'Princess and the Frog'
‘Princess and the Frog’ will bow Dec. 11 instead of Dec. 25.
 
Studio also announced that “Princess,” a traditional animated musical set in New Orleans, will open exclusively in New York and Los Angeles on Nov. 25.
 
In its old date, “Princess” would have gone up against 20th Century Fox‘s holiday family tentpole “Alvin and the Chipmunks: The Squeakuel.”
 
“Princess” has far more breathing room with a Dec. 11 opening. So far, the only other film skedded to debut that weekend is Peter Jackson‘s “The Lovely Bones,” from DreamWorks and Paramount.
 
The Mouse House will use the L.A. and Gotham runs to build word of mouth, taking advantage of the Thanksgiving holiday.
 
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Hmm.
Methinks Disney Studios is afraid the “Princess” cannot stand up to some competition this fall.
Then again, from reading the article, I found out where Peter Jackson is producing “The Lovely Bones.” Having read the book, I wonder how he will handle its delicate and tragic subject matter?
 
I’ll find out when the movie is released this fall.
 
It remains to be seen how Disney Studios will promote their newest princess.
 
 
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