#which is inspired by Aretha Franklin apparently

[mabelsguidetolife]

pros: got a really really nice perfume sample in the mail

cons: the whole bottle costs like 200 dollars

[inthedayswhenlandswerefew]

But You Can Never Leave [Chapter 6: Something Borrowed, Something Blue]

I’d like to give a very special shout out to @killer-queen-xo​ and the insightful prediction she left on Chapter 5 about Y/N and the camera...you were close! 😉

Chapter summary: Y/N breaks a promise; John gives a gift; Freddie has a request; Roger makes a scene.

This series is a work of fiction, and is (very) loosely inspired by real people and events. Absolutely no offense is meant to actual Queen or their families.

Song inspiration: Hotel California by The Eagles.

Chapter warnings: Language, creepy male behavior.

Chapter list (and all my writing) available HERE

Taglist: @queen-turtle-boiii​ @loveandbeloved29​ @killer-queen-xo @maggieroseevans​ @imnotvibingveryguccimrstark​ @im-an-adult-ish​ @queenlover05​ @someforeigntragedy​ @imtheinvisiblequeen​ @joemazzmatazz​ @seven-seas-of-ham-on-rhye​ @namelesslosers​ @inthegardensofourminds​ @deacyblues​ @youngpastafanmug​ @sleepretreat​ @hardyshoe​ @bramblesforbreakfast​ @sevenseasofcats​ @tensecondvacation​ @bookandband​ @queen-crue​ @jennyggggrrr​ @madeinheavxn​ @whatgoeson-itslate​ @brianssixpence​

Please yell at me if I forget to tag you! :)

“Welcome!” Mary chimes as she opens the door for you, then her eyes flick down to the gift bag decorated with Santa hats and sprigs of holly. “Oh, love, we said positively no presents!”

“It’s just something small, I promise. Very inexpensive.”

“She’s here!” Freddie announces with a flourish of his hands, leaping up from the couch. The apartment he shares with Mary is tiny and very cluttered, and absolutely none of the decorations match. The walls are a collage of Bohemian tapestries and family photos and prints of Rococo-style paintings and magazine cutouts of articles about Led Zeppelin, Jimi Hendrix, The Beatles, Aretha Franklin, Elvis Presley, Queen. Freddie pecks you on both cheeks; Blue Christmas is drifting from the record player. You’re suddenly aware that the apartment is brimming with the scent of baking cookies. In the living room, Roger, Brian, and John are hanging strings of popcorn and paper ornaments on a short, rather scruffy Christmas tree. There is a vast array of presents scattered around the tree stand; all are small, with the exception of one large square box swathed in silver and sapphire wrapping paper.

“I see no one else respected the no presents rule either.”

“You Bostonians and your insatiable need to rebel,” Freddie quips, shooing you towards the tree.

“Y/N, look at this,” Chrissie says from where she and Veronica are sitting on the couch threading popcorn. She’s frowning and holding up a piece of paper cut into the shape of a Pontiac Firebird. “Will you please inform Roger that this is not Christmas themed?”

“Awww!” You grin as she hands it to you. He’s even drawn on a windshield, headlights, and a smiley face floating behind the steering wheel. “Let him hang it, Chris. It’s the only car he’s going to be able to afford for a long time.”

Roger bounds over and embraces you, nearly knocking you over. “This is why you’re my favorite American in the entire world. Possibly my favorite person period. The love of my life.” He takes the paper Firebird and impales it on an ornament hook, then combs through the tree branches for an ideal location.

Brian points heatedly at Roger. “If he gets to hang the damned Firebird then I get to hang my Saturn!”

“Look what you’ve done,” Chrissie tells you, but she’s smiling. She’s wearing a gorgeous green velvet dress and pieces of mistletoe weaved into her long dark hair. Veronica is beside her in a chunky red sweater and denim skirt, not particularly flashy yet festive nonetheless; she waves to you as she pushes pieces of popcorn one by one down the string. She’s wearing makeup tonight, which is unusual. Her lace-white cheeks are tinged with rouge, her slate-blue eyes rimmed by lavender shadow. Freddie and Mary are removing a sheet of cookies from the oven and quibbling over whether they’ve browned enough.

Roger gestures to the gift bag as you place it under the tree. “You better not have spent your own money on that.”

“Oh, tons. It’s diamonds and gold and a dash of overpriced modern art, just to spice things up.”

Roger growls theatrically in his high, raspy voice. Brian stands back and admires the tree as John loops a strand of multicolored Christmas lights around it.

“It’s actually very modest,” you assure Roger. “Not impressive at all. Chris helped.”

“You enabled this behavior?!” Freddie scolds Chrissie as he traverses the room with an overflowing plate of chocolate chip cookies.

She sips cheap red wine impishly and shrugs. “I know a girl in fashion school, I can get their extra yarn if I buy her a cup of tea and pretend to care about her disastrous love life.”

You smirk. “Disastrous love life? I’ve got one of those.”

“You knitted something for us?!” Roger shouts, delighted.

You wiggle your fingers in the air. “What can I say? I’m good with my hands.”

Roger groans. “Don’t tease me.”

“You certainly are,” Brian tells you. “That roadie who busted his forehead open got fixed up straightaway.”

“That was literally two stitches. Head wounds just bleed a lot, it looked way worse than it was.”

“Well,” Brian insists. “I was impressed.”

Freddie claps his hands, slick obsidian nail polish gleaming. “Ahhhh, I’m so excited! What have you made for me, love? Oh, I hope it’s a nice thong.”

“It’s probably not,” Chrissie says.  

Mary pours you a glass of wine and glances around the room. “Does everyone have enough cookies? Drinks? Veronica, dear?”

“I suppose I could use a refill.” She passes Mary her glass and smiles as John sits beside her on the couch. You’ve never quite been able to figure out Veronica; she’s cordial yet removed, kind yet wary, extremely dogmatic in her Catholicism and yet simultaneously socializing with rock stars who are unmistakably living in sin. Her most redeeming quality, as far as you’ve observed, is her steadfast devotion to John...or, perhaps, to the life she’s envisioned they could build together. She rests her hand on John’s thigh and glances coolly at you as you pretend not to notice.

Mary returns with a fresh glass of wine for Veronica. “Alright. Should we start with you, Y/N?”

“What, for the gift exchange we all promised wasn’t happening?” You grin. “Sure, I’ll start.”

You open your Christmasy bag and start doling out small boxes. It’s December 23rd, and Queen is enjoying three weeks off for the holidays before the Sheer Heart Attack Tour resumes. The next show is in Columbus, Ohio—not exactly a cultural mecca, it’s true—followed by a scattering of stops across the continental United States. Half of you is thrilled, especially for the night the band will spend in Boston; the other part of you is dreading it. You don’t talk to Roger about what he does with groupies on tour—or what Brian does, or what Freddie does—and Rog doesn’t mention it around you either. He asks you to join him after every show, for dinner or drinks or clubbing; and you tell him no (though it’s never easy to) and try not to think about the apparent eventualities of stardom. Then Roger goes one way, and you go another.  

“Let’s see, what do we have here...” Brian begins prying open his box with long careful fingers.

“You can’t judge me,” you plead. “I’ve only had the tour break to work on them, and I’m really not an expert knitter or anything, and I—”

“Oh, it’s lovely!” Freddie gushes, holding his black and white striped hat aloft for everyone to see. He pulls it on over his silky hair and turns to Mary. “What do you think? Am I dashing?”

She beams as she kisses him. “Overwhelmingly so.” And you think about how being on the road feels like one dimension, and being here in London another. Here, fidelity and domesticity; there, freedom from the familiar world and all its browbeating rules.

“Mittens!” Brian proclaims joyfully. They’re an olivey green, and just large enough for his hands. “They’re so comfy, feel these Chris...”

Roger whips his hat out of the box; it’s very fuzzy and a fiery red with flecks of burnt orange. “I’m obsessed! I adore it! I’ll never take it off!”

“I can’t believe you did all this,” John says. He’s sliding on his mittens, which are a soft greyish blue. “This must have taken you days.”

“It’s Christmas! You’re supposed to slave away for the people you love at Christmas. And you’ve all done so much for me, the scales will always be hopelessly lopsided, don’t you worry.”

“The color is beautiful,” Veronica observes as she touches John’s mittens, but perhaps guardedly.

“They match his eyes!” Freddie exclaims; and they do. “This is delightful, Nurse Nightingale. Truly. How can I ever repay you?”

A smile ripples across your face, full of serenity and relief. They really do like the presents. I didn’t stay up until 4 a.m. knitting for nothing. “The cookies and wine are more than sufficient. I’m so sorry I didn’t have time to make anything for the ladies, but hopefully your charming future husbands will share and there are chocolates in the bottom of the boxes for you—”

“Oh please,” Chrissie snaps. “You’ve already made the rest of us look thoughtless enough. Kindly shut up and drink your wine now. Thank you, obnoxious Bostonian.”

You laugh as Chrissie distributes her and Brian’s gifts for everyone. She decreed weeks ago that you’ll spend Christmas Eve and Day with her family in Dartford. You can help me keep Brian distracted and in good spirits, she’d told you. His father is livid about us living together without being married, and I’m petrified Bri will give himself another ulcer over it.

Inside the small boxes Chrissie passes out are fancy teabags that smell like pomegranate and peppermint. Freddie and Mary dispense pouches of little pink soaps shaped like dolphins and seashells. John and Veronica give everyone homemade candles, which are either ruby red or evergreen. Roger has picked out three novelty mugs: Led Zeppelin for Brian and Chrissie, cats for Freddie and Mary, and raining gold coins for John and Veronica.

“Well I hope that’s prophetic,” John jokes.

“I don’t get a mug?” You’re trying not to show it, but you are hurt that he forgot you.

“No, you don’t.” Roger rummages around under the tree and passes you the large square present wrapped in silver and blue paper. Chrissie and Mary whistle and clap.

“Oh, big spender!” Freddie chastises.

“Roger, no,” you breathe, horrified.

“Roger, yes!” He drums the coffee table eagerly. “Open it.”

“No real presents allowed! You don’t have the money—”

“Are we married?” Roger asks.

You blink at him. “What?”

“Are. We. Married?”

“Not to my knowledge.”

“Then you don’t get to tell me what to do with my very tiny sliver of earnings that the record company doesn’t steal.” He grins. “Now open it.”

Slowly, cautiously, you tear through the wrapping paper as the others hover on the edges of their seats. John is squinting suspiciously. Roger balls up his fists and presses them to his smiling lips. You open the top flaps of the box.

“No.”

“What is it?!” Mary begs. “The anticipation is agony!”

“Yeah, love of my life,” Roger taunts, his blue eyes luminous. “What is it?”

Carefully, you lift it out of the box. It’s brand new and shiny and perfect.

“A camera!” Freddie cries.

“A Canon F-1, to be precise,” Roger says. “And a manual too. For our aspiring wildlife photographer. Us feral musicians being the wildlife, of course.”

“Roger...” You reach for him instinctively, and he rushes over to wrap you in a hug. “Thank you so much. I don’t know why you would do this for me.”

He laughs. “Because you’re the best gift I ever got, Boston babe!”

“Let’s give it a try!” Freddie plucks the camera from your hands and begins loading film. “Alright, click this...press that...oh fuck, how do I do this?! Deaky, come over here. You can fix anything.”

“Sure thing, Fred.” John readies the camera in just a minute or two, no longer than it takes Mary to refill glasses and send around another plate of cookies. He looks a little ashen to you, a little stunned; but when you ask him if he’s okay, John just smiles and nods.

Freddie snaps photos of Brian and Chrissie as they snuggle on the couch, of John posing sheepishly in front of the Christmas tree, of Veronica waving as she nibbles a chocolate chip cookie, of Roger in his flame-colored hat. Then Roger makes sure you get your camera back, and it’s your turn to take the pictures. You sit beside the tree, the kaleidoscopic glow of Christmas lights speckling the walls like stars, and collect still frames of memories like catching lightning bugs in jars, like it’s July instead of December, like it’s the heart of a year instead of the end. After a while Freddie comes over to sit next to you, to toast wine glasses with you, to make fun of your flushed cheeks. Then he watches as you gaze at Roger from across the room. Rog is trying on Brian’s mittens and clapping his hands like a seal, grinning hugely, flashing his pointy little canine teeth. And despite all those oh-so-rational promises you’ve made to yourself, you begin to wonder.

“Don’t do it,” Freddie says quietly.

“Don’t tell me what to do,” you sling back, pleasantly tipsy. And then: “Why not?”

“Because I like having you around. And if you do this, eventually you won’t be around anymore.”

When you’re finally exhausted enough to drag yourself away from them and catch a taxi, John follows you out into the hallway of the apartment building.

“I have one more gift for you.”

“John, no, absolutely not, I am thoroughly unworthy—”

“Stop.” He pulls a thin, rectangular item from behind his back. It takes you a moment to recognize it.

“Your notebook...?”

“I know it’s not wrapped.” He’s anxious, you realize, shifting his weight from foot to foot. “I kept trying to work up the nerve, and I still wasn’t sure about it when we came over here, and now, well...here I am.” He gives the notebook to you, and you open it, and you gasp in awe.

Inside are sketches from Rome: the concert, the temples, the museum, the beach on that cool breezy afternoon, and, best of all, the people you shared the city with. You and Roger laughing in front of a statue of Perseus. Brian and Chrissie contemplating ruins. Freddie hunched over a piano, his dexterous hands stretched across the keys. And you sitting in that sweltering, fire-lit corner of the Italian restaurant, smiling from behind a glass bottle of Coke. You trace your fingertips over your own face; it’s blissful and peaceful and beautiful in a way that you’ve never seen yourself. “John...”

“Because, you know, you said that you wanted to document the tour so you could remember it all, and I figured...since you didn’t have a camera...maybe this would be better than nothing.”

“It’s a lot better than nothing, John. It’s incredible.”

“They’ll do for now. You won’t need drawings anymore,” he notes, somewhat mournfully. “You can put them on your refrigerator until you have photos to replace them with.”

You shake your head, still staring. “The way you captured my face...”

He shrugs, smiling crookedly. “I just borrowed it.”

“Thank you.” You climb onto your tiptoes and wrap your arms around the back of his neck. He’s warm and gentle; his fluffy hair tickles the sensitive undersides of your wrists.

“Happy Christmas,” he whispers to you; happy, not merry, like a true Englishman. And he’s right. You can’t remember a time you’ve been happier.

~~~~~~~~~~

The phone rings like a scream, like shattering glass. It wrenches you out of that fogged, heavy precursor to sleep and your hand fumbles from beneath the covers to grab the receiver. The cord bounces clumsily against your nightstand and nudges the blush-colored conch shell that lives there.

“Hello...?”

“Darling, there’s an emergency.”

You bolt upright in bed. “What happened? Are you okay? Is the band—?”

“There’s going to be a party on New Year’s Eve and you have to come.”

You groan and fall back into the embankment of pillows. “Fred, that’s not an emergency. Jesus christ. I thought someone died.”

“Then you should be overwhelmed with gratitude for your friends’ continued existence and delighted to join us!”

You glance at the calendar tacked to your wall. “That’s tomorrow, right?”

Freddie scoffs. “Of course it’s tomorrow! Some bloke from the record company is hosting and I need a date. Makes me more marketable or something. Mary can’t come, she’s got the flu. So you’ll have to take one for the team and play the adoring paramour. Shouldn’t be too heavy a lift. I’ve been informed that I’m very adorable.”

“Make Roger do it.”

There’s an edge to Freddie’s voice when he speaks. “They aren’t quite that progressive, dear.”

“I’m really more of a museums and restaurants person than a getting coerced into socializing with strangers person, if I’m being completely honest with you.”

“You’ll survive,” he replies brusquely. “Chrissie and Brian will be there. You’ll have fellow boring people to hide in a corner and eat biscuits with and discuss planetary movements or whatever the fuck.”

“Great. Roger and John are coming too?”

“Not Deaky. He already has plans with Veronica’s family and can’t weasel out of them. It’s not like he would schmooze anyone anyway.”

“Oh.” That disappoints you, more than you thought it could. “Maybe I have plans I can’t weasel out of, ever think of that?”

Now Freddie sounds amused. “You don’t.”

“How do you know?”

He laughs. “Because there’s no one you love in London more than us.”

~~~~~~~~~~

The paramour ruse doesn’t go very well; within twelve minutes Freddie has abandoned you and is guzzling martinis with Elton John and some record company guys you don’t recognize, pointy party hats on their heads and silver balloons bobbing against the ceiling. It’s not 1975 yet, but it will be soon. The mansion is decked with suits and ballgowns and expensive-looking vases perched precariously on end tables. Elegant white columns rim the vast living room. You, Brian, Chrissie, and Roger are chatting nervously by a massive punch bowl carved in ice, swiping appetizers off the waiters’ trays and trying not to break anything.

“I feel completely useless,” you say, nodding to Freddie.  

Chrissie chuckles. “I think he just wanted you to be here. He thinks you’re good luck, you know. All our fates turned around when you showed up.”

Roger points at you with his punch glass. “Your people specialize in witchcraft, don’t they?”

“Oh, so close. That’s Salem, about thirty minutes up the road. No witches in Boston.”

“Hmm. Sounds like something a secret witch would say.”

You brandish your hand through the air. “I summon more mini crab cakes.”

The others glance around. “It didn’t work,” Chrissie observes sadly.

Brian sips his punch, which is bubbling and a vivid red. “Maybe you have to invoke Satan first. I saw a toy poodle on the couch you could sacrifice.”

“Yes, yes,” Roger agrees. “Just toss it in the oven and see if anyone notices.”

You throw your head back and laugh. “Now that would make a fantastic impression.”

Roger grabs your empty glass, plops it on a passing waiter’s tray, and takes your hands in his. They’re rough and strong, and they feel a little too good. “Alright, are you going to dance with me now?”

“Roger...”

“Don’t harass her,” Chrissie warns. “She’s here, she’s working on conjuring more snacks, she’s under no obligation to dance with you on top of all that.”

He frowns at you, those intense blue eyes bright beneath shagging bangs. “Really?”

You smile, reaching up to straighten the collar of his sparking rainbow jacket. “If you’re still interested in 1975, you can ask me then.”

“Yes ma’am.” He grins triumphantly at Chrissie, and she smirks back. “Can someone kindly tell me what that clock over on the mantle says? Obviously I can’t see that far.”

“11:19,” Brian says.

“Fantastic. I’ll be back.” He winks at you, then looks to Brian. “Stay with her, will you?”

“Sure.”

Roger lights a cigarette and saunters away, smoke drifting around him. Several young women—escorts or daughters of producers or soon-to-be-ex-girlfriends of musicians—descend upon him and start asking about Killer Queen. Roger is radiant when he replies, enchanting, wearing charisma like a snake’s skin, climbing ever onwards up the rungs of the social ladder; and you think about how there’s Home Roger and Tour Roger—though he felt like home in Boston, and  though he feels so distant now—and how any woman who chooses him will have to spend her life watching him devour other people’s love from across the room, from across the world.

“Be careful,” Chrissie tells you softly.

“He won’t be back at midnight.” You pour yourself a fresh glass of punch, avoiding her eyes, hiding your disappointment...or, embarrassingly and infinitely worse, perhaps your hope. “They’ve been staring at him all night. And he’s noticed.”

“Oh, honey...” Chrissie rubs your bare shoulder, not knowing what else to say.

“It’s fine,” you tell her. And you plan to drink until it feels like it is.  

Some guitarist from Genesis appears to introduce himself to Brian, and Bri leaps into a fevered discussion of how much he admires the band’s work and how he built his Red Special and the merits of guitar techniques that sound like Russian or Japanese to you. Before you know it, the mysterious Genesis man is hauling Brian off to present him to someone equally important. Chrissie shoots a worried glimpse at you as she follows Bri away.

“Go!” you insist, forcing a smile. Just abandon me in this super intimidating mansion full of rich important strangers and breakable museum artifacts, that’s totally cool.

“We’ll be back in five minutes, I swear.”

You wave cheerfully. “Take your time!” You peer at the clock. Thirty minutes until midnight.

As you’re dishing yourself yet another glass of punch, a man in a posh white suit approaches from the other side of the table. “Are you hiding from people as well?”

“Not too successfully, apparently.”

He recoils and raises his eyebrows. “My apologies. Want me to disappear?”

You almost say yes—it wobbles on your lips like an unsteady toddler—then you reconsider. He’s tall and blond and polished; he looks a bit like Roger from an alternate universe where Rog went to boarding school and plays polo. More significantly, he could be someone important, someone the band needs, someone you don’t want to offend. “No, I’m sorry, that was so impolite. Please forgive me. My judgment is quite impaired, that’s my excuse, I blame the punch. Also I’m a New Englander and thus inclined to be uncooperative towards Brits.”

He laughs, a full genuine laugh; and it feels like a victory. See? I’m clever, I’m charming. Anyone would be lucky to have me. “I’m Eric.”

“Y/N.”

“It’s a resounding pleasure to meet you, Y/N.” He gestures towards the open area on the floor where buzzed men and giggling women are tripping over each other. “There’s no way I could interest you in that, is there?”

You ponder it, nursing your fourth punch. You aren’t much of a dancer, that’s true; and this handsome stranger of a man isn’t Roger. But he might be able to get your mind off him.

You sling back the rest of your punch and slam the glass down onto the table. “Okay. But only because there’s an Eagles record on.”

“Deal.”

He follows you to the dance floor, weaves his fingers through yours, sways easily with the music. Eric tells you that he’s from up north, in the Lake District; his family owns an estate that used to be the seat of an earldom or something. He describes endless emerald hills and castles and horse farms until your mind starts to swim, until the effects of the punch and scant appetizers roll over you like a wave.

“Okay,” you announce dreamily. “Thank you so much, Eric. This has been lovely. But I have to go sit down now.”

“Oh come on, one more song!”

“I’m flattered, but I have to pass. Maybe after midnight...” You move to pull your hands away, but he doesn’t let go. His fingers are locked with yours. You try again. Eric’s still smiling, but his eyes have gone flinty. Oh no. You look around for Freddie or Brian, both of whom have vanished.

“One more, come on,” he presses. “I insist.”

“Eric, I’m really dizzy—”

“Don’t be rude. We’re having such a nice time, aren’t we?”

“Please let go of me.” You try to keep your voice level, try not to offend him. Everyone around you on the dance floor is laughing and drinking and smoking, not paying any attention at all.

“Look, you said you’d dance, so that’s what we’re doing. Am I suddenly not good enough for you?”

“Seriously, you need to let go.” You try to tug your hands away. Your heart is racing, blood rushing in your ears. The room is listing to the right, now the left. You realize that Eric is gradually leading you away from the center of the room and towards a quiet hallway. I can’t let this guy get me alone. I’m weak and I’m drunk, and I don’t know what he’ll do to me. You struggle harder, more visibly. His grip on your hands tightens. “Let go, Eric, let go of me!”

“Calm down, bloody hell lady, I’m just trying to—”

And then Eric is ripped away from you and his face smashed with vicious force into the nearest column. You scream, your hands covering your gaping mouth; the room goes silent. Eric crumples to the floor, unconscious. Blood pours from his broken nose and litters his white suit with crimson blotches and smears. Droplets drip crawlingly down the column. Roger stands over Eric, shirt completely unbuttoned, jacket rumpled, shadows of lipstick peppering his neck and chest. He wipes his own palms on his rainbow jacket, scowling, disgusted. Then he turns to you.

“Ready to go?”

“Roger, I...” You gaze in shock down at Eric. I hope he’s not dead. That might make things awkward with the record company. “I-I-I’m so sorry,” you manage finally. “I’m sorry, Roger, I didn’t mean to interrupt anything—”

“No, I’m ready to go.” He lays his hand on the small of your back and guides you towards the front door, grabbing both of your coats off the rack. “Let’s go.”

“Okay.” And relief floods through you. Okay.

Brian pushes his way out of the stunned crowd as Roger swings the door open. Frigid air skates over your cheeks. “Rog, what happened?!”

Roger glares savagely. “When I tell you to stay with someone, you fucking stay with them.” And then he steps with you out into the bitterly cold, nearly-January night.

“It’s not his fault,” you explain as you and Roger hurry down the sidewalk, your words spinning mist into the air. “Some guy from Genesis showed up and you know how Bri is about them, and I told him and Chris to go, please don’t be mad—”

“Are you alright?” He’s scrutinizing you closely; you can still see the rosy lipstick stains on his skin as you pass beneath each streetlight.

“I’m fine, I’m completely fine. Please don’t be mad.”

He narrows his eyes. “Well obviously I’m not mad at you, babe.”

“Oh god, I hope this doesn’t hurt the band. I don’t know who that guy was with. You broke his nose, you know.”

“Good.”

You shake your head, trying to chase away those ghosts of lipstick and the girls who left them there. I won’t fall in love with him. I won’t fall in love with him. “I know you were busy, I know the party was important, I know I ruined midnight for you—”

“You didn’t ruin it. We still have a few more minutes. We’ll duck into a pub somewhere and have a pint to welcome in the new year, it’ll be grand. Maybe get you some food. You look like you could use it.”

“I just...” You bury your numb, shaking hands in your coat pockets and brace yourself against the cold. “You left the girls. Left the party. I just don’t understand why you would do that.”

“Are you serious? Obviously I’m going to drop everything if you need me. I’m always going to do that.” He pulls his fiery red, hand-knit hat out of his coat pocket and slips it over your wild, windswept hair. “You’re still on my list, you know.”

You sigh. “You’re a smart man, Roger Taylor, but that’s the dumbest idea I’ve ever heard.”

“What,” he says, a tad bitingly. “Because I can’t promise you a picket fence and precisely two well-mannered, unremarkable children and a golden retriever? You’re right, I’m not going to promise you that. Because that’s not who I am. That’s not who you are either, by the way. But I can promise you that your life will never feel like a cage. And isn’t that what this was all about for you anyway?”

And that stops you, here in the cold dark heart of London, here beneath a cascading streetlight on the opening page of 1975. Because Roger’s right.

He takes your left hand and lifts it to his lips, and you know exactly what he’s going to do even before he oh-so-feather-lightly bites your goosebumped knuckles. “Look, forget about it. Don’t worry. Don’t freak yourself out. We’ll get a drink, we’ll watch the fireworks, and then I’ll walk you home. No questions, no answers. You just let me know if you ever change your mind, okay?”

You watch Roger, his cheeks ruddy from the wind, halos of streetlights reflected in his eyes. And you echo: “Okay.”

[tomeandflickcorner]

Episode Review- The Real Ghostbusters: Don’t Forget the Motor City

Well, I’ll give them this much- it was a pretty interesting plot. Too bad the payoff seemed forced.

It seems Peter has went and bought himself a new car, a Y-car model from Generous Motors.  (Obviously, Generous Motors is a parody of General Motors, with the Y-car supposed to refer to GM X-cars, such as the Buick Skylark and Pontiac Phoenix.) The episode opens with Peter cruising around the city, with the windows rolled down as he beatboxes (or whatever it is they call that).  But right when he catches the eye of a pretty woman in the car next to him, his new car stalls at a green light.  The car horn also starts going off non-stop, forcing Peter to get out and check under the hood to see what’s going on.  It doesn’t seem like he can solve the problem, but he does manage to limp the car back to The Firehouse, where everyone looks on in confusion when Peter snaps and rips out some cables from under the hood.  While that does stop the car horn from going off, the car ends up exploding moments later.  

As one might expect, Peter gets really worked up over this, venting how he spent thousands of dollars on that car so he could join all the other motorheads in cruising about the city.  And he has a bit of a tantrum about it, accusing all the other motorheads of laughing at him.  Eventually, Egon, Ray and Winston manage to talk sense into him, so Peter decides to call up the president of Generous Motors to complain.  But, by sheer coincidence, the president of Generous Motors, Mr. Abernathy, actually calls them before Peter could even begin to dial. It seems that nearly every single Y-car produced by the company has been malfunctioning, with some of them even blowing up in the assembly line.  So Mr. Abernathy wants the Ghostbusters to come in and check it out, as he suspects the problem might be supernatural in nature.  Peter readily accepts the case, announcing that they’ll be on the next plane to Detroit.  He even speculates that maybe they’ll meet the Queen of Soul while they’re down there.

When the Ghostbusters arrive in Detroit, they head right over to the Generous Motors assembly plant.  Sure enough, cars are exploding right on the assembly line, just like Mr. Abernathy had claimed.  When Egon consults his P.K.E. Meter, however, he determines there is something paranormal going on, but he’s not detecting any ectoplasmic entities.  Trying to get to the bottom of things, Egon questions Mr. Abernathy if it’s possible any of the assembly plant workers might be behind things.  But Mr. Abernathy states that’s impossible, as the workers are just as upset as he is. At that moment, one worker suddenly runs up, shouting about some manner of disturbance going on in the break room. The Ghostbusters immediately head to the break room to check it out, seeing what the problem is right away. All the vending machines in the break room are going haywire, launching out sandwiches and snacks and pelting out soda cans in rapid succession.  At first, the Ghostbusters can only seek cover by turning the tables into makeshift shields, along with some occasional jokes about how well-stocked the vending machines are, as well as how the food they’re dispensing is some high-end stuff. Eventually, Winston directs their attention to the place where the vending machines are plugged into the wall. While continuing to use the break room tables as shields, they make their way over and manage to unplug the vending machines, which immediately halts their assault.

At that moment, however, Egon’s P.K.E. Meter starts going off. Which alerts their attention to the presence of some strange looking creatures lurking in the corner.  The creatures all scatter upon being spotted, but Egon realizes instantly what they are, announcing that they’re dealing with gremlins.

During another interview with Mr. Abernaty, the whole story starts to become clear.  It seems that 40 years ago, this factory had been used to build planes used in WWII. And when the war ended, this particular wing of the factory fell into disuse.  But recently, when production of the Y-car began, the company ended up opening up the defunct area of the factory again to run the new assembly line through it.  So obviously, this episode was playing around with the whole legend surrounding gremlins sabotaging WWII planes.  Except these gremlins were left with nothing to do for the past 40 years, as the part of the factory where they were dwelling was no longer building planes.  So when they started building cars there, the gremlins returned to work.  Well played, show! That’s actually a pretty clever premise!

Of course, the question is how to go about resolving the issue, as Generous Motors will suffer if they can’t keep producing their cars.  Mr. Abernathy suggests simply chasing the gremlins out of the factory so they could go invade someone else’s factory.  The Ghostbusters shut that solution down quite quickly.  Instead, they decide to figure out how to catch them. Winston points out the obvious issue.  Their equipment was designed to capture ghosts. But the gremlins are not ghosts, so they’re going to have to use their wits to deal with this.  They decide that their first step is to figure out which area of the factory the gremlins congregate around.  To do that, one of them has to travel along the length of the assembly line and watch for the gremlins to come out.  The Ghostbusters pretty much force Winston to volunteer, so he rides along on one of the car frames traveling down the assembly line.

When Winston reaches the spot where the seats are installed to the car, the gremlins appear.  Before he can do anything, the gremlins end up tying him down with the seatbelt.  They then start to swarm around Winston, singing a song about how much they love to trash cars.  By the time the car reaches the spot where the other Ghostbusters were waiting, it’s been fully constructed with the gremlins’ own unique design. But then, for some reason, the car starts to shift form, becoming a literal transformer.  However, the Ghostbusters know they can’t really shoot at the gremlin-built transformer since Winston is trapped somewhere inside, and they’re not sure where exactly he is within the large robot.

Fortunately, Egon and Ray are able to figure things out. Realizing that this transformer monster is still technically a car, Ray manages to stop it by locating the gas cap and siphoning out the gas using the old hose straw method.  When the transformer is out of gas, it instantly falls apart, releasing Winston in the process.  Winston, understandably, is not happy over how the gremlins trapped him like that, so he tries to retaliate by shooting them with his Proton Pack.  But somehow, the gremlins have managed to rewire Winston’s Proton Pack as well.  And instead of firing off an Ion Stream, it shoots out streamers.  (I didn’t know you could do that.)

Once again, Egon and Ray are able to come up with a plan. Using Ray’s knowledge of cars and Egon’s own brilliant ability to invent things, they manage to construct a car that is supposed to be indestructible.  Leaving a trap for the gremlins, they place the car out in the open and proceed to sit and wait.  Before long, the gremlins come out and, unable to resist the urge to destroy mechanical objects, they go for the car Egon and Ray constructed.  But right when they start to wreck it, the car ends up transforming into a completely different car.  (HOW?!)  Apparently, this process is supposed to go on forever, so the gremlins will be kept busy for a very long time.  And, to ensure that the gremlins are kept focused on the endless loop of Egon and Ray’s reconstructing car, the Ghostbusters, with a huge contribution from Peter, manage to drop a large glass dome over the gremlins and the car.

So the gremlins are now contained indefinitely, with the reconstructing car keeping them occupied.  Mr. Abernathy personally thanks the Ghostbusters for saving the factory and rewards them with a check for a substantial amount of money.  Peter then asks Mr. Abernathy for one last favor- introducing them to the Queen of Soul.  It then cuts back to the Firehouse, where Janine and Slimer are both reading as the Ghostbusters return home from Detroit.  And they’re singing ‘Respect,’ which is a pretty clear indicator that the Queen of Soul they kept mentioning is Aretha Franklin.

Yeah, so the way they defeat the gremlins is a bit nonsensical. Really?  A car that can magically transform into a completely different car? Yeah, I get Egon is supposed to be a brilliant inventor and all, and Ray is really good with cars.  But seriously, they have this sort of technology in this world? Honestly, I think there could have been an easier solution to the problem. Yes, the gremlins’ whole thing was destroying mechanical objects like planes and cars.  But they clearly also had brilliant building capabilities, considering they were able to build that transformer.  Not to mention rewire Winston’s Proton Pack to fire off confetti and streamers.  Maybe they could have figured out a way to ‘reprogram’ the gremlins so they would help build cars instead of destroying them.  And then Generous Motors’ sales would skyrocket, as the partnership could potentially revolutionize the production of cars.  However, I guess this episode was meant to be a reference to how a lot of the GM X-cars were notorious for being recalled back in the 80s.  I could see how that could have inspired this particular episode.

(Click here for more Ghostbusters reviews)

[blackkudos]

Thomas Whitfield

Thomas Anthony Whitfield (April 30, 1954 – June 20, 1992) was an American gospel singer, songwriter, arranger, pianist, choir director and producer best known for helping to shape the fabric of contemporary gospel music with his elaborate choral arrangements and the merging of musical styles ranging from jazz to classical into traditional gospel foundations. This style earned him the respectable title of "Maestro" by many of his colleagues and supporters. He was best known for organizing one of the popular contemporary gospel choirs of all time, the Thomas Whitfield Company, and for producing best-selling records for Vanessa Bell Armstrong, Shirley Caesar, Yolanda Adams, Douglas Miller, Keith Pringle, Paul Morton and for Aretha Franklin.

Biography

Early years and career

Thomas Whitfield, the eldest of five boys, was born in Detroit, Michigan to Thomas and Jacqueline Whitfield. He took to music at a very early age and was inspired by his great-grandmother to take piano lessons at the age of five and would advance to playing the organ by the age of ten. His influences remained some of Detroit's greatest musicians including renowned organist Herbert Pickard and Timothy Beard. After graduating from Detroit's Central High School, he attended the Detroit Conservatory of Music and ended up sharing his expertise and knowledge as a music instructor at Finney High School. While teaching, Whitfield continued to gain recognition in the area for his unique style of musicianship and would eventually work with the Beverly Glenn Chorale, the Craig Brothers and Rev. James Cleveland.

In 1977, Whitfield, along with his good friend Tyrone Hemphill, felt led in establishing The Thomas Whitfield Company (The Whitfield Company for short); a local music ministry featuring some of Detroit's finest singers and musicians. This remarkable institution remained the apparent incubator for most of Whitfield's most popular creations and would forever be attached to his musical legacy and recording career. Amazingly, it didn't take long for Whitfield to get the attention and overdue recognition he deserved. Sound of Gospel, a local Detroit gospel music subsidiary of Westbound Records operated by music guru Armen Boladian, took notice in Whitfield's fresh sound and approach to gospel music and signed him and the group thereafter; resulting in the debut release of "Brand New" in 1978. Detroit's sophisticated brand of traditional gospel crafted by artists such as Dr. Mattie Moss Clark, Donald Vails, Rev. Charles Nicks and Rev. James Cleveland remained the prominent and popular style from the area and was usually the formula the majority of the country expected from the region. Whitfield, on the other hand, merged traditional gospel with stylish piano performances, riveting rhythmic sections, melodic choral harmonies and musical arrangements. This style is heard on "Repeat The Sounding Joy", a funk-disco melding which ended up being one of his early hits, and other works including "The Lord Is Blessing Me", "I'm His Today" and "That's How The Lord Works".

The big break: Hallelujah Anyhow

After getting local attention with the releases of "Brand New" and "Things That We Believe, Vol. I" and "Things That We Believe, Vol. II" during the years of 1978–1980, Whitfield recorded his first live recording session (a popular trend in modern gospel music) with the Company at the St. Paul Church of God In Christ in Detroit. The album was finally released in 1983. At the same time, Whitfield began his association with Onyx International Records (a black gospel subsidiary of Benson Records) and also released "Hold Me"; a solo project that seemed to be threatening towards SOG's current contract with the Whitfield Company. While "Hold Me" was released on a more recognized label and was by far one of Whitfield's state-of-the-art productions to date, it also help increased the popularity and exposure of "Hallelujah Anyhow" and kept the album on Billboard's Gospel Music charts for over a year.

The understanding of the agreement with both music labels was that Whitfield recorded "Hold Me" as a solo entry while SOG was mainly interested in Whitfield being attached to the choir; feeling that his choir was the "selling card". SOG continued to record them as: Min. Thomas Whitfield & the Thomas Whitfield Company. Whitfield wrote most of the songs (except for "Soon As I Get Home" and "There's Not A Friend" – written by Roscoe Corner) and produced both projects. Songs like "God Wants Our Praises", "There's Not A Friend", "Walk In The Light", the infectious arrangement of "Oh, How I Love Jesus" and the brilliant ballad "Hallelujah Anyhow" were standouts.

Whitfield began a line of notable achievements in producing for both established and fresh talent. In 1984, Whitfield produced the historic debut project Peace Be Still, for a virtual unknown singer at the time by the name of Vanessa Bell Armstrong; earning him his first of three GRAMMY nominations. That year, he also wrote "Time To Come Back Home" for Shirley Caesar's GRAMMY and Dove Award winning "Sailin" album. Whitfield's popularity and demand continued to escalate – possibly pointing that he may have reached the beginning of his recording zenith. Production on projects from the Soul Children of New Orleans, Keith Pringle, Douglas Miller, the Winans, the Michael Fletcher Chorale and Paul S. Morton followed. In 1986, "I'm Encouraged" was released; a live recording session held at the Civic Auditorium in Cleveland, Ohio. The project climbed to the #1 spot on Billboard's Top Gospel Album charts.

During Whitfield's final years with Sound of Gospel, Whitfield discovered Texas native Yolanda Adams and produced her first project Just As I Am for the Detroit label in 1988 which skyrocketed up Billboard's Gospel charts.

An opportunity of a lifetime was awarded to Whitfield when the Queen of Soul Aretha Franklin confronted him with the task to head the musical direction for her upcoming live recording – a project that the media labeled the sequel to her best-selling and award-winning "Amazing Grace" LP. In 1989, Aretha Franklin took home a GRAMMY Award for Best Soul Gospel Performance, Female for "One Lord, One Faith, One Baptism" and a Dove Award for Traditional Gospel Album of the Year – an album that featured musical and choral arrangements from Thomas A. Whitfield. Some of the album's serious highlights include the moving opener of "Walk In The Light" and Aretha Franklin being serenaded by Whitfield's entrancing piano accompaniment on "Ave Maria".

Later years

In 1989, Teresa Hairston (head of Benson Music Group's black gospel department) contacted Whitfield and expressed interest in signing him, along with the Whitfield Company to her label. SOG released two successful projects ("The Annual Christmas Services", "...And They Sang A Hymn") in 1990, while Whitfield went into the studio to record "My Faith" for Benson. The project contained the Edwin Hawkins' composition "Glorify The Lord" and featured musical appearances from Vanessa Bell Armstrong and Karen Clark-Sheard (from the renowned Clark Sisters). In 1992, Benson released what would be Whitfield's last recording, "Alive And Satisfied". The album, to so many gospel music historians, felt like a prophecy and a "love letter" to Whitfield's presence in the gospel music industry. The album featured the moving praise-and-worship ballad "Precious Jesus", "Let Everything Praise Him" (which features the popular sampled vamp used in a number of recent gospel selections) and the reflective "We Remember (Medley)". The medley featured some of Whitfield's most treasured classics strung together in one song. By this time, Whitfield had already been contacted by Paramount Pictures to appear in the motion picture Leap of Faith, starring Steve Martin. He eventually turned down the offer; feeling that even though the visibility was good yet he felt it might diminish the dignity of his ministry. He also began work with music mogul Quincy Jones' "Handel's Messiah: A Soulful Celebration" – a powerful display of modern musical arrangements mostly handled by Mervyn Warren.

Death

On June 20, 1992, after a lengthy choir rehearsal, Whitfield went with four of the choir members to Elias Brother's Big Boy; a popular local restaurant on Telegraph Road. At the table, he started to clutch his chest and began to gasp for air. After being administered CPR by his dinner companions and arriving at Garden City Hospital, Whitfield died on June 21, 1992 from a heart attack.

Legacy

Whitfield's musical brilliance and influence has left a tremendous impact on today's leading contemporary gospel artists. Musicians such as protégé' Rudolph Stanfield, Donald Lawrence, Fred Hammond, John P. Kee, Byron Cage, Ricky Dillard, J.J. Hairston & Youthful Praise, Walter Hawkins, Richard Smallwood, Big Jim Wright, Edward Dawson and many others. He is still highly regarded for his numerous innovations during the eighties and early nineties and being one of the pioneers to master the usage of the MIDI-sequencing and synthesizers in gospel music; all helping to earn him his own style: the "Whitfield" sound.

In 1993, Benson Records released a tribute album dedicated to the memory and musical excellence of Thomas Whitfield. It featured new arrangements from Whitfield hits and featured a list of musical guests and musicians including Donald Lawrence, the Clark Sisters, Fred Hammond, Kevin Bond, Larry & David Whitfield and the Whitfield Company.

Thomas Whitfield was honored posthumously with the 1999 James Cleveland Award at the 14th Annual Stellar Music Awards held in Atlanta, Georgia.

The Thomas Whitfield Company has continued to perform and record since their founder passed and are ensuring to keep Whitfield's legacy alive. They have recorded "Still", a Top Ten gospel album, and featured new and rare selections from Whitfield, along with music from former Whitfield musician Rudolph Stanfield. The song, "Don't Give Up On Jesus", sung by Daryl Coley and Vanessa Bell Armstrong also appeared on the best-selling WOW Gospel 1999 compilation.

Larry and David Whitfield, brothers of the "Maestro", decided to organize the Whitfield Group (not to be confused with the Whitfield Company) in January 1994. Since their inception, the music troupe has recorded one project and have opened for artists including Yolanda Adams, Vanessa Bell Armstrong, Men of Standard and Kim Burrell.

There have been a number of artists that have sung Whitfield's praises and have re-recorded his music. Some of the most memorable tributes include:

Shirley Murdock "We Need A Word From The Lord" ("Home")

Vickie Winans "We Need A Word From The Lord" ("Bringing It All Together")

Edwin Hawkins Music and Arts Seminar Mass Choir "Precious Jesus" ("Dallas")

Bishop Paul S. Morton "Down At The Cross" and "Nothing But The Blood"("Still Standing")

Tarralyn Ramsey "Saved" ("Tarralyn Ramsey")

Donald Lawrence/Tri-City Singers "The Little Drummer Boy" ("Hello Christmas")

Byron Cage "Still Say Yes" ("Prince Of Praise")

Byron Cage "In Case You've Forgotten" ("An Invitation To Worship")

The Clark Sisters "You Can't Take My Faith Away" ("A Tribute To The Maestro")

Earnest Pugh "Wrapped Up, Tied Up, Tangled Up" ("A Worshipper's Perspective")

Donald Vails featuring Yvette Flunder and Shirley Miller "Just Knowing Jesus" ("My Soul Love Jesus")

Rodney Posey "Dear Jesus" ("Live In Praise & Worship with the Whitfield Company")

Mark S. Hubbard & the Voices "Lift Those Hands And Bless Him" (featuring Ted & Sheri) ("Blessin' Waitin' On Me)

Dr. Ed Montgomery/ALC "With My Whole Heart" (Total Live Experience")

Benson Records released a rare VHS "Alive And Satisfied" video of Thomas Whitfield and the Whitfield Company. The video also features an award presentation to Whitfield for his record going gold and also an emotional tribute from Fred Hammond. BMG Heritage Records has also re-released a double-CD of Aretha Franklin's "One Lord, One Faith, One Baptism" (1987) in 2003. The album featured four new bonus cuts including a previously unreleased version of Walter Hawkins' classic "Be Grateful".

Discography

Albums:

Brand New (1978)

Things That We Believe, Vol. I (1979)

Things That We Believe, Vol. II (1980)

Hold Me (1983)

Halleujah Anyhow (1984) #15

I'm Encouraged (1986) #1

The Annual Christmas Services (1988)

...And They Sang A Hymn (1989) #2

My Faith (1990) #30

Alive And Satisfied (1992) #2

Hold On (2000) #8

Compilations:

The Unforgettable Years, Vol. One (1992)

The Unforgettable Years, Vol. Two (1992)

The Best Of Thomas Whitfield (1999)

[shelovescontrol91]

New Camila Interview

https://www.telegraph.co.uk/music/interviews/camila-cabello-latin-revolution-immigrant-america-industry-got/

The interview is locked unless you have a user so I posted it below. Bolded are some interesting parts

One afternoon in March 2012, Simon Cowell was taking a cigarette break backstage at Greensboro Coliseum in North Carolina, where he was judging auditions for the American X Factor, when he came across a girl lying on the ground, sobbing.

The girl was Camila Cabello. She had just turned 15, and for her birthday had asked her parents – Cuban immigrants living in Miami, who were making ends meet as a shop assistant and car washer – to drive her the 12 hours from their home to the auditions. Cabello explained to Cowell that, having been kept waiting for two days to see the judges, she had just been told by the producers that time had run out and she should go home.

“Apparently she was a reserve,” Cowell tells me over the phone. “So I said to her, ‘Listen, I’ve got no idea what you’re talking about, or what a reserve is, but since you’re here, come and audition.’ Five minutes later, she sang [Aretha Franklin’s Respect] in front of 7,000 people, and it was sensational.”

Cabello has a pint-size frame and a gigantic, intoxicating voice. What it lacks in technical finesse it makes up in youthful passion and romantic melodrama. Cowell installed his charismatic young discovery as the (unofficial) lead singer of a group comprising four other female contestants, and Fifth Harmony was born. After finishing the competition in third place, they signed to Cowell’s Syco label, becoming a sort of sister act to his other X Factor protégé group One Direction. Within months, Fifth Harmony had racked up a platinum-selling debut album of chart-friendly feminist anthems, a sold-out world tour, two performances at the White House and tens of millions of young fans.

For Cabello, that was just the start. Last year, Havana, the second single from her number one debut solo album, became the sound of the summer. An ode to the city where she was born and raised, featuring slow, sensual vocals layered over a Cuban-style piano riff, Havana made the singer the first female artist to achieve a billion streams for a single song. Whether or not you’re a fan of Cabello, you’ll have heard it.

This summer, the 22-year-old has repeated the impossible. Señorita, a Latino love song from her imminent second album featuring fellow pop star (and, as of July, boyfriend) Shawn Mendes, has once again conquered the charts. Talk about power couple: according to Spotify, the online music-streaming service, 21-year-old Mendes and Cabello, who picked up two MTV Video Music Awards for Señorita last week, are the most listened to artists in the world after Ed Sheeran. “Havana was a once-in-a-lifetime kind of success, and she’s just… done it again,” says Cabello’s manager Roger Gold, who first met the singer while serving as Fifth Harmony’s lawyer. “We never thought it would be this massive.”

When I repeat Gold’s words back to Cabello over an oh-so-millennial oat milk latte in a vegan café in Montreal – the latest stop on Mendes’s world tour – she grins. “It was the same with Havana,” she says, keeping an eye on the windows for the fans that have been camped outside her and Mendes’s downtown hotel since the couple were photographed ambling adoringly around the city together the day before.

“Everyone said to me, this is a Latin song, it could never be the single. Label heads and friends were saying I needed to add more production, that it was too slow,” continues Cabello, before absent-mindedly pouring coffee on her grey cashmere jumper and earnestly imploring me for laundry advice. We dab her sleeve with water as Cabello tries out my accent. “I’ll have a flaaat whiiite,” she drawls, mischievously, again and again until steer her back to the story. Persuaded that Havana would never get radio play, Cabello released Crying in the Club as her first solo single instead. But when the album was released, it was Havana that listeners pounced on. 

“It was surreal: kids were coming up to me asking, ‘Are you Havana?’” she says. The song was nominated for two awards at the Grammys, where Cabello became the first female Latin artist to open the ceremony.

Cabello’s grip on the charts is part of what Gold calls “a ground shift”. “Latin artists have gained enormous global acceptance in the pop world in the last few years,” he says. Until 2017, a Spanish-language number one was vanishingly rare, limited to Enrique Iglesias, Shakira and novelties such as The Macarena. That changed when Luis Fonsi and Daddy Yankee’s 2017 Despacito, written entirely in Spanish, became the most-streamed song in history.

That same year, the number of Spanish-language songs in Billboard’s Hot 100 jumped from three to 19; this year’s tally is already at 16. Such is the influence of Latin culture on current pop that Madonna’s Madame X album single Medellin, released in April, featured Columbian reggaeton star Maluma, and breakout Spanish star Rosalia’s modern spin on old-school flamenco graced the John Peel stage this year at Glastonbury. In between, of course, came the juggernaut of Havana. 

Cowell says he never really thought about Cabello’s Latin roots when he met her. “And then of course it occurred to me years later, that she was turning things around.” He has since had success with another Latino group, CNCO. “So maybe I owe a lot to her.”

Even singers of non-Spanish heritage are now cashing in on the genre, as Justin Bieber proved with his hugely popular remix of Despacito. “It’s definitely annoying when people take things, but sometimes I’m inspired by things that aren’t necessarily my culture,” says Cabello. “I think with globalisation, genre doesn’t exist any more. It was surreal hearing people sing the chorus to Havana. So many young people had never even heard of the place.” 

Cabello donated the proceeds from the song’s music video to support young, undocumented immigrants known as DREAMers – those who entered the US as minors and are seeking resident status. Her YouTube channel has been inundated with messages from Latino fans thanking her for making them feel more welcome in America. Cabello suffers from anxiety and tends to steer clear of social media but when I mention the messages she clasps her face with both hands and her eyebrows shoot up under her curly fringe. “Really? That makes me so happy. That’s why I want to tell my story, because when I saw pictures of what’s happening at the border, my heart was broken. That’s my story too.”

Cabello was six years old when her mother, an architect, carried her across the Mexican border, telling her daughter that they were going to Disneyland. “I have this one memory of my mother taking me into a gas station, but that’s it,” she says. They were detained for 22 hours before being allowed to proceed to Miami. Her father, originally from Mexico City, joined them illegally a year later after swimming across the Rio Grande. “I didn’t know what was happening,” Cabello tells me. “I just had a Disney calendar and I crossed off every day until he arrived. 

“It’s why my mum loves that film, Life Is Beautiful,” she says, referring to Roberto Benigni’s Oscar-winning comedy about a Jewish father and son taken to a concentration camp during the Holocaust. “Obviously I’m not comparing my story to that in terms of, you know… but it’s the same idea of a parent pretending it’s a game to protect their child.”

Cabello’s as yet untitled new album, out later this year, is a tribute to first love. She describes the experience in terms of the 2001 film Amélie, which she watched for the first time last year. “Before, I was Amélie,” she says, comparing herself to the film’s titular dreamer, played by Audrey Tautou. “I was just living in my own imagination. I didn’t go out and meet people. I didn’t really make any friends. Amélie’s thrills are the smallest things, like being looked at.” 

As a child, she hated attention so much that she would cry when people sang Happy Birthday to her. Her X Factor audition was the first time she had sung in public, and helped her realise she could transform on stage. “Now I’m like Amélie at the end of the film, when she falls in love for the first time and breaks out of her shell.”

Of the 72 songs Cabello wrote for the album, only a small number will appear, each one dealing with the minutiae of relationships. Keen for me to hear some, Cabello summons her mother Sinuhe, who travels with her daughter everywhere and arrives at the café with an iPhone on which she plays me two new songs. One is a heavy, gothic ballad reminiscent of vintage Avril Lavigne; the other, a Latino song carried by a powerful brass section that makes you want to get up and salsa.

As with her last album, Cabello has a writing credit on every track of the new one – a rarity in an era when so many hits are manufactured by teams of writers and producers. Is she making a statement? “No, but I need to tell my own stories,” she says. “I still regret my first single, Crying in the Club, because I didn’t write it and it didn’t feel like me. I had the chorus to Havana, but I went with what was safe, what industry people said had worked before. Turns out, no one has a clue.”

When Cabello uses the word “industry”, her expression, usually warm and trusting, becomes uneasy. The absence of freedom she experienced early in her career as part of a label-curated girl group appears to have bred a distrust of the system. 

“Fifth Harmony was like its own separate person. It’s like we were serving Fifth Harmony,” she says, tugging on the sleeves of her grey cashmere cardigan. After Cabello left the group in 2016, she was accused of betrayal, and things got nasty – when the four remaining members opened the MTV Video Music Awards in 2017, an elevated platform showed the silhouettes of five women, until one was unceremoniously shoved off the stage as the performance began. “It’s so normal for groups to disintegrate. I think it has to be some miracle for five people to stay together,” she says. "I’m so interested to see what makes it different for Little Mix [and X Factor girl group still going strong since they formed in 2011]”. 

In 2020, Cabello will make her next career move – into acting. James Corden personally picked her to star in and contribute to the score of a modern musical version of Cinderella, which he is producing. “He saw my L’Oreal advert where I was basically just being an idiot, and he thought that was cool,” she explains. She sounds a little daunted – and is currently taking acting classes – but it feels like the obvious next chapter in a life that is taking on a fairy-tale dimension of its own. 

“You know what,” Cowell had told me before hanging up. “I would never have guessed, all those years ago, that when I met someone who was having the worst day of her life, who was crying at the back of that arena, that now we’d be having this conversation. Can you believe it?”Camila Cabello’s new single is out on Thursday

[april-ruffin-world]

BLACK MOSES SONG

“If it is true that black people are becoming increasingly well adjusted to the American way of life, then we may lose our capacity to tell the truth about our black life in America.” - Cornel West (Hope on a Tightrope p 202) The purpose of this thesis is to shed light on the historical and current, ever-increasing influence of African American/Black music on American culture and why it is crucially important to remember the past in order to thrive in the future. Secondly, I aim to demonstrate how powerful black music is and how it has been used as a catalyst for freedom. I will use as my dialogue partner, Dr. Cornel West, one of America’s most gifted theologians, educator, activist and philosopher. Dr. West, Class of 1943 University Professor at Princeton University, in 2012, returned to Union Theological Seminary in New York City where he first began his teaching career. He has written over twenty books such as Hope on A Tightrope (2008), The Cornel West Reader (1999), The Future of the Race (with Henry Louis Gates, Jr., 1996), and Race Matters (1993), where I will be drawing from for conversation. I witnessed for myself earlier this year on April 30th, 2015 at Biola University, Dr. West in dialouge with Robert George and Pastor Rick Warren, where Dr. West made reference to saxophonist, John Coltrane, whose music was lightly playing as the attendees waited for the forum to begin. In his opening comments, Dr. West expressed that he hoped Coltrane wasn’t just music playing in the background because, “John Coltrane is a part and a voice and figure in one of the greatest traditions in the modern world; which is a musical tradition that in the face of catastrophe mustered the courage to bear witness to compassion… in the face of being terrorized for four hundred years decides not to terrorize others, but fight for freedom for everybody…it’s a human tradition.” Because of the age of consumerism we live in today, “Obsession of money making and profit taking…we have less gas in our spiritual tanks, a spiritual malnutrition, an indifference to the suffering of others…a calousness,” West continued. He then quoted Rabbi Abraham Joshua Heschel, “An indifference to evil is more insidious than evil itself.” America is in a state of emergency; many of its citizens are living and operating from a state of fear. We’re subconsciously encouraged when we watch the nightly news or peruse social media sites to fear. We are to fear terrorism, fear cancer, fear consumption of any foods that are not glucose, lactose or sugar free, and little black boys and girls are taught to fear for their lives lest they end up like Sandra Bland, Trayvon Martin, Mike Brown, Eric Garner, Freddie Gray, Oscar Grant, Jordan Davis, Tamir Rice and countless others victims who suffered the penalty of death simply because of the color of their skin. Dr. West not only used John Coltrane as example, but referred to Frederick Douglas, Sojourner Truth, Curtis Mayfield, Aretha Franklin, Erykah Badu, Toni Morrison, and James Baldwin to stress his point that Black musicians, writers and artists use creative expression as an outlet to overcome and to stay above negative forces that would aim to steal their creative ideas or kill and destroy (literally) their lives. No doubt, West has perused the pages of works such as the Narrative of the Life of Frederick Douglas, an American Slave where Douglas writes: “The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out—if not in the word, in the sound;—and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. Into all of their songs they would manage to weave something of the Great Houses Farm. Especially would they do this, when leaving home. They would then sing most exultingly the following words:— I am going away to the Great House Farm! O, yea! O, yea! O! This they would sing, as a chorus, to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd’s plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,—and if he is not thus impressed, it will only be because ‘there is no flesh in his obdurate heart.’” (p 25-26) These songs composed by slaves would come to be known as negro spirituals. Many of these spirituals had a code message aimed to guide slaves, via the Underground Railroad, to freedom or to the “Jordan”, which was on the Northern side of the Ohio River. Here is one example of this hidden message, weaved within the words of a song: Deep River, my home is over Jordan; Deep River, my home is over Jordan. O don’t you want to go to that Gospel Feast That Promised Land where all is Peace? Deep River, I want to cross over into camp ground. These spirituals were always inspired by the “good news” message from the Bible; by Christ and his message that “you can be saved.” Negro spirituals would later influence chain gang songs, sung by “prisoners” or victims of the unscrupulous sharecropper system following the abolishment of slavery in 1865. Inmates would sing in the call and response format; the leader began a line and the other workers followed, often using their axes to keep rhythm and to keep up with the rigorous demands of the day. In 1927, the Mississippi River broke levees in almost 150 places and caused one of the greatest floods in American history. Many blacks were forced, by gunpoint, to fill sandbags to set in place to resist the flowing waters. When the flood overpowered their attempts, these blacks were left to fend for themselves and many fled, migrating north. This great flood is responsible for the largest migration of blacks in U.S. history. In fact, the actual terms “Chicago Blues” and “Muddy Waters” stem from this Mississippi flood of ’27. The blues musician known as Muddy Waters was born and raised on a plantation in Mississippi, but moved to Chicago in 1943 in hopes to become a professional musician. In Hope on a Tightrope, “Blues,” first on the list of Westian core concepts, is defined as, “The elegant coping with catastrophe that yields a grace and dignity so that the spirit of resistance is never completely snuffed out.” (p 221) It is intriguing how a rhythm birthed from pain, and the pursuit to overcome that pain, would mother genres of music we refer to today such as rhythm and blues, rock ’n’ roll, folk, country and jazz. Muddy Waters, himself, influenced musicians such as Eric Clapton, Bob Dylan, Paul Rodgers, and even Jimi Hendrix. Muddy Waters’ 1950 release of the single “Catfish Blues” or “Rollin’ Stone” is where the famous London group got their name from and the magazine, too. Even the Beatles referenced Muddy Waters in their song “Come Together.” More recently, the rock group AC/DC borrowed from Muddy Waters’ lyrics and Angus Young, one of the group members, has often cited Waters as one of his greatest influences. Me: Dr. West, Besides Muddy Waters, can you name another example of a black musician who you would consider a trailblazer in this plight of using self expression to gain freedom from enervated mental and physical circumstance in America? West: Louis Armstrong, who grew up in the red-light district of Storyville among prostitutes and brothels, was able to escape the social misery and express his unbelievable genius and imagination to keep alive the greatest musical tradition of the modern world. The black musical tradition gave us blues and jazz idioms that the rest of the world now understands. (Hope p 179) Me: Dr. West, I was born and raised in New York City and have often pondered as I passed by the Cotton Club or The Apollo theater in Harlem, what it must have been like for these early black musicians who were still combating the remnants of slavery and Jim Crow laws, but simultaneously, had this new outlet and opportunity because of their musical talent. I know, from even watching the film, that blacks weren’t allowed entrance into the Cotton Club as patrons, but were only allowed access as performers. Duke Ellington and his orchestra became renown because of his appearances at the Cotton Club, but the members of his orchestra would, most likely, never be able to walk in through the front door. Blacks, as we’ve discussed, like Muddy Waters’ inspired not only other musicians, but entire musical genres and in the end, it seems he got the shorter end of the stick as far as making a profit and being in full control of his artistry. Why is this? West: Blues and jazz lost much of their black audience in the 50s and 60s when they abandoned black public spaces, such as black dances, clubs, and street corners. Without access to the participatory rituals in public spaces of black everyday life, blues and jazz became marginal to ordinary working black people in urban centers. In their stead, rhythm and blues, soul music, and now hip-hop seized the imagination and pocketbook of young black America. This fundamental shift in the musical tastes of black America resulted from two basic features of the larger American culture industry: the profit-driven need to increase the production pace and number of records, reinforcing fashion, fad, and novelty, and the explosive growth of black talent spilling out of churches and clubs in search of upward social mobility. The lessening of racist barriers in the industry and wider acceptance of black music by white consumers created new opportunities. Since neither blues nor jazz could satisfy or saturate this market, they fell by the cultural wayside or, at least, were pushed to the margins. (Hope p 122-123) Me: That explains it. So it’s all about capitalism and profit. I always thought of blues and jazz as a distinctive genre and sound influenced, primarily, by the time period that those musicians lived. I have always gotten chills while listening to Billie Holiday’s unique voice, but only recently came to understand the deep meaning behind the tone and lyrics of say, Strange Fruit. And growing up, listening to my mother play Kenny G when he first became popular in the 1980s or for example, when I was invited to see Kurt Elling in concert at Carnegie Hall, I just assumed that jazz had become “white music.” West: One of the reasons jazz is so appealing to large numbers of white Americans is precisely because they feel that in this black musical tradition, not just black musicians, but black humanity is being asserted by artists who do not look at themselves in relation to whites or engage in self-pity or white put-down. This type of active, as opposed to reactive, expression is very rare in any aspect of African American culture. (Hope p 119). West: For me, the deepest existential source of coming to terms with white racism is music. From the very beginning, I always conceived of myself as an aspiring bluesman in a world of ideas and a jazzman in the life of the mind. What is distinctive about using blues and jazz as a source of intellectual inspiration is the ability to be flexible, fluid, improvisational, and multi-dimensional—finding one’s own voice, but using that voice in a variety of different ways. (Hope p 114) The human voice itself is the greatest instrument. Black folks’ tradition begins with the voice. (Hope p 113). It was music that sustained Africans on slave ships making their way from Africa to the New World. We often didn’t speak a common language that allowed us to communicate with each other in a deep way. We had to constitute some form of comradery and community, and music did that. It preserved our sanity, as well as our dignity. Owing to white supremacist sanctions, enslaved Africans were not allowed to read or write. As a nonliterate people, we learned to manifest our genius through what no one could take away—our voices and our music. (Hope p 110). When you look at this tradition from the spirituals on through Louis Armstrong, Sarah Vaughan, Curtis Mayfield, Luther Vandross, and Aretha Franklin on up to Prince and Gerald Levert, music sustained our humanity, dignity, and integrity. Me: Ah, yes! It seems that during the 1960s when black leaders emerged such as Dr. Martin King Jr. and Malcolm X, there were also black musicians that answered the call to use their voices as an impetus for change. James Brown released “Say it loud, I’m black and I’m proud,” to inspire and uplift the people, while Nina Simone released “Mississippi Goddamn,” but was blacklisted because of it; her music not allowed airplay over the radio. In The Future of the Race, published in 1996, you wrote prophetically: “The twenty-first century will almost certainly not be a time in which American exceptionalism will flower in the world or American optimism will flourish among people of African descent. If there are any historical parallels between black Americans at the end of the twentieth century and other peoples in earlier times, two candidates loom large: Tolstoy’s Russia and Kafka’s Prague—soul starved Russians a generation after the emancipation of the serfs in 1861 and anxiety-ridden Central European Jews a generation before the European Holocaust in the 1940s.” (p 75) If I am understanding correctly, Dr. West, black music has been created and ushered out into the world almost as a push-back; a resistance to hopeless situations and music has served as a remedy or cure. The black life and tradition in America is not separate from black music and the arts, it is one in the same. And therefore, the fight for justice; for mental, physical and financial freedom which is only experienced by a small percentage of blacks in America, is a very real and urgent task. Earlier black musicians were aware of this plight because the chains of slavery (literal and proverbial) were still evident. Today, we are in greater danger because those chains are invisible and have been set in permanent institutions such as urban schools and prisons. Nearly fifty years ago, Dr. Martin Luther King, Jr. led marches and other peaceful demonstrations to bring attention to racism, segregation, and discrimination which greatly influenced the signing of both the Civil Rights Act of 1964 and the Voting Rights Act of 1965. As it can be seen, just because a law is passed, that doesn’t mean that people’s beliefs and behaviors change. In the early 1950’s, racial segregation was customary in America. Basic math would then imply that members of the KKK are still living, in fact, one can readily log onto the internet and find a current KKK website. The media and most curriculums taught in educational institutions depict the Civil Rights movement as a thing of the past, something that happened then, and everyone should just move on and never bring it up, because “Today, we live in a fair and equal society.” Contrary to these false aphorisms, racism is prevalent in 2015 America. Even after repeated injuries, incarcerations and murders of blacks, both male and female, the racism conflict advances, leaving behind blood stained sidewalks and unbottled tears. Historical advances in American music and the arts woud prove that it’s okay to imitate blacks, which is seen as early as “black face” stage and film productions where white actors would paint themselves blacks to make fun of and entertain the audience, to the Beach Boys to the modern day where so called “pop” artists imitate and appropiate hip-hop culture. It would seem that the fight for freedom is futile and a far cry from reality. West: As freedom fighters, we’ve got to become much like the jazz women and jazz men. Fluid and flexible and protean—open to a variety of different sources and perspectives. (Hope p 187). [Again] We come from a particular tradition of struggle. Our people have been on intimate terms with the constant threat of social death. No legal status, no social standing, no public value—you were only a commodity to be bought and sold. If you don’t come to terms with death in that context, there’s no way you can live psychically and culturally because the rights and priveleges that your fellow human beings of European descent had access to were stripped from you. (Hope p 184) Freedom fighters struggle for justice, not revenge. We love in the face of bigotry. We keep track of the indescribable scars and bruises. Yet we refuse to be victims! We instead mount constant heroic resistance against injustice. (Hope p 206) Those who have never despaired have neither lived nor loved. Hope is inseparable from despair. Those of us who truly hope make despair a constant companion whom we outwrestle every day owing to our commitment to justice, love and hope. It is impossible to look honestly at our catastrophic conditions and not have some despair—it is a healthy sign of how deeply we care. It is also a mark of maturity—a rejection of cheap American optimism. (Hope p 217) Black people’s deep memory of history is a legacy of catastrophe. It’s the slave ship and the body swinging from the tree. It’s the disgraceful school systems and being taught to hate ourselves. America’s concept of history is that of a chosen people, a city on a hill where the sun is always shining. Therefore, black people’s conception of memory is that of trauma, whereas the mainstream conception of memory is this progress of an every generation toward a more perfect Union. If your conception of history is one of catastrophe and your conception of memory is one of trauma, the only countermovement against catastrophe and trauma is never forgetting the catastrophic and yet still attempting to triumph. (Hope p 188) Me: The Hebrew verb zakhor ("remember") appears in the Torah about one hundred and sixty-nine times, Moses while leading the Israelites out of Egypt towards the Promised Land, would often encourage them to remember. In Deuteronomy Chapter 8, Moses and Miriam’s song Me: J. Wendell Mapson, Jr., author of The Ministry of Music in the Black Church writes: “The task, then, is to affirm the good in black theology and to offer correctives so that black theology may continue to address the needs of black people in light of their relationship to God and culture. Historically…, music in the black church has reflected the theology of the pilgrimage of black people. Set within the context of the black church, the religious music of black people has helped to articulate the very soul and substance of the black experience, most especially for those who belong to the family of God. In many instances, music has not only been shaped by theology but has also shaped theology. Not only may one speak of a theology of music, but one might also speak of the music of theology. There is no doubt that in the black church music is the lifeblood. Among blacks, music is not always compartmentalized into categories such as sacred and secular. In fact, the black church itself does not always see itself in light of such labels. Among Afro-Americans, just as in African cuture, religion permeates the whole of life, and so does music.” (p 16) Similarly, in The Cross and The Lynching Tree, author, James Cone offers a corrective and brilliantly explicates how by connecting the cross to the lynching tree, not only blacks in America, but all Americans may benefit: “Despite the obvious similarities between Jesus’ death on the cross and the death of thousands of black men and women strung up to die on a lamppost or tree, relatively few people, apart from the black poets, novelists, and other reality-seeing artists, have explored the symbolic connections. Yet, I believe this is the challenge we must face. What is at stake is the credibility and the promise of the Christian gospel and the hope that we may heal the wounds of racial violence that continue to divide our churches and our society…Until we can see the cross and the lynching tree together, until we can identify Christ with a ‘recrucified’ black body hanging from a lynching tree, there can be no genuine understanding of Christian identity in America, and no deliverance from the brutal legacy of slavery and white supremacy. (xiii-xiv, xv) Later, in this sermonic book, Cone writes: We are bound together in America by faith and tragedy. West: The major black cultural response to the temptation of despair has been the black Christian tradition—a tradition dominated by music in song, prayer, and sermon. (The Future of the Race p 101) You can’t talk about the crucifixion without talking about nihilism and spiritual abandonment. The feeling that you have no connection whatsoever to any of the forces for good in the universe underscores your relatively helpless situation (referring to Matt 27:46 when Jesus cried out “My God, my God, why have you forsaken me?). If Jesus had American advisors, they would have said, Negotiate with Pontius Pilate, sacrifice your sense of who you are, call your mission into question, and sneak away at night under the protective cover of the Roman Empire to live free. Jesus would have responded, No, there’s a cross for me. In fact, if you look closely enough in your life, there’s a cross for you, too. (Hope p 198) West: The American Empire is still governed by its desire to shape the world for American interests. It is still determined to have its way and do whatever it takes to preserve the resources necessary to sustain the “American way of life…” The new American Dream is to never run out of things to buy and sell, and people to buy and sell. What must happen for us to stay awake permanently and commit to critically engaging the public interest or expanding the common good? (Hope 181) West: Subversive joy is the ability to transform tears into laughter, a laughter that allows one to acknowledge just how difficult the journey is, and to delight in one’s own sense of humanity and folly and humor in the midst of this very serious struggle. This is true freedom of spirit. We can think and feel, laugh and weep, and with the belief and capacity of everyday people, we can fight. Fight with a smile on our faces and tears in our eyes. We can see the deprivation, yet hold up a bloodstained banner with a sense of hope based on genuine discernment and connection. We can point out hypocrisy and keep alive some sense of possibility for both ourselves and our children, thus fulfilling our sacred duty. (Hope p 192) West: Hip-hop, the most powerful cultural force on the globe right now, was one of the ways in which the black underclass responded to being forgotten and overlooked, with its pain downplayed and ignored. The response to invisibility was to create a whole cultural genre that represented young, black, and underclass folk. The culture and entertainment industry had to take notice by 1985. Now hip-hop is the most lucrative cultural area of the entertainment industry. It’s another tribute to the tremendous cultural imagination and genius of black folk. (Hope p 178) The vitality and vigor of Afro-American popular music depends not only on the talents of Afro-American musicians, but also on the moral visions, social analyses and political strategies that highlight personal dignity, provide political promise and give existential hope to the underclass and poor working class in Afro-America. (The Cornel West Reader p 484) is that it’s a human condition…a love caravan. West: To be human you must bearwitness to justice. Justice is what love looks like in public—to be human is to love and be loved. Me in closing: I have to believe that there is hope for Black men and women in this nation and throughout the world. Inherently, all human beings know that greatness is not achieved through material gain and worldly acquisitions, but true greatness is seen by observing the character of a man. While listening to a eulogy, we never hear the orator bloviate about how many cars the deceased one drove or how many houses he had, never! Whether the deceased was a criminal or clergyman, we hear of how good the person was, how thoughtful and generous. We sit and listen to people go on about how much they loved the person or how that person made them laugh. We know deep in our souls what really matters while we’re here on this Earth. God’s beauty, truth, love and freedom is still attractive in a world full of deceit, hate and restriction. We are all longing for more. Everyone wants to know their purpose in life and we often do not feel satisfied until it has been identified. When it is identified, but not actively pursued, one lives or exists, rather, in a dulled, gray state—full of regret and disappointment that slowly leads to an anger filled heart of stone. Even the apathetic ones feel, too. Whether acknowledged or not, these emotionless souls are feeling something, deeply. Life is completely mundane, boring and hopeless without a mission. The beauty in the knowledge of Yeshua is that we all have been given a mission…we were commanded to love God and to love our neighbor as ourselves. That’s what it all boils down to…love! It is impossible to know Love, to know what love is, without knowing God. And how can we say that we love God, whom we have never seen, but hate others who we see everyday (1 John 4:20)? I want to enhance this notion of God’s beauty and take it to the streets of the marginalized, in hopes to impart the knowledge that their lives, too, have a meaning and purpose. To those who have given up on God and themselves, who will never step foot into a church, they too must know that they are wanted by God. Too long have I witnessed churches that sit in communities filled with indigent people full of despair, but the congregants sit securely in that church building, worshipping and reaching out to the Lord, yet do not reach out to the people in need that are in the community. We are to worship the Lord in Spirit and in truth; and truth is, there is so much work to be done outside of those four walls of the church building. God’s church is not the physical edifice, but His people. We must do the will of our Father, lest He say, “I knew you not,” when we go to enter the kingdom of Heaven (Matt 7:21-23). With the power of the Holy Spirit, we are to be witnesses of Yeshua to everyone to the ends of this earth (Acts 1:8). The end is delayed because of the mission. We often pray, “Come quickly,” but we must first work before He comes. We all have been given spiritual gifts in order to serve others. We serve, never because of “what’s in it for me,” but to exalt Christ. All of our giftings should be conformed and exercised to the dictates of love. The body of Christ will be edified as we serve together, some teaching, some preaching, some praying, some singing. With the songs given to me by the Holy Spirit, I wish to communicate that: “Nothing is lost, everything to gain, forget the past, forget the pain, you can climb higher, you can achieve, if only you trust and believe and never look back!” Feelings of emptiness and hopelessness can lead one to suicide or a life lived without purpose. But the knowledge of new life, believing that we ought not remember the former things, because God is about to do something new (Isaiah 43:18-19), will save lives! People must see the beauty in God’s light and how it shines in darkness, transforming from the inside out. Aristotle believed that music is the most representative of all the arts and I agree. Music is powerful! A melody could be dimly playing in the background and the listener, incognizant at times, mechanically taps along. The Bronx nursing home, Beth Abraham's experiment with catatonic patients was revolutionary. Ask any college student what gets him or her through when they have to pull an all-nighter and the answer is usually, music. Listening to their favorite soundtrack or artists helps the time pass, without feeling the burden of the task at hand. Hearing a particular song can trigger memories from our past, taking us to places long forgotten about and treasured. Music can be used to awaken a nation, as seen in the 1960s with the release of A Change is Gonna Come, by Sam Cooke, which became an anthem for the Civil Rights Movement. When John Legend and Common stood to deliver their speech for winning “Best Original Song” for Glory from the Oscar-nominated film Selma, Legend conveyed that, “There are more black men under correctional control than there were under slavery in 1850.” Something is terribly wrong with that picture. In the words of Frederick Douglass, “Where justice is denied, where poverty is enforced, where ignorance prevails, and where any one class is made to feel that society is an organized conspiracy to oppress, rob and degrade them, neither persons nor property will be safe.” SEE MORE (YOUTUBE: thekingherself)

[kpki]

Homecoming for Alice Walker in Eatonton, GA

Alice Walker, the first African-American female writer to win a Pulitzer Prize for Literature, came home to Eatonton, Georgia on Saturday, July 13 to a public celebration of her 75th birthday year.

I joyfully attended the sold-out Alice Walker 75, an event of welcome, inclusion, and openness. The kind of day where you sit with strangers and make new friends, where you alternately beam with joy and cry with the type of happiness that comes with the feeling that, here, in Alice Walker’s calm presence, all is right in this little corner of the world.

Walker was the eighth child of sharecroppers born and raised in Eatonton, a sleepy, segregated middle Georgia town that she left after being awarded a scholarship to Spelman College in Atlanta. As Valedictorian and Homecoming Queen at the all-black Butler-Baker High School, she was well aware of class divisions and racism in her native Georgia, which inspired the activist spirit in her soul.

Despite loving relationships with her family and friends, Walker consciously put Eatonton in her rearview mirror. Her participation in Alice Walker 75 marked her first official connection to the town since 1986 when Eatonton hosted a premiere of the film The Color Purple (based on her award-winning book by the same name).

Alice Walker 75

Walker and Valerie Boyd during their conversation

The Saturday, July 13, 2019 celebration was a first-class affair organized by both locals and several Atlantans, including co-chairs Valerie Boyd, UGA journalism professor and author of Wrapped in Rainbows: The Life of Zora Neale Hurston, and Lou Benjamin, co-founder of the Briar Patch Arts Council of Eatonton. It was presented by the Georgia Writers Museum and many sponsors.

My View

Being a busy weekend in the middle of summer, none of my friends were available to join me. So, I bought myself the full-day ticket and secretly cherished an opportunity to take it all in without any distractions.

As soon as I drove into the quiet downtown, the sight of street banners welcoming Walker and her guests immediately brought tears to my eyes. How far we’ve come, I thought, from my early career days with Georgia Tourism promoting the Uncle Remus Museum and Rock Eagle. While those are still beloved, it feels like the town has come full circle toward its authentic identity.

I walked the block full of storefronts in downtown Eatonton, where each was decked in purple clothing, balloons, ribbons and photos of Walker. One storefront displayed copies of Walker’s books, 60s female artist album covers (Roberta Flack’s First Time Ever I Saw Your Face and Janis Ian’s debut album) and Walker quotes incorporated into handmade art.

As I meandered down the block and east to the Plaza Arts Center, host location of most activities, the red carpet welcome could not have been more evident, from a sign pointing to free event parking at the Methodist Church to nature doing its part with a profusion of purple Passion Flowers in bloom at the gorgeous Victorian home across the street.

I made my way inside the beautifully refurbished Arts Center, once a school, where an abundance of local volunteers in brightly graphic event T-shirts made the check-in line short and friendly.

And So It Begins …

When we bought our tickets, guests were given a choice of sold-out area bus tours or a documentary film showing. Those who know me well can probably guess which choice I made, to see the 2010 documentary Alice Walker: Beauty in Truth followed by a conversation with filmmaker Pratibha Parmar. The exceptional documentary brought forth much emotion from the audience. I highly recommend watching it; you can stream it for $9.99 on Vimeo.

After the film, I took my bagged lunch outside and invited myself to sit with perfect strangers, who turned out to be a diverse group of new friends I hope will stay in touch. I met the retired Emeritus Professor of History at Georgia College & State University and his wife, along with another Georgia College professor who was the main tour guide volunteer, and two Atlanta women in their 50s who have been friends since high school in New Orleans.

Attendees with Rebecca Walker (2nd from left) and her father Melvyn Leventhal

Among the many things I learned from my new friends is that there is an entire track of study at Georgia College based on the history and works of Alice Walker. I may have to enroll!

While my observation was that there were more African-American women over age 50 in attendance than any other demographic, the crowd was a healthy mix of black, brown and white: young people, elderly folk, and area residents more apparent by their attire which ranged from seersucker jackets and pressed khakis for the men to specially-made Butler-Baker High School T-shirts worn by Ms. Walker’s friends. The latter gesture was a complete surprise to her. The shouts, screams and hugs when her friends spotted her in the auditorium left few dry eyes in the room.

An Inspiring Afternoon

During the afternoon, an accomplished group of writers and performers paid tribute to Walker as she sat in her namesake boxed seats in the Arts Center auditorium. Violinist and writer Melanie Hill got the entire crowd, including Walker, moving in their seats with her stirring opening of Stevie Wonder’s “As.”

Walker’s biographer Evelyn White, Atlantan Tayari Jones, author of the bestselling 2018 novel An American Marriage; Agnes Scott College poetry professor and author Kamilah Aisha Moon; Daniel Black, novelist and Clark Atlanta University professor; and Walker’s daughter, writer/activist  Rebecca Walker, all touched me deeply with their poignant choices of Walker’s poetry and book passages. At one point, my seatmate handed me a wad of tissues. Maybe it was when Rebecca read “We have a beautiful mother,” crying as she struggled to get those five words out.

Walker’s 14-year-old grandson, Tenzin, capped the tribute with his polished piano performance of a song he composed just for the event, which visibly moved both Walker and her daughter.

Later in the day, Walker seemed happily surprised yet again when her former husband, noted Civil and Voting Rights Attorney Melvyn Leventhal, and Margaret Avery, the actress who played Shug Avery in The Color Purple, both offered champagne toasts to her.

It’s Not a Party Unless You Dance

Walker and Valerie Boyd during their conversation

Following the last event, a no-holds-barred conversation between Walker and Valerie Boyd, we all got a fun surprise – an invitation to join Walker and Boyd on stage, and as Walker said, “it’s not a party if there’s no dancing.” Around 100 of the 500 guests, myself included, took her up on the offer. Walker’s curated song choices: Rock Steady by Aretha Franklin and As by Stevie Wonder. You may find evidence on the Instagram hashtag #AW75!

No one that I interacted with left this event with anything but happy feelings and I’m still experiencing the Alice Walker high.

Closing Thoughts

I met a 36-year-old Political Science professor at Georgia College, Claire Sanders, who grew up in neighboring Greene County. Like my own, her joy was apparent. “This event is renewing my sense of hope for this area, for Georgia,” Sanders said. “Things are changing for the better here and being in the presence of Ms. Walker and having others see the inclusivity today is a highlight of my life.”

One of the organizers shared with me that the Putnam County Sheriff’s Department deputy, a white male, stationed outside the Arts Center said that, despite having to change his uniform three times due to the heat, he wanted to convey that it was one of the most meaningful events of his career. 

Daniel Black made many of us laugh when he said, “She did not wait to die to be ancestral.” Indeed, Ms. Walker offered nearly 700 of us a wide-open look into her life, her family and her writing process.

What a gift she, the organizers and 119 volunteers gave to us! Happy 75th to my favorite American writer!

Rose Scott of Closer Look on WABE/90.1 FM interviewing author Tayari Jones

Read Atlanta Magazine’s story on Alice Walker 75 here!

[sinceileftyoublog]

Lizzo Live Preview: 5/3, Riviera, Chicago

BY JORDAN MAINZER

The title track to Lizzo’s Cuz I Love You starts with her belting scream reminiscent of soul singers of the past. She immediately reintroduces herself, reminding you why she’s cemented as one of the premiere multi-talented stars of this generation, making even a screech sound beautiful. But then she starts rapping awkwardly, and a trap soul beat from X Ambassadors surfaces. It’s the downfall of the album: Lizzo sounds amazing but is hampered by lyrical stumbles and production that too often sounds like a computer trying to emulate the Dap-Kings. 

On Cuz I Love You, Lizzo wonderfully tackles a lot of important subjects that deserve more than reductive descriptions of “feel good”: sexual and social empowerment (the funky “Juice”), self-love (the bounce-inspired “Soulmate”), and black self-love (“Better In Color”). But the lyrics read like they were written by a politician. “Woke up feelin’ like I just might run for President / Even if there ain’t no precedent, switchin’ up the messaging / I’m about to add a little estrogen,” she raps on “Like a Girl”, a song that undoubtedly means well that seems better suited to be delivered in James Corden’s car than anywhere else. “Shit, fuck, I didn’t know it was ending right there,” she says at the end, a clear attempt to add some semblance of rawness to the recording--one that fools nobody. The music, too, is often overcooked. Take “Jerome”, which could have been a great, slow-burning kiss-off to an ex if it weren’t for the distracting instrumental flourishes, or “Lingerie”, whose ill-fitting flanging, echoing sample pad percussion prevents it from being as sexy as it could.

Most of the songs that succeed do so because they don’t try very hard. “Crybaby” is a convincing combination of Minneapolis-style funk with a Southern twang. The Missy Elliott-featuring “Tempo” is an absolute gem and jam, both MCs spitting without care. “My ass is not an accessorary / Yeah, I said, it, accessorary / Twerk skills up on legendary,” Lizzo hilariously declares. “Exactly How I Feel” is an anthem for those who wear their hearts on their sleeve, one with a Gucci Mane feature born out of a misunderstanding with an executive--and it works in its confidence. And the only song forced in concept that delivers in practice is “Heaven Help Me”; apparently, Lizzo wondered what it would sound like if Aretha Franklin made a rap album, and X Ambassadors (yeah, the “Renegades” guys again) actually find a way not to overshadow the depth of her singing. For the most part, though, even if not a total misstep, Cuz I Love You fails to uplift to the same level as Lizzo’s previous albums and most powerful singles.

6.0/10

Singer-songwriter Tayla Parx opens. 

[illiteracy-is-for-woozles]

Meet the Writer Tag Game

Tagged by @lillayalightfoot

Game: Answer 10 questions then tag 10 writers!

I will be answering these questions with the characters from The Culmination of Yesterday

1. Your main character is designing their dream house. What does it look like?

Zuri would like a small farmhouse out in the middle of nowhere, or maybe a cabin in the middle of the deepest, darkest woods. Something simple and that blends in well.

2. What is the weirdest thing that has ever inspired a WIP?

Ever heard of the song Monster Mash? Somehow I got The Culmination of Yesterday out of that song and a conversation with my brother about whether or not Frankenstein’s Monster was, in fact, a monster at all.

3. Which character in your current WIP is the most fun to write and why?

Either Macy or Ashraf. I never know what Macy’s going to do and Ashraf is so quiet but insightful; he always knows what to do regardless of how insane the situation is.

4. Choose an 80s song for your main character(s) theme song

Bridge Over Troubled Water by Aretha Franklin.

5. The characters in your current WIP are in high school. Who gets voted “Most Popular/Most Likely to End up in Jail/Friendliest” etc?

I was homeschooled, so I have no idea what the Most Likely categories are, but here’s my best shot:

Most Likely to End Up in Jail - Bryce

Most Popular - Nicolas

Friendliest - Macy

Most Likely to Be a Rocket Scientist - Ashraf

Most Likely to End Up as a Beekeeper - Tsujio

Most Likely to End Up Dead Before the Reunion - Zuri

6. Tell us a place in the world that you desperately want to visit and why.

Israel. Jerusalem, specifically.

7. What is the absolute trashiest TV show that you’ve ever watched?

The Adventures of Lois and Clark. No doubt about it. It was so weird and I am a smol asexual with no idea what the heck had my mom dying of laughter, but apparently it was bad. (I kinda felt bad for Lex Luthor? Just a little bit?)

8. Hollywood comes knocking, wanting to put your life story on the big screen. Who’s cast to play you? What about your nemesis/love interest?

*maniacal giggling* I don’t know who would play me, but the love interest would be played by the same person. But nemesis? You’re gonna have to be a little more specific for me, here.

9. Favourite flowers and why?

Dog Rose. They’re simple yet elegantly beautiful. And they symbolize both pleasure and pain, and I feel like that describes my life quite well.

10. Is there a genre that you’d love to break into in the future?

I would kill to be able to write a half-decent sci-fi??? I grew up on Star Trek (shut up, I know it’s bad but it’s great at the same time) and would love to be able to create something that reminds me of my childhood when I would hang out with my uncle.

Tagging: @fightyspidey @inferno-of-fantasy-writing @benallen-author @aidenjaxwrites I don’t know very many writeblrs???

[tilbageidanmark]

Movies I watched this week - 34

It dawned on me last night, that watching films and writing these short reviews is somethings I truly enjoy. I thought to myself: If I could do that as a job, it would be ideal. I see up to 4 films and more per day, anyway. So now I am going to embrace it, and make it my job.

✴️                

(2 + 1) by my new favorite Polish director, Paweł Pawlikowski:

✳️✳️✳️ Cold War, starts with a group of ethnomusicologists searching the countryside for old traditional folk sounds before they are lost forever, and ends 15 surprising years later at the most intense heartbreak. An absolute masterpiece - 10/10.

Here’s a short trailer that shocked me, since I didn’t realize what a disastrous love story it was until the end. (Photo Above).

✳️✳️✳️ Ida, the first Polish Oscar winner for Best Foreign Language Film (2012). In 1962, a 17 year old novice nun, before taking her final vows, discovers that her parents, who were murdered in the war, were Jewish.

A featured snippet from John Coltrane’s Naima represents the mood of the story.

Stark and austere black & white compositions, a journey into Poland’s darkest soul. Best film of the week.

✳️✳️✳️ However, The woman in the fifth, Paweł’s previous film, was forgettable and listless. It’s hard to imagine that the director of this standard fair will rise to produce the magical lyricism of his two later films. Even Joanna Kulig (Zula from ‘Cold War’) doesn’t elevate it and make it worthwhile.

✴️               

Ida’s visual style was inspired by The Passion of Joan of Arc, and Paweł’s framing often evokes Maria Falconetti’s tortured face. Carl Dryer’s haunting 1928 film is still fresh and extremely modern. Even more than the radical close ups, I was struck by the gender imbalance of the play: One frightened 19 year old girl, against a full battery of grotesque, powerful and menacing old men, who demand complete fealty from her. 9/10.

The film had its world premiere at the local Palads Teatret. Apparently, the original models for the film's set are stored at the Danish Film Institute Archives - Maybe I’ll get a chance to see them one day.

✴️                

Abbas Kiarostami’s slow-moving Iranian film Taste of Cherry, about a man driving on the outskirts of Tehran, looking to pay somebody to cover him with dirt, after he commits suicide. Probably the inspiration to Ramin Bahrani’s ‘Goodbye Solo’. It ends with Louis Armstrong's "St. James Infirmary Blues." 8/10.

✴️               

Costa-Gavras’s 1972 State of Siege was a searing indictment of the brutal US meddling in Latin America, and the shameful, deadly repression of leftist regimes. So many atrocities committed in the name of the Imperialistic Yankee dollar: Death squads, torture, mass assassinations, deadly coups - The same playbook for 70 years.

Chaotic opening scene of the army sweeping the street. The whole movie was terrifying. 7+ / 10

✴️                

Peter Jackson’s They Shall Not Grow Old. The Uncanny Valley effects created by using colorized footage from the trenches of WW1, corrected for speed, and laid with voice-overs of actual British servicemen, talking about their war memories. The moment when the soldiers reach the battlefield, and the film shifts from the black and white to color is breathtaking. 8/10

✴️                   

A Fantastic Woman, a 2017 sensitive Chilean movie about a trans woman, whose older lover suddenly dies, leaving her to confront his estranged family and to deal with ugly problems of identity, respect and dignity. It’s compassionate and eventually hopeful, though not necessarily fantastic.

✴️                 

Thelma, an atmospheric Norwegian thriller about a young student with psychokinetic powers who falls in love with another girl, while losing her mind. Very slow burning and moody. Reminds me that I want to re-watch Polanski’s Repulsion.

✴️               

Aretha Franklin X 2: 

✳️✳️✳️ Respect, the new, terrific, slick Aretha Franklin bio, which is also a solid feature directorial debut for the director Liesl Tommy. The small girl part was best, but the whole story was well-made. Recommended.

✳️✳️✳️ ... And the final gospel concert from ‘Respect’ was recorded by Sydney Pollack in 1972, and just-recently released as Amazing Grace. With glimpses in the background of Charlie Watts and Mick Jagger (at 0:51).

✴️                

Woodstock, the documentary of the festival at  Max Yasgur's farm. Unfortunately, this is only 1/2 of the original film. Re-watch.

✴️

Carey Mulligan X 3:    

✳️✳️✳️ An education, a beautiful story about a naive 16 year old girl in 1961 London who is being seduced by a charming and sophisticated conman twice her age. The title can be understood in two different ways. 7+/10.

✳️✳️✳️ Never let me go - A British filming of Kazuo Ishiguro's novel didn’t get me. Part subtle science fiction story about compulsory body donors, and part love story with the always-aweful Andrew Garfield in a boarding school setting, its appeal just flew past me.

✳️✳️✳️ Drive - a perfect arthouse thriller by Nicolas Winding Refn. The action scenes are similar to Edgar Wright’s Baby Driver and many other LA-At-Night  action films, but the romance is tight and constrained. The motivation of laconic hero Ryan Goslin is being commented on in the 4-5 songs that puncture the action, with the last one calling him “A real hero - a real human being”, however he is not a real human being, but a replica of the Steve McQueen / Clint Eastwood mold.

Re-watch.

✴️          

I haven’t seen the great American saga Days of Heaven for many years. Through the gorgeous cinematography of Néstor Almendros, the score by Ennio Morricone, and especially the voice over story telling by the little girl Linda Manz as she saw it, it’s still as perfect as it was years ago. 10/10

✴️          

Brazil, Terry Gilliam’s 1985 satiric version of George Orwell’s 1984. Dystopia! Bureaucracy! Ducts! With young Jonathan Pryce as a dreamy glam rock flying Phoenix.

Too bad that Gilliam never got to film Hieronymus Bosch, for example his Garden of Earthly Delights!

✴️              

I’ve never seen a Bob Ross painting show or knew much about him except that he had a landscape painting program on PBS, so the new documentary Happy Accidents, Betrayal & Greed was all news to me.

✴️              

First watch, and only because the highlights always looked somehow ‘funny’ - Fletch. But American comedies of the 80′s and 90′s were so uncharitably lame. 1/10.

Maybe it would have been better if they used their first choice, Mick Jagger.

- - - - -

Throw-back to the art project:

La Passion de Jeanne d'Arc Adora.

- - - - -

(My complete movie list is here)

[randomrecordreview]

This album is rightly considered to be one of Dusty Springfield’s best, and a defining one for a whole genre of ‘blue eyed soul’ – white people singing black music. At the time of its release, however, it sold very poorly which was a huge disappointment to her, hindering her career rather than enhancing it. Recording it in Memphis, the home of her idol Aretha Franklin, and sharing the same record label, Atlantic Records, was a clear attempt to gain authenticity and respect from the artists she love, admired and to some extent, emulated. This she achieved, eventually, when the album was inducted into the Grammy Hall of Fame (in 2001) and selected by the Library of Congress for their National Record Registry in 2020, but sadly she never got to see this glory whilst alive. It is a superb LP, wonderfully produced (by Tom Dowd and others), with perfect musical arrangements and The Sweet Inspirations all-girl backing group providing those iconic “ah-whoop” vocals on Son Of A Preacher Man. Arguably that is the standout track on this album, at the least the most well-known. Son Of A Preacher Man is a brilliant song, but not her best vocal on this LP. What made Dusty so unique was the character of her voice – it did not have the strength, power and emotional intensity of Aretha – it’s the very fragility, the dusty-dusky-husky quality of her voice that defines her sound. This is most apparent on Breakfast in Bed, and the opener Just A Little Lovin’ (one of those subtly sexy songs). I also love her rendition of Windmills Of Your Mind. The album is also a primer to the top songwriting talent of the era (damnit, of any era!) with several by the powerhouse that was Gerry Goffin and Carole King, as well as Randy Newman, Bacharach and David and Michel Legrand. Listening to this is a sensual pleasure. One of the reasons it took me so long to write this ‘review’ was that I felt I couldn’t do justice to such a perfect album. Dusty we just didn’t deserve you. #dustyspringfield #dustyinmemphis #soulmusic #sonofapreacherman #windmillsofyourmind #nowplaying #nowlistening #recordcollection #randomrecordreview https://www.instagram.com/p/CMJjWD4sAXz/?igshid=p4q7t2wh1qw9

[bluesletter]

64 — Off the Record

“I can’t turn you loose.”

Today for my job, my creative director and I went to a schmancy recording studio near Union Square to attend the sessions for a radio spot for our product. The room was larger than my apartment and the men in charge, an editor and a director, both had the booming voices and Paul-Hollywood ice-grey hair, Brooks Brothers-but-comfortable finishing touches (fleece vests) and affable manners that attend men of their stature. That is to say, men who make a lot of money but still commute wearing backpacks. Recording nerds made good. The session cost our company “$9000, all in,” a sum that would pay my share of rent for more than ⅔ of the year, but there were free brownies and coffee.

I marshmallowed into a cozy armchair and listened to Allie, a very talented voice actor, completely nail our “female” spot in four perfect takes. The director, a little chubby but handsome in a “confidence” way, would ring a buzzer to speak to Allie, and give her directions like “smile through it” or “more verve,” and against my expectations, Allie got ‘em, read it, and was able to collect her day rate after 25 minutes.

And then in walked Ben. Uncertain, shifty, and so skinny in a loose T-shirt as to seem ill, Ben’s appearance immediately announced him to be the wrong choice. We’d chosen our readers from a slew of sample reels over a 22-minutes morning meeting in which I kept chomping granola and my creative director was answering emails. Maybe Ben could do this, but he didn’t inspire confidence. He looked like someone had hurt his dog’s feelings at the park, or like a guy who wanders into a bodega and then, afraid to engage with the sandwich guy in front of anyone who could listen, leaves, hungry, and figures something else out.

The “vulnerability” we’d loved in Ben’s voice? Ah, it was just a true, confounding lack of confidence. He landed on every contraction, emphasized every wrong word. Our plump and wonderful director finished every take with a “that’s wonderful, we loved it,” followed by two dozen directions, from “more intimate,” to “up enthusiasm but not speed, all the way to the brutal “pretend you used this product and liked it,” or the crushing and devastating “we’re gonna play Allie’s take for you.”

Ben picked up the pace and sounded like someone in distress. He slowed down and nearly put us to sleep. He did a “talking to your friend” take that assured me Ben had no friends. After a few takes, the engineer would cut and paste a few lines and play it back. This always took oddly too long, but was still short enough to justify everyone in the room disappearing into their phones instead of leaving. During this point we could hear, over the room’s audio system, Ben in his little sound cubicle, shuffling papers and tapping his pen, waiting for more direction.

The end product was not great. It took over thirty takes to get it. Ben flubbed, Ben fucked up the intro, Ben landed on the words we’d never considered. Ben the voice actor was one of the singularly worst “talents” I’ve encountered. It became a live-action crumbling, and every “that was perfect, we loved it” from the director spiraled the room closer to Ben and his shared agony. It was magnetic. We were all, in our own personal, deliriously comfortable armchairs, participants in a public execution. Ben tried super “fast,” tried super “friendly” and apparently tried “like a serial killer.” Ben lost his motivation, and the director told him to "read while smiling," followed by " didn’t actually see you smile the last time. I mean literally smile.” And in the end, I guess we got our spot.

Aretha Franklin and James Brown brought so much to their performances in That Blues Brothers that they were forced to tape their musical numbers live, because a simple lip sync was not possible with the pure quantity and nature of variations their songs invite. Until Ben today, I’ve never really thought about the difficulty of matching and hitting a directors’ wishes just right, and the absolute pure expertise required to nail a take, to interpret a song for something beyond its original intent. I thought, I supposed, until today, that because some of the characters in The Blues Brothers weren't good actors, that they literally aren’t good actors.

But acting is really, really hard. James Brown and Aretha pulled it off. When we recognize their absolute legendary status instead of seeing them as silly cameos, their secondary role in this movie becomes more clear: they confer support and legitimacy on the project at hand. No matter what Aykroyd’s subconscious writer-brain thinks he decided, the decision to have a wide range of musical cameos is its own justification — every great musical number further establishes The Blues Brothers as not just deserving of this film, but stewards of the blues itself. One-take wonders and true talents have a way of blessing the things they encounter. Aretha had this power. It’s easy, until you encounter the complete absence of confidence and ability, to take it for granted.

[blackkudos]

Thomas Whitfield

Thomas Anthony Whitfield (April 30, 1954 – June 20, 1992) was an American gospel singer, songwriter, arranger, pianist, choir director and producer best known for helping to shape the fabric of contemporary gospel music with his elaborate choral arrangements and the merging of musical styles ranging from jazz to classical into traditional gospel foundations. This style earned him the respectable title of "Maestro" by many of his colleagues and supporters. He was best known for organizing one of the popular contemporary gospel choirs of all time, the Thomas Whitfield Company, and for producing best-selling records for Vanessa Bell Armstrong, Shirley Caesar, Yolanda Adams, Douglas Miller, Keith Pringle, Paul Morton and for Aretha Franklin.

Biography

Early years and career

Thomas Whitfield, the eldest of five boys, was born in Detroit, Michigan to Thomas and Jacqueline Whitfield. He took to music at a very early age and was inspired by his great-grandmother to take piano lessons at the age of five and would advance to playing the organ by the age of ten. His influences remained some of Detroit's greatest musicians including renowned organist Herbert Pickard and Timothy Beard. After graduating from Detroit's Central High School, he attended the Detroit Conservatory of Music and ended up sharing his expertise and knowledge as a music instructor at Finney High School. While teaching, Whitfield continued to gain recognition in the area for his unique style of musicianship and would eventually work with the Beverly Glenn Chorale, the Craig Brothers and Rev. James Cleveland.

In 1977, Whitfield, along with his good friend Tyrone Hemphill, felt led in establishing The Thomas Whitfield Company (The Whitfield Company for short); a local music ministry featuring some of Detroit's finest singers and musicians. This remarkable institution remained the apparent incubator for most of Whitfield's most popular creations and would forever be attached to his musical legacy and recording career. Amazingly, it didn't take long for Whitfield to get the attention and overdue recognition he deserved. Sound of Gospel, a local Detroit gospel music subsidiary of Westbound Records operated by music guru Armen Boladian, took notice in Whitfield's fresh sound and approach to gospel music and signed him and the group thereafter; resulting in the debut release of "Brand New" in 1978. Detroit's sophisticated brand of traditional gospel crafted by artists such as Dr. Mattie Moss Clark, Donald Vails, Rev. Charles Nicks and Rev. James Cleveland remained the prominent and popular style from the area and was usually the formula the majority of the country expected from the region. Whitfield, on the other hand, merged traditional gospel with stylish piano performances, riveting rhythmic sections, melodic choral harmonies and musical arrangements. This style is heard on "Repeat The Sounding Joy", a funk-disco melding which ended up being one of his early hits, and other works including "The Lord Is Blessing Me", "I'm His Today" and "That's How The Lord Works".

The big break: Hallelujah Anyhow

After getting local attention with the releases of "Brand New" and "Things That We Believe, Vol. I" and "Things That We Believe, Vol. II" during the years of 1978–1980, Whitfield recorded his first live recording session (a popular trend in modern gospel music) with the Company at the St. Paul Church of God In Christ in Detroit. The album was finally released in 1983. At the same time, Whitfield began his association with Onyx International Records (a black gospel subsidiary of Benson Records) and also released "Hold Me"; a solo project that seemed to be threatening towards SOG's current contract with the Whitfield Company. While "Hold Me" was released on a more recognized label and was by far one of Whitfield's state-of-the-art productions to date, it also help increased the popularity and exposure of "Hallelujah Anyhow" and kept the album on Billboard's Gospel Music charts for over a year.

The mythical understanding of the agreement with both music labels was that Whitfield recorded "Hold Me" as a solo entry while SOG was mainly interested in Whitfield being attached to the choir; feeling that his choir was the "selling card". SOG continued to record them as: Min. Thomas Whitfield & the Thomas Whitfield Company. Whitfield wrote most of the songs (except for "Soon As I Get Home" and "There's Not A Friend" – written by Roscoe Corner) and produced both projects. Songs like "God Wants Our Praises", "There's Not A Friend", "Walk In The Light", the infectious arrangement of "Oh, How I Love Jesus" and the brilliant ballad "Hallelujah Anyhow" were standouts.

Whitfield began a line of notable achievements in producing for both established and fresh talent. In 1984, Whitfield produced the historic debut project Peace Be Still, for a virtual unknown singer at the time by the name of Vanessa Bell Armstrong; earning him his first of three GRAMMY nominations. That year, he also wrote "Time To Come Back Home" for Shirley Caesar's GRAMMY and Dove Award winning "Sailin" album. Whitfield's popularity and demand continued to escalate – possibly pointing that he may have reached the beginning of his recording zenith. Production on projects from the Soul Children of New Orleans, Keith Pringle, Douglas Miller, the Winans, the Michael Fletcher Chorale and Paul S. Morton followed. In 1986, "I'm Encouraged" was released; a live recording session held at the Civic Auditorium in Cleveland, Ohio. The project climbed to the #1 spot on Billboard's Top Gospel Album charts.

During Whitfield's final years with Sound of Gospel, Whitfield discovered Texas native Yolanda Adams and produced her first project Just As I Am for the Detroit label in 1988 which skyrocketed up Billboard's Gospel charts.

An opportunity of a lifetime was awarded to Whitfield when the Queen of Soul Aretha Franklin confronted him with the task to head the musical direction for her upcoming live recording – a project that the media labeled the sequel to her best-selling and award-winning "Amazing Grace" LP. In 1989, Aretha Franklin took home a GRAMMY Award for Best Soul Gospel Performance, Female for "One Lord, One Faith, One Baptism" and a Dove Award for Traditional Gospel Album of the Year – an album that featured musical and choral arrangements from Thomas A. Whitfield. Some of the album's serious highlights include the moving opener of "Walk In The Light" and Aretha Franklin being serenaded by Whitfield's entrancing piano accompaniment on "Ave Maria".

Later years

In 1989, Teresa Hairston (head of Benson Music Group's black gospel department) contacted Whitfield and expressed interest in signing him, along with the Whitfield Company to her label. SOG released two successful projects ("The Annual Christmas Services", "...And They Sang A Hymn") in 1990, while Whitfield went into the studio to record "My Faith" for Benson. The project contained the Edwin Hawkins' composition "Glorify The Lord" and featured musical appearances from Vanessa Bell Armstrong and Karen Clark-Sheard (from the renowned Clark Sisters). In 1992, Benson released what would be Whitfield's last recording, "Alive And Satisfied". The album, to so many gospel music historians, felt like a prophecy and a "love letter" to Whitfield's presence in the gospel music industry. The album featured the moving praise-and-worship ballad "Precious Jesus", "Let Everything Praise Him" (which features the popular sampled vamp used in a number of recent gospel selections) and the reflective "We Remember (Medley)". The medley featured some of Whitfield's most treasured classics strung together in one song. By this time, Whitfield had already been contacted by Paramount Pictures to appear in the motion picture Leap of Faith, starring Steve Martin. He eventually turned down the offer; feeling that even though the visibility was good yet he felt it might diminish the dignity of his ministry. He also began work with music mogul Quincy Jones' "Handel's Messiah: A Soulful Celebration" – a powerful display of modern musical arrangements mostly handled by Mervyn Warren.

Death

On June 20, 1992, after a lengthy choir rehearsal, Whitfield went with four of the choir members to Elias Brother's Big Boy; a popular local restaurant on Telegraph Road. At the table, he started to clutch his chest and began to gasp for air. After being administered CPR by his dinner companions and arriving at Garden City Hospital, Whitfield died on June 21, 1992.

Legacy

Whitfield's musical brilliance and influence has left a tremendous impact on today's leading contemporary gospel artists. Musicians such as protégé' Rudolph Stanfield, Donald Lawrence, Fred Hammond, John P. Kee, Byron Cage, Ricky Dillard, J.J. Hairston & Youthful Praise, Walter Hawkins, Richard Smallwood, Big Jim Wright, Edward Dawson and many others. He is still highly regarded for his numerous innovations during the eighties and early nineties and being one of the pioneers to master the usage of the MIDI-sequencing and synthesizers in gospel music; all helping to earn him his own style: the "Whitfield" sound.

In 1993, Benson Records released a tribute album dedicated to the memory and musical excellence of Thomas Whitfield. It featured new arrangements from Whitfield hits and featured a list of musical guests and musicians including Donald Lawrence, the Clark Sisters, Fred Hammond, Kevin Bond, Larry & David Whitfield and the Whitfield Company.

Thomas Whitfield was honored posthumously with the 1999 James Cleveland Award at the 14th Annual Stellar Music Awards held in Atlanta, Georgia.

The Thomas Whitfield Company has continued to perform and record since their founder passed and are ensuring to keep Whitfield's legacy alive. They have recorded "Still", a Top Ten gospel album, and featured new and rare selections from Whitfield, along with music from former Whitfield musician Rudolph Stanfield. The song, "Don't Give Up On Jesus", sung by Daryl Coley and Vanessa Bell Armstrong also appeared on the best-selling WOW Gospel 1999 compilation.

Larry and David Whitfield, brothers of the "Maestro", decided to organize the Whitfield Group (not to be confused with the Whitfield Company) in January 1994. Since their inception, the music troupe has recorded one project and have opened for artists including Yolanda Adams, Vanessa Bell Armstrong, Men of Standard and Kim Burrell.

There have been a number of artists that have sung Whitfield's praises and have re-recorded his music. Some of the most memorable tributes include:

Shirley Murdock "We Need A Word From The Lord" ("Home")

Vickie Winans "We Need A Word From The Lord" ("Bringing It All Together")

Edwin Hawkins Music and Arts Seminar Mass Choir "Precious Jesus" ("Dallas")

Bishop Paul S. Morton "Down At The Cross" and "Nothing But The Blood"("Still Standing")

Tarralyn Ramsey "Saved" ("Tarralyn Ramsey")

Donald Lawrence/Tri-City Singers "The Little Drummer Boy" ("Hello Christmas")

Byron Cage "Still Say Yes" ("Prince Of Praise")

Byron Cage "In Case You've Forgotten" ("An Invitation To Worship")

The Clark Sisters "You Can't Take My Faith Away" ("A Tribute To The Maestro")

Earnest Pugh "Wrapped Up, Tied Up, Tangled Up" ("A Worshipper's Perspective")

Donald Vails featuring Yvette Flunder and Shirley Miller "Just Knowing Jesus" ("My Soul Love Jesus")

Rodney Posey "Dear Jesus" ("Live In Praise & Worship with the Whitfield Company")

Mark S. Hubbard & the Voices "Lift Those Hands And Bless Him" (featuring Ted & Sheri) ("Blessin' Waitin' On Me)

Dr. Ed Montgomery/ALC "With My Whole Heart" (Total Live Experience")

Benson Records released a rare VHS "Alive And Satisfied" video of Thomas Whitfield and the Whitfield Company. The video also features an award presentation to Whitfield for his record going gold and also an emotional tribute from Fred Hammond. BMG Heritage Records has also re-released a double-CD of Aretha Franklin's "One Lord, One Faith, One Baptism" (1987) in 2003. The album featured four new bonus cuts including a previously unreleased version of Walter Hawkins' classic "Be Grateful".

Discography

Albums:

Brand New (1978)

Things That We Believe, Vol. I (1979)

Things That We Believe, Vol. II (1980)

Hold Me (1983)

Halleujah Anyhow (1984) #15

I'm Encouraged (1986) #1

The Annual Christmas Services (1988)

...And They Sang A Hymn (1989) #2

My Faith (1990) #30

Alive And Satisfied (1992) #2

Hold On (2000) #8

Compilations:

The Unforgettable Years, Vol. One (1992)

The Unforgettable Years, Vol. Two (1992)

The Best Of Thomas Whitfield (1999)

Wikipedia

[princeandvanitydotnet-blog]

Prince and Denise - What's This Strange Relationship

New Post has been published on http://princeandvanity.net/prince-and-denise-whats-this-strange-relationship/

Prince and Denise - What's This Strange Relationship

An excerpt from Denise’s book “Blame It On Vanity” was posted by Denise on her Facebook in September 2012. If you ever wondered about Prince’s Strange Relationship song, here’s what Denise had to say in her book.

Metaphorically speaking!

Chapter 21

So shall I be thrown back in time to speak of the adolescent scuffling, of many a juvenile heart, the competitiveness that strikes like the claws of a cat or the tall tale being somewhat of a novice now told with less enthusiasm, having been coughed up by gossiping proficients, professing insane truths, having sucked it out of a bottle? Not being accustomed to strutting with a steel heart, my tears roared out and poured down like rain and I missed terribly a life of which I had not yet beheld. Who and what was I becoming and to whom did I belong? And what of the piercing screams of dialogue gone rotten, and, arguments pushed away like leftovers in a moldy box? It was needful to live through life’s galloping changes grouped to a people that were growing, cutting back our stinkweed; falling down but waiting to be watered and having an unquenchable thirst for stardom. One remembers the pleasures, if one verily agreed with the pleasure. Most assuredly; and do bear with me a little in my past folly however with folly henceforth came my brokenhearted-ness and the dismantling of the titled song, “What’s This Strange Relationship.”

-Denise-

Blame It On Vanity 

Visit the  Blame It On Vanity  official website to order Denise’s Blame It On Vanity book… read more.

    Strange Relationship Lyrics – 1987

“Strange Relationship”

I guess U know me well, I don’t like winter But I seem 2 get a kick out of doing U cold Oh, what the hell, U always surrender What’s this strange relationship that we hold on 2? Baby I just can’t stand 2 see U happy More than that I hate 2 see U sad Honey if U left me I just might do something rash What’s this strange relationship? (ship, ship, ship)I came and took your love, I took your body I took all the self respect U ever had I took U 4 a ride and baby I’m sorry The more U love me sugar, the more it makes me madBaby I just can’t stand 2 see U happy More than that I hate 2 see U sad Honey if U left me I just might do something rash What’s this strange relationship? (ship, ship, ship)Isn’t it a shame this ain’t a movie Then U could rewrite my every line I’ll take all the blame, yo baby I’m sorry But I didn’t like the way U where, so I had 2 make U mineBaby I just can’t stand 2 see U happy More than that I hate 2 see U sad Honey if U left me I just might do something rash What’s this strange relationship? (ship, ship, ship)

Mmmmm, my strange relationship Can’t live with U, can’t live without U That’s all about.. Do U know? (strange relationship) I think U and I got a (strange relationship) What’s this strange relationship? Yeah, yeah [repeated to fade]

These lyrics were obtained from: AZ Lyrics website.

Prince and the Princess

Prince and Denise on Rolling Stone Magazine cover

Prince and Denise/Vanity, being nearly the same age, were both young and free back in the early 80s. They came into each other lives at a time when Prince was close to his prime in super-stardom and Denise was trying to get there. She once said in an interview with Donnie Simpson in 1985 that she never thought she was a good singer. She wasn’t a Diana Ross or an Aretha Franklin, but that she wouldn’t have gotten into the business if she didn’t think there was some talent there. She was quite the talented and creative artist, writer, actor, and most importantly, became a dedicated woman of God. Even though they were, at some point in their lives, not just deeply in love, their love/hate relationship was intense. They were both headstrong individuals who believed to be one another in another life. Denise stated that they were so close it became scary.

Did you know that Denise originally wrote the lyrics for Nasty Girls and that Prince added on to the lyrics? This information I read from the content that her brother-in-law shared that belonged to Denise and was in Denise’s handwriting.

I just couldn’t imagine such a closeness between Prince and Denise, where she even stated that their shadows measured to be the same, as well! They were one another in another life, they were practically attached to each other, she was rumored to have tried on his coat when he first met her and it was a perfect fit, they felt they were each other’s mirror–hence the name he christened her: Vanity, they lived parallel lives throughout the years, had the same creative style… Really, how close can you get?

I’ve read where some have stated that Denise said they (her and Prince) have waken before from having the same dream. I’ve read plenty rumors that I cannot confirm to be accurate–including a rumor that Prince was trying to get back with Denise even into the 90s. That information went from this world when Prince and Denise passed and is only known to God. Some things are better left that way and gone with the wind.

I’ve read many of places about songs that Vanity inspired that Prince had written–including songs such as: Strange Relationship, When Doves Cry, a portion of Purple Rain, Adore, The Beautiful Ones, and many more that were recorded during their time together (Dirty Mind era/Controversy era/1999 era/Purple Rain era) .

Dez Dickerson – My Time With Prince

According to Dez’s book: My Time With Prince (released in 2003), Prince was so involved with Vanity he felt that Prince was putting Vanity before his very own, longtime band. So, it goes like this—Vanity came in and changed Prince in such a way that didn’t sit well with Dez, apparently. It has also been rumored that others took a disliking to Denise or was jealous of Denise because it was like Denise came in among a tight-knit, well-talented band that were like best friends with Prince, and Prince hardly knew Denise, before all of a sudden, she was christened Vanity and it was him and Vanity against the world. Prince had gotten himself a second traveling bus for him and his newfound lover to smooch on–you know, a tad bit more privacy away from prying eyes. He later broke up with the beautiful Susan Moonsie to be with Vanity.

He was so in love with Vanity he had to have been hit by several of cupid’s arrows, the moment he saw Denise in 80/81 American Music Awards. I am not sure of the AMA date, but it was stated on Denise’s obituary that they met in 1980 at the American Music Awards. Denise also stated that Prince was tenaciously pursuing her and calling her agent often to get her to be with him. Our man was trying hard. Can’t knock him for loving the women.

Back to Dez’s book… I cannot say if what Dez felt was justifiable or not, but nonetheless, he clearly seem to have been hurt by it at some point. I believe he’s pass that by now, of course.

Please take note that those words I used regarding Dez’s book were my own way of putting it from Dez’s words. I did not quote his book verbatim. I repeat, those were NOT Dez’s exact words in his book.

As Prince stated during his Denise tribute on his Piano and a Microphone tour–they were deeply in love with one another and as much as they love they fought.

Can’t stand to be with you, can’t stand to be without you.

What a strange relationship it was.

  However deep their love was, Denise wanted to reach her dreams as much as Prince wanted to reach/live his. In her eyes, she had to make the decision to let go of the only person she ever loved, the person she loved deeply, so that she could pursue the dreams she had for Denise, to take the next step towards her reaching her dreams. This, according to Denise, could not have happened had she chose to stay for Purple Rain and Prince.

Mayte Garcia – The Most Beautiful

According to Mayte’s The Most Beautiful book, Prince stated to Mayte that Vanity asked for more money to do Purple Rain (Denise said in an interview that she was offered just 5,000 to do the lead in Purple Rain) and when he didn’t agree with what she wanted, she said she wasn’t doing the movie and quit… broke his heart. Denise stated in an interview that she asked for more money because she needed an excuse to leave Prince. Denise, whom was the original star cast of Purple Rain (Prince and Vanity love-story that Appollonia took on in Purple Rain after Vanity), alongside of Prince, had chosen to leave Prince and Purple Rain to set a path–a path she said she always wanted to take towards becoming who she wanted to be. No purple but plenty of rain must’ve followed. It was pouring hard for dear Vanity. She admitted to wanting to die during her heavy cocaine use days. She was lost, deep with anger from her past, and was never happy–that is, until God came in and intervened on that day she was in the emergency room and nearly lost her life. That day changed Denise forever.

Prince Interview – Jet Magazine1997

“Everyone thought I was going to marry Vanity. She is where I am… connected with her spirit.“

Prince – Jet Magazine

One can only assume what this meant to Prince. To me, however, this means he truly wanted to marry her at some point and others knew so, as well. But, when I think of what it meant to Denise, I believe that she was purely focus on living for Christ. She had shed her Vanity character and, as Prince once stated about himself, she didn’t want to look back nor go back to Vanity. Yes, Denise loved Prince with a deep passion but God was more… so much more. She felt that God is what brought her happiness, that God was the reason for her being able to forgive the ones that wronged and abused her, for being able to live through her near death experience, that resulted from the overuse of cocaine, and that it was by God’s grace that she lived over 23 more years without a kidney inside of her. Denise was dearly devoted to Christ and her Christianity. Rightfully so. Prince later became a Jehovah Witness and was reportedly so until the end, as far I I know.

A few things anyone must consider, when it involved Prince and Denise

Denise might have (might have) chose not to marry Prince because she was focused on her life with Christ. It seems this would explain why Prince and Denise didn’t marry and/or why he stated to Jet Magazine that everyone thought he was going to marry Vanity but she was connected with her spirit. In my eyes, I see Denise deciding against any marriage proposal from Prince (if there was one) because of her religion alone. She stated before that God was her husband. This did not negate the fact that she loved Prince. It is possible she simply loved God more, that she didn’t see a future such as marriage between her and Prince, and chose to remain friends-only with him. She had already married and divorced a professional football player that turned for the worse before the interview Prince did with Jet took place. Denise may have decided marriage wasn’t for her. No one will ever know for certain.

I do not believe it was ever about what Prince wanted when it involved marrying Denise. Many have asked if Denise was the one Prince loved more than the other women, or was the one that held his heart, if they were soulmates, why didn’t he marry her? No one, it seems, thought about if it was Denise who chose not to marry Prince, instead of the other way around. Denise was already deeply devoted to God before Prince chose to live the Christian life. She stated she left her past behind. She said that she was no longer Vanity and she was out of the music industry and film industry for good. Prince was still there. This would have likely interfered with Denise’s plans to leave it all behind for the sake of living purely for Christ. Could you imagine an Evangelist married to a man that was still strutting around with that pop-and-lock and spouting those sultry, te amo, mi amor lyrics about what he can do for a woman? I haven’t necessarily contemplated whether his performance was of any approval towards any Christians–but I do believe, sincerely, that Denise wouldn’t have been ok with that. Prince stated in an interview that his musical talent was a God-given gift that he was not going to stop doing.

Prince and Denise were not entirely with the same beliefs when it involved Christianity. To my understanding, a Jehovah Witness does not believe in hell, whereas in Denise’s religion, she believed in Satan and hell. Denise’s religion believes in the God-given of speaking in tongues, whereas Jehovah Witnesses do not. There are several conflicts between the two religions. And with that, I do not see how a marriage between them would have worked. I doubt either were going to let go of each other’s religion for another. They were both too deeply involved in their religion. Simply put, it wasn’t meant to be–no more than with the women he proposed to and didn’t marry, not even with the two women that he did marry because they divorced. Prince and Denise were brought into each  other’s lives for a reason–be it a reason only God knows.

  Prince and Denise’s love/hate relationship they’ve both admitted to having was indeed a Strange Relationship.

  I have much love for both Prince and Denise and wish them both heaven.

      PrinceAndVanity.net Administrator

Please know that I am not a Prince/Vanity “stan“. I did not create this website because I believe Denise was his one, true love, or that they were soulmates or “mirrored” each other. I do not have an educated knowledge about soulmates nor astronomy-related stuff that I’ve seen people discussing, but I do believed a lot of things they did, for whatever reason, parallel each other. However, this is not why this website exist. I created this website in support for Prince and in support for Denise, not in support of a love interest. Prince already stated to the world what he and Denise were to one another and Denise stated so as well. This website does not exist to convince you of what you (if you are familiar with Prince and Denise) should already know. I’ve no doubt about what I already feel in my heart that I know. What I know is that Prince and Denise loved one another deeply, I do know that Prince and Denise did communicate for a while after their breakup during the Purple Rain era, I do know that Prince and Denise will never be forgotten. I do not favor any one person that was involved with Prince over another. I truly believe Prince had some love for every one he was in a relationship with. I believe that these people that were in his life were all beautiful in their own way inside/out.

  Writing

I studied in college to become a novelist. I later changed my interest from Literature to studying for a degree in Medical Science (Medical Sonography) and later that changed to studying in Graphic Design, Web Development and Photography. Yes, I was indecisive but interested in each subject. I couldn’t pursue all, so I had to give up some, unfortunately. In other words, I have no degree in Literature and is a bit rusty with my editing, so to speak. However, I am a writer and love to write. There are plenty writers out there in this world, but I’ve yet to find a book by an  author written about Prince with a decent amount of content written about Denise. Denise may have been in the spotlight for a brief time, but she was indeed a huge part of Prince during his prime in the Purple Rain era and before he made it to stardom–dating back to the Dirty Mind era. Purple Rain contained some details about Prince’s real life situations that he was involved in with his parents, with his band, with his proteges… with Vanity.

  A Mission

I intend to write about Denise, as much as I can, and what I can about her history from the start (before Prince, during, and after) in as much detail as I can gather and will do so over time (only with any help and input from anyone with valid knowledge and is willing to add their input). In honesty, I cannot do this alone. Yet, I feel like I must write because I do feel that her story deserves justice. There are books out there from authors that are not delivering accurate information about Denise or is either misleading readers or purposely wrote the book in favor of particularly people that were involved in Prince’s life. Alex Hahn and Laura Tiebert is an example of such authors. Nikki Sixx even exaggerated on some information regarding Denise, according to Tommy Lee. There are also many ex-lovers of Prince, who have had a brief fling with him, one being a Mi-Ling Stone Poole , evin+Devasquez&ie=utf-8&oe=utf-8″>Devin Devasquez, and God knows who else, adding their portion (some from a second-hand source) into the clan of old-friends-for-sale–getting while the getting is hot. Denise was not this.

You will not find such information in Denise’s book that paints Prince in a bad light such as Mayte Garcia’s book. Denise never went on a forum and spilling everything there is to spill about Prince’s sexual life, how he is in bed, or what size he is, such as what Robin Power has done. I do not have anything against people choosing to tell their story in return for monetary gain–as long as their story being told is the truth, nothing but the truth, and nothing but the whole truth. Could one assume second-hand input to be the whole truth or maybe a half of the truth? If I chose to write about Denise, I do not want nothing but the truth. Being that Denise didn’t give away the gossip that some people wanted her to do, such as a tell-all book that she was offered a heavily sum of money to do, there is room for others to just speculate and throw out whatever rumors that want about her.

Denise’s life should not be remembered as someone that Prince briefly slept with that became a cocaine addict. What comes to your mind if someone speaks about Vanity or Denise? You think of the Rolling Stone Magazine cover that a lot of people are throwing on t-shirts, in art, shoes, cups, and the likes? Some even had the nerve to say she lost it all when she became a Christian. What? Denise’s life did not begin and end with Prince. Denise was already a star before Prince. She had already played characters in movies before she met Prince. She also had a beautiful life of her own, filled with happiness, after she became closer to God. A good start to knowing Denise and the life she had as Vanity is right on the Blame It On Vanity website. Check it out!

My self-motivational interest in writing about Denise is entirely voluntary–filled with upmost inspiration from what I’ve learned thus far about Denise.

  I thank you for taking the time to read this article I posted on the www.princeandvanity.net website.

  One Love

  Images were obtained from: Ebony.com/Pinterest.com/WennerMedia.com (Rolingstone.com Prince/Vanity iconic magazine cover)/Amazon.com

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[mingmagazine-blog]

How do we Mourn?

With the 2019 Oscars complete we have finished what some call awards season. With this wonderfully predetermined time of year comes everyone’s ‘In Memorium’ videos (which apparently excludes hard rock singers and musicians). I have had to mourn the loss several people in my life who I was close to. If you are reading this, chances are that you have lost someone who meant the world to you. It is just a cold fact of life that we lose people we care about.

    Who can we mourn?

To mourn is a natural stage in life. Everyone passes on, whether it is a family member, friend, or the parent of a friend. Maybe it was a soldier that you served with or someone from a unit you were in. In some cases, it may have been someone you looked up to; a musician, actor, or comedian. After all, at the end of the day, they are people just like us.

Should I feel bad about missing Chester Bennington, Jimmy ‘The Rev’ Sullivan, and Darrell ‘Dimebag’ Abbott the same way I miss my brothers and other departed family members? I have been a longtime fan of both Pantera and Avenged Sevenfold. My homage to Dime and The Rev is to only listen to their music on the anniversary of their death. I do the same thing for others such as Cliff Burton (Metallica) and Layne Staley (Alice in Chains).

    That all changed one fateful day in late 2011 when I lost one of my brothers and another brother a few years later. Until then I had given no real thought to mourning the loss of musicians, singers, or others in entertainment. Anyone who has lost a family member understands that is complicated enough. Throwing mourning celebrities and entertainers into the mix tends to muddy the waters, for lack of a better term.

Is it right to mourn and/or celebrate the life of a celebrity the same way as you would for your family or close friends? As with so many other things in life, there are no rules, no handbook, or even as Jack Sparrow would say “merely guidelines”!

Full circle

I have thought about this off and on since losing my brothers. Well, in the last year several celebrities have passed such as Burt Reynolds, Aretha Franklin, Vinnie Paul, and former President George H.W. Bush. Most recently we have lost Bob ‘Super Dave Osborne’ Einstein, wrestling legend ‘Mean’ Gene Okerlund, and Luke Perry. With their passing, it comes back and makes me want to ask, how do we mourn?

Sure, there is no guidebook, field manual, instruction sheet, app, or meme on how we handle our emotions. Especially when it comes to the passing of loved ones versus celebrities. Pretty sure we will not find an answer on Twitter, Facebook, or Instagram! So what is right or wrong? Who gets to make that decision?

The connection

Some say it is ok if you have a personal connection with the person in question. For example, I discovered George Carlin when I was about 15. And his style of comedy has had a big impact on my way of thinking and how I see the world to this day. It’s been over 30 years!

Others say that no one leaves this world without positively affecting someone else. Both small and large influences are important in shaping who we are. An example of this is Stan Lee, who positively affected not only millions of comic book readers. But is also a man who helped shape an entire industry. His work contributed to the Marvel Cinematic Universe and how we view superheroes today.

The influence

It is undeniable that the sound and style of Aretha Franklin has inspired and influenced more singers than I could possibly list here. There are so many other singers/musicians who have passed that were inspirational, such as Darrell ‘Dimebag’ Abbott and his recently passed brother Vinnie Paul Abbott. These guys inspired possibly as many guitarists/drummers as Aretha did singers.

But yet, there are those who feel that we as a society idolize celebrities too much in life as it is. Why should we idolize them when they have passed away? Once again I ask, what is the right answer?  After we have decided whether celebrities should be mourned or not, there is another question to be addressed. How do we decide which celebrities should be mourned? Personally, I will always have the memories of George Carlin and how he shaped my view of the world but could care less when the Kardashians are gone! Does that justify judging those who would mourn the Kardashians? Are their reasons less pure than mine?

While I cannot stand the thought of the Kardashians and other so-called “Reality Stars”, There are those who have been inspired and influenced by them. No different than the way I was by George Carlin. Or the way many singers were by Aretha, Chester Bennington, or Chris Cornell.

Bottom line

So here’s my bottom line. If the person in question had some influence on your life, then it is ok to mourn them. No different than you would a family member or friend. Since there is no right or wrong here, I want your thoughts. I can’t be the only one who thinks this way, right?  Comment and give me your take!

[mrmichaelchadler]

Finding New Neighbors at the Movies: The Ebert Fellows on Ebertfest 2019

Editor’s note:  Last week, the 2018-19 University of Illinois College of Media Roger Ebert Fellows, Curtis Cook, Pari Apostolakos and Eunice Alpasan, covered their first full Ebertfest experience at the Virginia Theatre in downtown Champaign, Ill. Here are their impressions, from “Amazing Grace” to “Won’t You Be My Neighbor?” and beyond.

CURTIS COOK

An hour before the first screening of Ebertfest 2019, “Amazing Grace” – a long-lost concert film charting the creation of Aretha Franklin’s eponymous 1972 gospel album – longtime festival director Nate Kohn addressed a crowd of festival guests and participants Wednesday in Urbana, Ill., at the home of University of Illinois president Tim Killeen.

Like Roger Ebert himself, Kohn was raised locally, and he noted that one of his favorite activities of the annual April film festival was observing the change of the city, year to year.

Like the city, Ebertfest is an evolving beast. Under the tutelage of Chaz Ebert, Roger’s widow, for the past six years, the festival continues to tinker with its formula. With one foot firmly planted in the festival’s initial focus on overlooked films, the other foot – guided by Chaz’s emphasis on empathy, kindness and compassion – has branched out further, this year focusing heavily on the passage of time.

Throughout the 21 years of the festival’s operation, one of the few constants, alongside Nate and Chaz, has been Champaign’s Virginia Theatre. For anyone who has been to Ebertfest, they know the venue as a bit of an anomaly in its surrounding city. The Virginia features Corinthian-style columns adorned in cerulean hues and gold leaf, where the green and gold of the proscenium complement deep crimson curtains, and rows of red diamond-checked velvet seats and hundreds of feet of ornate trim occupy the auditorium.

This conveys an elegance glaringly absent from modern theaters. But there’s a more down-home flourish out front: a bronze statue of Ebert, seated in a movie theater seat, giving his signature ‘thumbs up’.

From the opening screening of “Amazing Grace,” which was followed by an onstage concert from the Martin Luther King Jr. Community Choir of Champaign-Urbana, to the show-stealing duo of Gina Gershon and Jennifer Tilly who spoke after Thursday night’s screening of “Bound,” to several screenings projected in 35mm film – a rarity in 2019 – the Virginia was packed with entertainment for film lovers of all kinds.

A Saturday highlight, director Morgan Neville’s enormously popular Fred Rogers documentary “Won’t You Be My Neighbor?,” came with the presentation of the Ebertfest Humanitarian Award. Neville was the third in the festival’s history to receive the honor.

The film itself is a perfectly nuanced character study of a TV celebrity famous for his compassion and empathy around the world. Neville’s documentary looks beyond the surface of Rogers’ small-screen persona and examines how his kindness manifested itself on a daily basis.

“The question is not ‘What would Mr. Rogers do today?’” remarked Neville in a post-screening talk. “The question is: ‘What are YOU going to do today?’”

The festival named after Ebert means a lot to me personally. Growing up in Urbana, attending Ebert’s high school and then the university where he first made his name, it’s natural to sense his shadow looming over other people’s lives, especially film lovers. Until this year, my only interaction with the festival was a one-movie taste of the 2017 festival: Park Chan-Wook’s “The Handmaiden.”

Visiting the festival this year in full was an eye-opener to say the least. In 2005, Ebert famously declared film to be “a machine that generates empathy.” This festival captures that sentiment perfectly.

To watch hundreds of patrons interacting with each other throughout the week, mingling along the streets of Champaign, walking around West Side Park on a blustery weekday afternoon, perusing records at Exile on Main Street just a few blocks away – all of it was rewarding.

Hearing people converse in the lobby of the theatre, under the marquee, even in the bathroom, after screenings gave the sense that people here were not just paying to see a movie, but deeply invested in what they saw. As one guest put it: “It’s nice to go to a festival where people actually care about movies.”

Even in the short time that the festival runs, the openness and kindness of everyone involved is so inviting that one can’t help but feel the warmth of the community at their feet when they step under the Virginia’s laurel green marquee. For 98 years, the Virginia Theater has stood tall, a local relic amid that ever-evolving cityscape. And with the recent addition of several new luxury high-rises in a downtown area under perpetual renovation, that cityscape continues to evolve.

Whatever the future brings, Ebertfest and its longtime home serve as a testament to longevity and to cultivating a sense of community beyond proximity. In coming years, in this great era of local change, the Virginia’s presence – along with its long-running festival tenant – will be even more appreciated.

PARI APOSTOLAKOS

Ebertfest 2019 was a true learning experience for me, but not in the way I expected.

For example, Alan Elliott, producer of the Aretha Franklin concert documentary “Amazing Grace,” revealed details in Wednesday’s pre-screening discussion not just about the film, but about his life, right down to the story of his family adopting a friend of Elliott’s named Benny. The real-life scenario, improbably enough, went on to inspire the ‘90s TV sitcom “Fresh Prince of Bel-Air.” Elliott received confirmation on that anecdote, from another Ebertfest guest, actress Gina Gershon, Elliott’s cousin. She was there in the Virginia Theatre Wednesday, and from her seat she shouted out: “It’s true!”

Gershon and her “Bound” costar, Jennifer Tilly, delivered one the most entertaining post-screening discussions of the festival after the Thursday night showing of “Bound.” Their chemistry on-screen 23 years ago translated to the 2019 stage with ease.  I wanted to befriend both of them instantly. Between takes of their hot-and-heavy love scenes in “Bound,” they recalled, they’d eat donuts and discuss the shoe sale at Barney’s.

Even more intriguing were one-on-one discussions with festival attendees like Rita Coburn Whack, co-director of the Maya Angelou documentary “And Still I Rise” who strongly recommended I watch “The Crown” on Netflix (apparently Princess Margaret is a mess). On a brief stroll over to the “Bound” screening, Coburn Whack told me she thought Angelou would’ve been a fierce advocate of the #MeToo movement if she had lived to see it. It’s unfortunate the world will never see what that movement might’ve sparked in Angelou’s writing.

If Ebertfest were structured like most festivals, that brief encounter might never have happened. Since only one film is screened at a time, with all attendees watching the same thing at the same time, Ebertfest sparks conversation amongst the festivalgoers. May that aspect of it never change.

Following Saturday’s screening of “Won’t You Be My Neighbor?” Chaz Ebert took the stage in tears, overcome with emotion as she remembered her late husband, whom she described as her own Fred Rogers. “Neighbor” director Morgan Neville took time afterwards to tell the Ebert Fellows a bit more about the film. One of the best moments in the documentary, 1960s archival footage of Rogers convincing, patiently, Sen. John O. Pastore to continue funding national public television, has a larger story behind it.

Neville told us his that his research revealed Pastore did not have much of a childhood of his own. Growing up during the Great Depression, he was put to work in a factory at an extremely young age. Something happened when Rogers candidly shared with Pastore the compassionate message he was sending to children in his television program. Neville speculated that it must’ve touched the inner child of this senator who grew up too fast.

Mr. Rogers was a true embodiment of empathy. It’s that quality that has grown into a central theme of Ebertfest. “If somebody is disabled or of a different race or ethnicity or religion or what have you, kids are just kids,“ Neville said. “Most of the differences we have in our world are taught. And not always for the better.”

EUNICE ALPASAN

After the Saturday screening of Morgan Neville’s 2018 documentary of the life of Fred Rogers, “Won’t You Be My Neighbor?”, Ebertfest co-founder and host Chaz Ebert came on stage in tears, mirroring the emotional state of many audience members.

“I had my own Mr. Rogers,” she said of her late husband, Roger, “someone who was so kind, so compassionate. Nobody's perfect — we know that — but the depth of Roger’s compassion and goodness was astounding. It was amazing to be able to peer into somebody's else soul and see how much they cared about other people, and to see the things that they wanted to change to bring goodness into the world.”

Attending the 21st edition of Ebertfest reminded all of us of Roger Ebert’s legacy. Despite his passing, his spirit permeated the four-day film festival and could be found in the people in attendance who knew him, as well as the movies shown on the big screen of the Virginia Theater in downtown Champaign.

Filmmakers, critics, actors, musicians and movie distributors came from across the country to take part in Ebertfest, a festival that’s unlike any other. Empathy, forgiveness and compassion were major recurring themes found throughout this year’s work. Movies like “Rachel Getting Married” and “Won’t You Be My Neighbor?” stood out for the way they helped fulfill a heartfelt collective yearning. It was personally very much needed.

“Won’t You Be My Neighbor?” tells the story behind the children’s TV show “Mister Rogers’ Neighborhood” and the story of the man whom filmmaker Neville reveals as being more than just a two-dimensional character.

“One of the big questions of this film was — it’s in fact, the fundamental question that I got when making the film – ‘Is he really that guy? Is he really who he seems?’ That’s the most common question I got,” Neville said. “And the answer is, he’s even better.”

Even if you’re too young to have watched “Mr. Rogers’ Neighborhood,” the film still finds a way to connect with audiences unfamiliar with the subject. The film doesn’t portray him as a saint, which Mr. Rogers’ widow was insistent on when speaking with Neville about the film.

The kindness of Fred Rogers was refreshing and therapeutic to see on the big screen. But we also saw the vulnerability and internal struggles he faced and shared with the world.

“When I saw this movie in the theater,” Chaz Ebert said Saturday, “it was the men in the audience who were crying. I was asking someone, ‘Why do you think that is?’ And they said, “It’s so much more difficult for men to be able to tell someone that he needs them, to tell them that they love him or that they’re accepted. Or that they’re just fine just the way they are.”

Director Jonathan Demme’s 2008 drama “Rachel Getting Married” starring Anne Hathaway screened two days earlier, on Thursday. The film follows the character of Kym, released from drug rehab so she can attend the wedding of her older sister, played by Rosemarie DeWitt.

Kym finds herself in a tug of war with her family, and screenwriter Jenny Lumet delves into the complicated nature of families. In one sequence, a dishwasher-organizing competition sprouts out of lighthearted fun between Kym’s father, played by Bill Irwin, and Rachel’s fiance, played by Tunde Adebimpe. The scene takes a sudden, stark, poignant turn that sucked all the air out of the room on screen – and out of the Virginia Theatre auditorium.

Another Thursday screening, Jean Epstein’s 1923 French silent film “The Faithful Heart,” made my list of Ebertfest favorites, as well as one of my favorite movie-watching experiences, period. The screening featured a live musical performance of the Alloy Orchestra. As someone who doesn’t often run into the opportunity to watch silent films, I found my jaw dropping thanks to the stunningly restored visuals combined with the seamless music performed live. The Alloy Orchestra included instruments like junk percussion, accordion, clarinet and synths.

The intense close-ups revealed the deathly glisten of the character’s eyes and the detailed texture of their skin. The cinematography was shockingly detailed, even psychedelic with the use of quick cuts, kaleidoscopic and distorted camera shots. The ambiguous ending to this melodramatic love story added a layer of depth that was unexpected and thought-provoking.

Ebertfest recognizes a variety of films differing in genre, time period and representation. I hope in years to come, the festival’s breadth becomes more clearly reflected in who attends the festival. More community members and students of different ages and backgrounds should take the chance to attend.

As a College of Media Roger Ebert Fellow, and first-year college student, it’s incredibly humbling to attend a film festival whose co-founder, Chaz Ebert, provided me this opportunity. To be surrounded by people who do so much to champion filmmaking makes for a celebration of the movies, and stories, we all share.

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