Latest news with #AChangeIsGonnaCome
Los Angeles Times
12-06-2025
- Entertainment
- Los Angeles Times
A tale of two eras: Terri Lyne Carrington pays tribute to the revolutionary spirit of Max Roach on ‘We Insist 2025!'
'The more things change, the more they stay the same,' French writer Jean-Baptiste Alphonse Kerr said in 1849. Nearly 200 years later, that is sadly true of the greatest protest songs. In 2025, songs like Bob Dylan's 'Masters of War' and Sam Cooke's 'A Change Is Gonna Come' are as needed for their messages as they were when they were written more than 60 years ago. So when Grammy-winning jazz drummer Terri Lyne Carrington set out this year to pay homage to one of her stick-wielding idols, the legendary Max Roach, by revisiting his seminal 1961 album, 'We Insist!,' it turned out to be more than a musical tribute. In the process of recording the album 'We Insist 2025!,' Carrington took time to reflect on how issues of inequality, racism and more that Roach fought against in 1961 are unfortunately just as prevalent today. 'Wow, I can't believe that this stuff is still relevant,' Carrington says. 'When we look at these examples of how things have shifted in some ways, but not in other ways, it can be very depressing, especially right now. When we started this record, the election hadn't happened yet. I thought I knew what was going to happen during this election, and it was still relevant. But now it's even more relevant.' Now 59, Carrington, who also serves as Zildjian Chair in Performance at Berklee College of Music in Boston, is ready to pass along some of the fight for social justice to the younger generation. 'I do feel like it's a youthful game. I had an uncle that I would talk to when I was in my 20s, who has since passed. He would say that this is your fight now, and I would be mad at him, feeling like he wasn't doing more,' she recalls. 'And he would say, 'No, this is your fight now. I've done it, I've been there, I'm tired.' I get that sentiment too. I'm going to do whatever I do, but I'm relying on the younger generation and how pissed off I feel like they are and what that will do.' Among her many ventures to champion the jazz music she loves so much is A&R for iconic jazz label Candid Records, founded by the great jazz writer Nat Hentoff in 1960. So, she called on the younger generation to help share her vision of 'We Insist 2025!' 'I thought of calling the people that had been signed or were being signed to Candid Records because I do A&R for Candid. So I thought this would be a great opportunity to also shine a light on a lot of these artists, young people and progressive artists that are being signed right now to Candid. It's kind of like a family gathering; we all came together to pay tribute to this great artist and this great project,' she says. At the center of the next generation of jazz artists on the album is vocalist Christie Dashiell, with whom Carrington collaborates on the album. 'Somebody like Christie Dashiell was really important to the project, because I felt like the voice is so out front. It's what people relate to; the average ear relates to the voice the most,' Carrington says. 'I just feel like she perfectly embodies all these different areas of Black music traditions. That was really important, so I started there. What is the voice that's going to work with this idea?' Having toured with Herbie Hancock and played with giants as Dizzy Gillespie and Stan Getz, Carrington has a strong sense of jazz history and rightly sees herself as a bridge between the history and future of jazz. She made sure that bridge was strong on 'We Insist 2025!' by including trombonist Julian Priester on the record, who, at 89, is the last living musician who appeared on Roach's 1961 work. 'Jazz has always been about these kinds of bridges between generations. It's been such an important part of jazz. Mentorship, apprenticeships — it's an apprenticeship art form,' she says. 'So we did contemporary things with this music, but it wasn't so contemporary that there was no place for a Julian Priester. I think that the ability to be a bridge is important — pointing to past legacies, to the foundation of what we stand on, while trying to also point to the future or reflect the present is important.' As much as the album's original political message weighs in this turbulent current climate, and as much as Carrington wanted to make the record a vehicle for younger artists, the impetus for 'We Insist 2025!' was to pay tribute to Roach for the centennial anniversary of his birth. For Carrington, the heart of her interpretation was to honor the music and spirit Roach created on 'We Insist!' 'I had a history with reimagining projects in other people's work, and helping that legacy continue, but doing it in a way that also has my own identity involved in a way that really feels new, in a sense,' she says. 'The music is not new, but so many elements around those things are new. So I feel like it's reshaping these things a little, even though we didn't change the lyric content. By changing the music around the lyrics, it gives the lyric a different slant.' As one of the country's primary ambassadors of jazz music today, Carrington hopes the record will introduce new fans to Roach's considerable legacy while helping to revive the soul of protest music. To that end, she has discussed bigger plans with his family. 'I've talked to Max's son, Raul Roach, quite a bit about trying to collaborate by doing shows that would be expansive. Doing some of this music, maybe doing some other Max music, like some of the double quartet music,' she says. 'So we've talked about finding ways to continue this celebration of Max Roach and his artistry. There's a lot there as a foundation that can be expanded upon.'
Black America Web
06-06-2025
- Entertainment
- Black America Web
Remembering Jet Magazine's Top 20 Singles Chart & Its Impact On Exposing Black Music
Source: Scott Olson / Getty Jet Magazine, a cultural mainstay in the African American community, has long been celebrated for capturing the pulse of Black America. Among its many features, the 'Top 20 Singles of the Week' chart became an essential barometer of musical success, offering a unique lens into the evolving soundtracks of Black culture. From its inception to its lasting legacy, this chart mirrored the rhythms, struggles, and victories of a community and left an indelible mark on the music industry. Origins of the Chart Jet Magazine was launched by John H. Johnson in 1951 as a companion to his first publication, Ebony . While Ebony focused on photo spreads of Black excellence, Jet served as a weekly digest of news, culture, and entertainment. Recognizing the centrality of music to Black life and identity, Jet introduced the 'Top 20 Singles of the Week' chart in the 1950s. Its mission was to spotlight the songs that resonated within the community, distinct from mainstream pop charts that often neglected Black artists. Authenticity defined the Jet chart. Its rankings weren't just about radio airplay or sales but about what truly mattered to its audience. It celebrated not just hits but cultural touchstones, elevating R&B, soul, gospel, and later hip-hop as they rose to prominence. Cultural Significance Before the digital age allowed instant access to music, Jet's Top 20 chart was a lifeline for fans eager to stay connected to the latest sounds. Its influence stemmed from its role as both a tastemaker and a time capsule. Each week, the chart reflected the collective mood, aspirations, and energy of Black America. It affirmed identities and uplifted artists who were often overlooked or underestimated by mainstream music platforms. More than just a list of songs, the chart captured key moments in Black history. During the Civil Rights Movement, tracks like Sam Cooke's 'A Change Is Gonna Come' resonated deeply and rose through the rankings, embodying the quest for equality. Later, in the 1980s and 1990s, hip-hop's ascendancy was chronicled in real-time through artists like Run-D.M.C., LL Cool J, and Tupac Shakur, as their anthems became staples of the chart. Reflections of Change Over the decades, the chart told the story of music's evolution and, by extension, shifting cultural landscapes. Early charts were dominated by soul and rhythm & blues, celebrating pioneers like James Brown, Aretha Franklin, and Marvin Gaye. These artists laid the foundation for the genre's crossover success while maintaining their roots in Black culture. By the late 1970s and early 1980s, disco fever hit the chart, with artists like Donna Summer and the Jacksons delivering infectious dance tracks that united people on the floors of nightclubs. The 1990s brought a wave of hip-hop and neo-soul, with artists like Lauryn Hill and Maxwell bridging the gap between old school and new school influences. Each entry on the chart bore witness to the community's changing tastes and values. Impact on the Music Industry Jet's chart was more than a reflection of its audience's preferences; it was a tool for shaping the music industry's recognition of Black talent. Record labels paid attention to Jet's rankings, treating the chart as an indicator of what would succeed commercially. For many Black artists, landing on Jet's Top 20 signified both representation and validation, a milestone that reflected their connection with the audience that mattered most. The chart also played a vital role in breaking boundaries. It challenged mainstream industry norms by shining a light on independent and emerging artists, sometimes serving as a stepping stone to broader success. When traditional institutions overlooked genres like rap or downplayed the rise of regional music scenes, Jet tipped its hat early, amplifying a diversity of voices. Key Milestones The chart's long history encompasses numerous defining moments: The emergence of Motown classics in the 1960s, with chart toppers like The Supremes and Marvin Gaye setting new standards for crossover appeal. The rise of funk and disco in the 1970s, led by groundbreaking acts like Parliament-Funkadelic and Earth, Wind & Fire. The explosion of hip-hop in the 1980s and 1990s, reflecting the growing dominance of the genre as a voice for a new generation. The recognition of female R&B stars in the 2000s, with artists like Beyoncé and Alicia Keys dominating the rankings and ushering in an era of empowered Black women in music. A Legacy of Influence Jet Magazine's 'Top 20 Singles of the Week' chart ended its run when the publication ceased print production in 2014, transitioning to a digital-only format. However, its legacy endures. It stands as both a reminder of the power of music to connect people and an archive of Black America's evolving tastes and triumphs. From soul-stirring ballads to defiant rap lyrics, the chart encapsulated the heartbeat of a culture. While Jet's print days have ended, its soundtrack remains timeless. The 'Top 20 Singles of the Week' chart wasn't just a list of hits; it was, and still is, a symbol of joy, resilience, and artistry in the African American experience. Want to know what was on Jet's Top 20 Singles around this time 35 years ago? Scroll down to find out! (Featuring Jet's Top 20 Singles the week of June 11, 1990) Remembering Jet Magazine's Top 20 Singles Chart & Its Impact On Exposing Black Music was originally published on Black America Web Featured Video CLOSE
Black America Web
20-05-2025
- Entertainment
- Black America Web
Jamal Roberts Becomes 1st Black Male American Idol Winner In 22 Years
Source: Mike Coppola / Getty On May 18, history was made on the American Idol stage as Jamal Roberts, a 27-year-old father and P.E. teacher from Meridian, Mississippi, became the Season 23 champion. Read more about how he became the first Black man to win the competition in 22 years since Ruben Studdard. With his soulful voice and magnetic stage presence, Roberts not only beat out finalists Breanna Nix and John Foster but also became the first Black man to win the competition in 22 years—since Ruben Studdard's iconic victory in 2003. Throughout the season, Jamal captivated audiences with performances of 'Tennessee Whiskey,' 'A Change Is Gonna Come,' and his original single 'Heal.' Known for his emotional range and powerful vocal control, Roberts consistently brought the house down, becoming a fan favorite and a symbol of perseverance, purpose, and pure talent. 'I'm anointed. I know how to use it. I know how to tap in,' he told Gold Derby , moments after rolling around in confetti and making a snow angel on stage—a first for the Mississippi native. 'It still hasn't settled in yet,' he added, humbled by the support from his hometown, which showed out in full force during his pre-finale visit. Roberts joins a short but mighty list of Black Idol winners, including Fantasia Barrino, Jordin Sparks, Candice Glover, and Just Sam. His win also signifies a cultural moment for the show, highlighting a resurgence of R&B and soul in mainstream competition after years dominated by country-pop artists. Judge Carrie Underwood praised the season's talent, comparing the finale's energy to early Idol seasons. Showrunner Megan Wolflick echoed the sentiment, saying Jamal's win had 'old-school Idol finale' vibes reminiscent of the Ruben vs. Clay Aiken showdown. Despite skyrocketing fame, Jamal insists he's staying grounded. 'I love my city,' he said. 'There's no traffic. I don't wait in line to eat. I love my life!' With plans to record an 'inspirational soul' album, Jamal Roberts is just getting started. And with this monumental win, he's carved out a powerful new lane for Black male artists in the world of televised music competitions—two decades in the making. Congrats, Jamal! SEE ALSO Jamal Roberts Becomes 1st Black Male American Idol Winner In 22 Years was originally published on Black America Web Featured Video CLOSE
Yahoo
09-05-2025
- Entertainment
- Yahoo
Pentatonix's Kevin Olusola Reveals the Surprising Reason Why Jay-Z Inspired His Debut Solo Album (Exclusive)
Kevin Olusola's debut album was inspired by a Jay-Z lyric The singer, cellist and beatboxer is known for his work in the a cappella group Pentatonix Dawn of a Misfit dropped Friday Pentatonix's Kevin Olusola can thank a Jay-Z lyric for his very first solo album. The singer and cellist speaks with PEOPLE ahead of his debut solo album Dawn of a Misfit coming out, revealing how the rapper inspired him to branch out from the a cappella group he's known for. When asked what he hopes fans will get out of Dawn of a Misfit, Olusola, 36, says that he'd like for fans "to see me for who I really am." "I think in a lot of ways, if you're a Pentatonix fan, you may see this album and go, 'Well, this is not the Kevin that I know,' and that's perfectly fine." Olusola paraphrases a lyric from the 2009 song "On to the Next One," where Jay-Z, 55, raps that should fans "want my old s---, buy my old albums." "I think one thing that Jay-Z says I appreciate of goes, 'If you like my old albums, buy my old albums,' " the singer says. "For me, if you like me in Pentatonix then watch me in Pentatonix, but the evolution of me as a man and a father and also understanding my identity, you're going to get the full extent of that." Olusola digs deeper, saying that his new album "may make you feel uncomfortable." "And that's perfectly okay as long as I'm being truthful to who I am, which is I've known I've always been a misfit." As far as new fans picking up his album and hearing his music for the first time, the father-of-two hopes they will "connect to the messaging of it's okay for you to be a misfit." "It's okay for you to not feel like you fit in because the things that make you unique, that maybe you were teased about and maybe you were bullied for are the exact things you're going to need to change your world." is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! Dawn of a Misfit features a range of songs from instrumental covers to pop songs like Gnarls Barkley's "Crazy" and "A Change Is Gonna Come" by Sam Cooke, to sampling classical music from artists like Vivaldi and Beethoven. There's even a playful song dedicated to his daughter, Kaia. All include Olusola's flair and passion for classical music as a cellist — especially his lead single "Dark Winter." After being a premed student at Yale University, Olusola thought he was going to be a doctor who lived in China. After original Pentatonix members Kirstin Maldonado, Mitch Grassi, and Scott Hoying saw a video of him playing the cello while beatboxing to Mark Summer's "Julie-O" in 2011, he changed course into a field that he never thought he would be in. "To have this wild opportunity to do something I never thought that I was even qualified for, I'm just super appreciative of that opportunity," he says. While working on the album, Olusola says he journaled about what he wanted out of the process, which included a "healing process" for him, "thinking about all the identity issues I've gone through throughout my life." "And I feel like this album has done exactly that and so now to release it out into the world, it just feels so therapeutic and such a climactic moment in my life, and so I'm just super appreciative." Dawn of a Misfit is available to stream. Read the original article on People
Yahoo
06-05-2025
- Yahoo
Panel discussion in Shreveport to address 1873 massacre that left dozens of black men dead
SHREVEPORT, La. (KTAL/KMSS) — Residents of Shreveport are invited to an important panel discussion addressing past racial issues. St. Mark's Cathedral invites the public to its 'Bridging the Gap' event. The panel discussion will bring together Reverend Avery Hamilton and Dean Woods. Both men had ancestors who stood on opposite sides of the tragic Colfax Massacre of 1873. Civil rights icon Dave Dennis on how his activism grew in the 1960s According to the Smithsonian Magazine, the Colfax Massacre happened in Colfax, Louisiana, on April 13, 1872, when an armed group of white supremacists attacked a courthouse guarded by a mostly-black militia. A bloodbath ensued as the militia surrendered and the white supremacists carried out a day-long terror that resulted in the deaths of more than 100 black men. In the end, 97 members of the white mob were indicted, but only nine men were charged with violating the Enforcement Acts of 1870 and 1871, which intended to guarantee the right of freed men. Sam Cooke wrote 'A Change Is Gonna Come' because of an incident in Shreveport Hamilton and Woods will share how they formed an unlikely friendship rooted in truth and healing. The event is free and open to the public. The panel discussion will be held on Thursday, May 8, at St. Mark's Cathedral, at the corner of King's Highway and Fairfield. The event starts at 6:00 p.m. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
