AUDIO: Reviving James Booker, The 'Piano Prince Of New Orleans' > NPR

Reviving James Booker,

The 'Piano Prince

Of New Orleans'


Piano player James Booker is considered a New Orleans legend.
Bunny Matthews

Piano player James Booker is considered a New Orleans legend.

March 31, 2012

Every day in New Orleans, Lily Keber rolls out of bed and walks to a flat, minor office building to meet her muse. Keber makes a cup of coffee with chicory, hooks up her computer and waits for what sounds like a dozen spiders to crawl across a piano.

Keber is making Bayou Maharajah, a documentary about the black, gay, one-eyed junkie, James Booker, the "Piano Prince of New Orleans." Booker, who tutored Dr. John and Harry Connick Jr., was the first to call his fingers "spiders on the keys."

"James Booker was one of our country's greatest piano players," Keber says. "You can find musicians who are good at classical, and you can find musicians who are good at street music. But it's a special breed who can master both."

A classical-music prodigy as a child, Booker grew up to originate a style of piano playing that few can emulate. Everything from his delivery of Chopin's "Minute Waltz" to his rendition of "Black Night" highlighted his talent: spiders on the keys, heart on his sleeve.

But in a town where soul queen Irma Thomas stands next to you at the dry cleaner and Dr. John turns up at the grocery store, people often take their musical legends for granted. Sometimes it takes an outsider like Lily Keber to remind everyone that genius is rare. Keber was born in North Carolina and schooled in Georgia. She moved to New Orleans just a few years ago.

"I knew Dr. John, I knew Irma Thomas, I knew The Meters. I knew the big names. And I didn't know James Booker at all. I had never heard the name," Keber says. "So when it eventually started to dawn on me that he was a real guy and he really did play this amazing music that's coming out of the jukebox, that sort of floored me."


Filmmaker Lily Keber holds the poster for her upcoming documentary, Bayou Maharajah.
Lily Keber

Filmmaker Lily Keber holds the poster for her upcoming documentary, Bayou Maharajah.

from the album King Of The New Orleans Keyboard

 

Perhaps the biggest challenge to Keber's project is that James Booker is unavailable for comment. He died almost 30 years ago, before Keber was born.

"Many people have described him as a great conversationalist. And he loved people," Keber says. "But then, if I ask them, 'What was his family like?' They don't know anything. 'How did he learn how to play piano?' They don't know anything. He could talk about anything in the world, except himself."

So far, Keber has been able to unearth more than anyone ever has, including eyewitnesses and film footage from concerts in Europe. It might help that Keber comes from a family of both academic researchers and coal miners. She's not afraid of tumbling head-first down a rabbit hole.

"Booker has this song, 'Papa Was a Rascal,' and the song is very autobiographical," Keber says. "The problem is it is also very poetic, so deciphering what he's actually saying in it is very tricky. There's one line, 'When I was a young boy at the age of 9 / I met a sweet Russian woman and I made her mine.' Now, what does that mean?

"When Booker was a kid, he was hit by an ambulance and dragged down the street; he broke his leg. They gave him morphine for the pain, and he always pointed to that to being the beginning of his addiction," Keber says. "Luckily, I actually found an interview where he says precisely that. He was listening to this song and he says, 'This line, I was hit by an ambulance, I got addicted to heroin from that.' That's the 'sweet Russian woman.'"

Some of the best interviews in the documentary explain how Booker could play the way he did. Even to a trained ear, the man sounded like he had three hands. His former students tell it best. Dr. John, for instance, learned organ from Booker. Harry Connick Jr. also took lessons.

"There's nobody that could even remotely come close to his piano-playing ability. It can't be done," Connick says. "I've played Chopin Etudes, I've done the whole thing, but there is nothing harder than James."


The one-eyed junkie called his fingers "spiders on the keys."
Jim Scheurich

The one-eyed junkie called his fingers "spiders on the keys."

 

Booker was also a sideman for Aretha Franklin, The Doobie Brothers, Ringo Starr and Lloyd Price. But apart from some childhood recordings, he released only three albums in his lifetime. His addictions — heroin, cocaine, alcohol — got the better of him.

"Booker wanted to be famous, but he didn't behave like someone who really wants to be well known," Keber says. "He didn't show up for gigs. And if he did show up, would he be in the mood to play? He really was frustrated by the fact that he couldn't make it, but he didn't do himself any favors."

David Torkanowsky, a jazz pianist and bandleader, says Booker's habits were extreme.

"I remember there was a regular Tuesday night Booker solo at Tipitina's. Finally, the lights dim and Booker walks out to the middle microphone on stage. He was wearing nothing but a huge diaper with a huge gold pin holding up the diaper," Torkanowsky says, "and from behind the diaper he pulls out a .357 magnum, puts it to his own head and announces to the audience, 'If somebody doesn't give me some [expletive] cocaine right now, I'm going to [expletive] pull the trigger. It went from 'Can't wait to hear him play' to 'Oh my God.'"

Keber is still trawling for more photographs and concert film footage, but she says there are parts of Booker's story that died with him.

"I could spend the rest of my life researching Booker and learning about him, and I would never know what it was like to walk in Booker's shoes," Keber says. "He was a mystery to the people who knew him best. But I feel like it must be some combination of being intensely intelligent, a child prodigy, very gifted, but then living a life that was a constant exercise in struggle."

Keber is wading through 45 hours of tape and hopes to finish the film this year, but she's raised less than half of the money she needs to digitize, edit and color-correct the picture. She also has to pay all the licensing fees for the music. She's under enormous pressure to, as Dr. John wrote her, "bring Booker back from the dead."

"The audience I worry about the most and feel the most beholden to is the one here in New Orleans," Keber says, "because they are going to know most whether I did my job or not. And I also know that they won't hesitate to tell me. That night on the red carpet could be wonderful, or terrible. I'll know pretty quick."

If Keber comes through, she'll have restored the Piano Prince of New Orleans to his throne and perhaps brought him the national audience that eluded him in life. Then he wouldn't be just a black, gay, one-eyed, junkie piano player. He'd be golden.

via npr.org

 

PUB: America the Beautiful Essay Contest - Announced by Rand McNally and USA TODAY

GO HERE FOR GUIDELINES

AMERICA THE BEAUTIFUL ESSAY CONTEST

 

How do your students see America?

In 1893, Katharine Lee Bates, a college professor at Wellesley College, traveled by train from Massachusetts to Colorado. She was so inspired by her journey that she wrote the words to America the Beautiful.

Your students experience the beauty of America every day and we want them to write about it. Students who write the best essays will compete for a chance to win a trip to Washington, D.C.

Rand McNally and USA TODAY have been working together to find the best of America - the best small towns, most patriotic places, and friendliest folks. (bestoftheroad.com). As technology has made the world smaller, geographic awareness has become a critical skill for 21st century life. Rand McNally's mission is to provide students with that geographic foundation and to foster an appreciation of the world around them, while USA TODAY has been helping teachers enhance literacy and knowledge of current events for more than 25 years. Now we are reaching out to you and your classroom to find out what young people think about their country, state, or community and what makes them special.

As a teacher whose students participate in the program, you will have a chance to win gift certificates, a NOOK tablet™, and even a trip to Washington, D.C. - plus $5,000 worth of Rand McNally product for your school. Your students will have the opportunity to win a $10,000 college savings plan and a trip to Washington, D.C

The goal of the 2012 America the Beautiful contest is to inspire students to appreciate what makes our country great and to use their writing skills to share with others stories about those places that are special to them. We want to know what they love about their hometown or a place where they experienced a special memory or what landmarks in our country inspire them.

So rally your classroom and challenge your students to dig deep and tell us what makes America beautiful.

Print and post our classroom poster to inform students about the contest.

 

 

 

 

 

 

PUB: Moot Magazine Seeks Articles on Race/ Trayvon Martin Case (anywhere) > Writers Afrika

Moot Magazine Seeks Articles on
Race/ Trayvon Martin Case (anywhere)
Moot Magazine is on a deadline. We need articles on RACE by the end of this week! We changed the theme of our upcoming April issue to coincide with the Trayvon Martin case.

Article on Trayvon Martin case, interracial dating, race in America, race in the south, race in general, bigotry, reverse discrimination, profiling, etc.

If you have articles to submit please submit them to us ASAP!

You can see submission guidelines at mootmagazine.com and click on "Writers" at the top menu. Or see contact information below.

This is a paying gig. Submit ASAP! Only need 5 articles max and will publish best articles. No guarantee of publishing. Pay only upon publication (within 30 days) - $25 - $50 per article depending upon quality and length. Not negotiable.

Location: ANYWHERE

CONTACT INFORMATION:

For submissions: download the Writer’s Information Packet and submit your material to editor@mootmagazine.com

Website: http://www.mootmagazine.com

 

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POLITICS: Aung San Suu Kyi's Remarkable Journey: Dissident To Lawmaker

Breaking: Aung San Suu Kyi’s

Remarkable Journey From

Dissident To Lawmaker


Aung San Suu Kyi has hailed “the beginning of a new era” in Burma’s politics after the country’s Election Commission confirmed that her party had won a spectacular 40 out of 45 parliamentary seats in Sunday’s historic byelection.

General Secretary of the National League for Democracy (NLD) in Myanmar, Aung San Suu Kyi is one of the world’s most famous political dissidents, as well as a 1991 Nobel Laureate.

The confirmation was announced late on Monday on state TV and was three fewer seats than Suu Kyi’s party had earlier claimed, but is a stunning victory nonetheless. This means that Ms. Aung San Suu Kyi will hold a public office for the first time, although she will be joining a Parliament that is still overwhelmingly controlled by the military-backed ruling party.

As first reported in The Guardian, the newly-elected leader spoke to thousands of red-clad supporters on Monday, April 2, outside the headquarters of her opposition party, the NLD, calling the election “a triumph of the people” and said: “We hope this will be the beginning of a new era.”

A Long Journey Since 1990

It has been a long journey since 1990. In the general election that year, the NLD won 59% of the national votes and 81% (392 of 485) of the seats in Parliament. But Suu Kyi had already been arrested, the results were discounted, and she remained under house arrest for almost 15 of the next 21 years until her most recent release on 13 November 2010.

In Sunday’s byelections, the NLD contested 44 of 45 open seats in Burma’s 664-seat parliament, a quarter of which are reserved for the military, which ruled the nation for nearly half a century. In 2010 a partially civilian government, led by president Thein Sein, took power and has since introduced a series of reforms,  from the easing of censorship laws to the release of many political prisoners, that are slowly opening up Burma to the outside world.

Sunday’s elections were seen as a barometer for the government’s commitment to change. To many here they represented a sea change; for the first time in two decades people in 44 districts across Myanmar had the chance to vote for Ms. Aung San Suu Kyi’s party, the NLD.

And that may indicate a more important change in 2015, when the next general elections will take place, and the NLD could garner many more seats. Meanwhile, it’s possible that Sunday’s gains could mean a push to move forward and end sanctions aginst Myanmar.

Over 1000 Political Prisoners Remain Behind Bars

For many of us activists, this brings a sense of personal happiness, as we have campaigned over the past two decades to secure the release of this amazing woman. But let’s not forget that more than a thousand political prisoners remain behind bars in Myanmar, and many of these are prisoners of conscience. Aung San Suu Kyi’s election to political office does mark a significant step to democracy after years of military dictatorship, but Myanmar still has a long way to go.

__________________________

 

Can Aung San Suu Kyi,

Now Free, Lead Burma

to Democracy?

 

 

Mar 5, 2012 

Aung San Suu Kyi gave up her husband, her children, and 22 years of her life to fight for democracy in Burma. With elections just weeks away, filmmaker Rebecca Frayn reports on this woman's long story of sacrifice as it reaches an extraordinary climax.

 

As the jubilant crowds surged around Aung San Suu Kyi on her release from house arrest in 2010, I couldn’t but think of David and Goliath. How had such a fragile figure of a woman singlehandedly managed to withstand the might of one of the world’s most brutal military regimes for the past 22 years? She has had three particularly close brushes with death at its hands: in 1989 she faced down the guns of hostile soldiers who had been ordered to shoot her where she stood; a few years later she survived a hunger strike intended to get her fellow party workers released from prison; and more recently still, in 2003, she miraculously escaped an assassination attempt while on the campaign trail. Her resolute determination to establish democracy in Burma has rightfully earned her a place alongside Nelson Mandela and Mahatma Gandhi. Yet behind Suu Kyi’s apparently unshakable courage lies a story of immense personal sacrifice. For during her long years under house arrest in Rangoon, her two sons were growing up in England without her, while her husband, the Oxford academic Michael Aris, died in 1999 without ever being allowed to say goodbye. Few of us could imagine being asked to choose our country over our family, as she has effectively had to do. Fewer still could imagine living so stoically with the ongoing consequences of that choice.

Aung San Suu Kyi Family

In the early years of her marriage to Michael Aris, Suu Kyi settled into domesticity, caring for the couple’s two boys in their Oxford home., Aris Family Collection via Getty Images

 

My fascination with Aung San Suu Kyi was triggered when I visited Burma in 1991 with my then boyfriend, now husband. We were trying to decide whether to get married, and why we thought a country with such a dire human-rights record was the place to go to resolve that question, I’m at a loss to explain now. As we passed signs instructing us to “Love the Motherland” and stating that “Only When There Is Discipline Will There Be Progress,” accompanied at all times by a government minder, it often felt as if we had tumbled headlong into Orwell’s 1984. And wherever we went, the Burmese would sidle up, anxious to share with us the depths of their misery and despair. Despite our minders’ attempts to control what we saw, it was apparent that this country—once the richest in Asia—had been reduced to abject poverty by the generals’ iron rule.

In order to research the project, I contacted as many of Suu Kyi’s friends and family as I could. And when I discovered from them how tirelessly her husband, Michael Aris, had worked to support her behind the scenes, it quickly became apparent that here was my film—a poignant love story that has all the ingredients of an old-fashioned Hollywood epic. They were, from the outset, a strikingly diverse couple. Michael was tall, blond, blue-eyed; he loved to smoke and drink, and was gregarious, holding forth in a rolling theatrical voice. Suu was tiny and dark-haired, a teetotaler, and extremely reserved. They met when Suu left Burma to study philosophy, politics, and economics at Oxford in 1964. Dressed in a traditional lungi, with a flower always in her hair, she cut an arrestingly beautiful figure, and Michael was instantly smitten. He was studying modern history but had a particular passion for Tibet, Bhutan, and Nepal, and in Suu he found the romantic embodiment of his great love for the East. But when she accepted his proposal she struck a deal: if her people should ever need her, she would have to return to them, she said. And Michael unhesitatingly agreed. It was a deal he was to honor until the bitter end.

  Though Suu Kyi had by then been under house arrest for two years, she had won a landslide victory in the 1990 elections, and you had only to whisper her name for people’s faces to light up. Suu Kyi is the only daughter of a great Burmese hero, Gen. Aung San, who is celebrated to this day for his role in negotiating independence from British colonial rule in Burma and founding the modern Burmese Army. He was assassinated in 1947, six months before independence came to fruition. Though Suu Kyi was only 2 years old when he died, she grew up surrounded by the mythology of the great Aung San and his unfinished political mission, and many Burmese view her as his reincarnation. I couldn’t but be deeply touched by the sense of hope her unseen presence offered these profoundly demoralized people, and in the long years that followed I often thought of them waiting for Suu Kyi to step from the wings like Aslan in Narnia. And so four years ago I set about writing a screenplay that has now become a feature film, The Lady, directed by Luc Besson and starring Michelle Yeoh and David Thewlis. The film is about to open in the U.S., but pirate copies are already causing something of a sensation on the streets of Burma.

  Suu Kyi and Aris were married in 1972, and once he was offered a junior research fellowship at Oxford they settled in leafy suburbia. For the next 16 years Suu Kyi was an exemplary wife and, when their two sons were born, a doting mother. She gave herself as wholeheartedly to this intensely domestic phase of her life as she later did to her political career, and was soon noted for her cooking and for the exquisitely run birthday parties she organized for her sons. She even ironed Michael’s socks and cleaned the house in defiance of her more feminist friends.

The events that led to this Oxford housewife becoming one of the greatest human-rights campaigners of our time will appeal to anyone who believes in the hand of destiny. In 1988, as she and Aris sat reading one quiet evening in Oxford, Suu Kyi was interrupted by a phone call from Burma to say her mother had had a stroke. She at once began packing, promising to be back as soon as she could. In fact, she was never to return to Britain.

Suu Kyi’s arrival in Burma coincided with a period of major political upheaval. She headed straight to Rangoon Hospital to care for her mother, and found the wards filled with wounded and dying students who had been shot by the military in a series of violent confrontations. Thousands more had been killed in cold blood. By a bizarre quirk of fate, Suu Kyi had arrived on the front line of a leaderless revolution.She heard the students’ harrowing stories of brutality at first hand. And very quickly, despite her insistence that she had a family waiting for her in England, word spread that Gen. Aung San’s daughter had returned to help the Burmese people in their hour of need.

The school term ended in time for Aris and the boys to join her in Rangoon and watch the live broadcast in which Gen. Ne Win, a dictator of legendary brutality, announced to everyone’s astonishment that because of the scale of the unrest he would now hold an election. Aris looked on as a delegation of academics from Rangoon University came to ask Suu Kyi to head a new movement for democracy—arguing that the people would naturally unite behind her as her father’s daughter. Michael and Suu agonized over their request, the boys happily oblivious to the call of destiny their parents were wrestling with. She decided she would agree to help form an interim government, thinking that once a democratic framework was established she would be free to return to Oxford. Michael worked with her to prepare the first public speech she had ever given, which she delivered to an audience of half a million. Only two months earlier she had been raising her family quietly; now she spearheaded a mass uprising against a barbaric regime. The boys were sent back to boarding school in Britain, and Michael stayed on to support her for another two months until soldiers arrived one night to throw him out.

Aung San Suu Kyi

Steve McCurry / Magnum

 

The couple had hoped it might take a few months, but very soon the months were slipping into years and the boys were growing into young men. For the next five years, despite being awarded the Nobel Peace Prize in 1991, Suu Kyi was to remain under house arrest and in intense isolation. She sustained herself by learning how to meditate, reading widely on Buddhism and studying the writings of Mandela and Gandhi. Aris and the boys were allowed only two visits during that period. She was effectively a prisoner of conscience, since at any time she could have asked to be driven to the airport and flown back to her family. Indeed, the military would have leapt at such a request as an end to the impasse. But neither Suu Kyi nor Aris ever contemplated her doing any such thing.

As a historian, even as he struggled to keep depression at bay and lobbied politicians behind the scenes on Suu Kyi’s behalf, Aris was always aware they were part of history in the making. He kept on display the book she had been reading when she received the phone call summoning her to Burma. He decorated the walls with the certificates of the many prizes she had by now won. And above his bed he hung a huge photograph of her. Inevitably, during the long periods when communication was impossible, he would wonder if Suu Kyi was even still alive. Initially he would be cheered by occasional reports from passersby who heard the sound of her piano playing drifting from the house, but when the humidity eventually destroyed the piano, even this fragile reassurance was lost to him.

Then, quite unexpectedly, in 1995, Michael received a phone call from Suu. She was speaking from the British Embassy, she said. She was free again! Perhaps hoping that they might at last persuade her to leave, Aris and the boys were given visas. But they were greeted by a fully politicized woman whose years of isolation had burnished her political resolve into steel. It was the last time Michael and Suu were allowed to see one another. Three years later he learned he had terminal cancer. He called his wife to break the bad news and immediately applied for a visa so he could say goodbye in person.

When his application was rejected, he made more than 30 more as his strength rapidly dwindled. A number of eminent figures, among them Pope John Paul II and President Bill Clinton, wrote letters of appeal, but all in vain. Finally a military official came to see Suu Kyi. Of course she could say goodbye to her husband, he said, but to do so she would have to return to Oxford. The implicit choice that had haunted her throughout 10 years of marital separation had now become an explicit ultimatum. Your country or your family. She was distraught. If she left, they both knew it would mean permanent exile and the end of everything they had jointly fought for. Suu would call Michael from the British Embassy when she could, and Michael was always adamant when they spoke that she was not even to consider returning. When she finally accepted that she would never see him again, she put on a dress of his favorite color, tied a rose in her hair, and went to the British Embassy, where she recorded a farewell film in which she told him that his love for her had been her mainstay. The film had to be smuggled out, only to arrive two days after Michael died.

With characteristic steel, Suu Kyi has always deflected any attempts to discuss her suffering. When a journalist put it to her that the story of her marriage had all the makings of a Greek tragedy, she gave him short shrift. She reminded him she had made a choice. And it was the unwavering tenacity with which she has held to this choice that filled me with a deepening awe as I wrote. The poignancy of the Aris family’s sacrifice has always been compounded by the negligible political progress that was achieved, despite the 24 long years she has stood so firm—and, inevitably, some wondered if the personal cost could be justified.

Yet as we watch dictatorships tumble across the world, the Burmese military has finally announced political reforms, the most significant of which are the by-elections in which Suu Kyi and her party, the National League of Democracy, are to stand in April. Her support among the Burmese people has never been higher. As she embarked on her first campaign trip since becoming an official candidate last month, she encountered enthusiastic crowds all the way along her four-hour route from Rangoon to Pathein. And despite sweltering temperatures, more than 10,000 people waited to hear her speak in a packed sports stadium when she arrived, their banners hailing her as “Mother Democracy.”

Even Burma’s toughest critics have been surprised at how many of the promised reforms have already been implemented; in tandem with the upcoming elections, the government has released hundreds of political prisoners, signed ceasefire deals with ethnic rebels, increased media freedoms, and eased censorship laws. Of course the government is primarily motivated by the hope that the reforms will lead to the lifting of economic sanctions, but Western governments and the U.N. have said they will review the sanctions only after seeing how freely and fairly the April polls are carried out. So though Suu Kyi is widely expected to win, it remains to be seen what degree of power—if any—she will actually wield.

And what of the sons that Mother Democracy had to leave behind? Suu Kyi’s older son, Alexander, 38, lives in America and has yet to visit her, but when Kim, now 34, was finally granted a visa to visit the mother he had last seen a decade earlier, he embraced her at the airport before proudly unveiling a brand-new tattoo on his upper arm. It showed a flag and peacock, the symbol of Suu Kyi’s National League of Democracy party. And so it is that the wheel of history turns to find Suu Kyi, once the greatest thorn in the military’s side, now perfectly positioned to facilitate a peaceful political transition, just as Mandela did for South Africa. Aung San Suu Kyi’s dream of democracy—a dream shared by 59 million Burmese—might just be about to unfold before our very eyes.

 

 

VIDEO: The Greene Space: Women Writers on the Horizon > The Greene Space

Their Eyes Were Watching God

WOMEN WRITERS ON THE HORIZON

With Alice Walker, Sonia Sanchez and Ruby Dee

Wednesday, March 28, 2012 

7:00 PM 

Venue: The Greene Space

 44 Charlton Street, New York, NY

(corner of Varick Street)

 

GO HERE TO VIEW 96-MINUTE VIDEO

 

She pulled in her horizon like a great fish-net.  Pulled it from around the waist of the world and draped it over her shoulders.  So much of life in its meshes!  She called in her soul to come and see.” – Zora Neale Hurston, Their Eyes Were Watching God

 

After 75 years, this epic novel still resonates in the hearts and minds of contemporary audiences, but it had particular significance for black women writers and artists who were working at the time of its rediscovery. The Greene Space has convened three luminaries who are all intimately connected to the novel – Alice Walker, Sonia Sanchez and Ruby Dee – to share their stories and describe how they saw Janie and Zora’s horizons on their own journeys. Zora Neale Hurston’s niece Lucy Anne Hurston, author of Speak, So You Can Speak Again: The Life of Zora Neale Hurston, will served as the evening’s moderator.

 

HEALTH: Breast cancer toll among black women fed in part by fear, silence > The Washington Post

View Photo Gallery — Black women and breast cancer — Fighting the fear and ignorance that contribute to breast cancer’s toll among black women.

After Tiffany Mathis was diagnosed with breast cancer, she kept track of her physical and emotional progress with daily video diary entries. Watch some of those entries.

Breast cancer toll

among black women

fed in part by fear, silence

By Vanessa Williams,

Published: March 20 | Updated: Wednesday, March 21

Sandra Yates knew.

As soon as she felt the pea-size lump in her breast, she was sure it was cancer. Still, she refused to acknowledge it. She wouldn’t go to the doctor. She didn’t tell anyone. And when Breast Cancer Awareness Month rolled around that fall, she wanted no part of it.

“I would turn down the radio or change the channel on the TV when an ad came on. I was flipping pages in magazines,” she said. “I didn’t want to hear it. I wasn’t trying to put on no pink ribbons. That wasn’t me.”

It would be nearly nine months before she told herself it was time to act. By then, the lump was the size of a small egg. The diagnosis was Stage 3 breast cancer.

Yates, a witty, fiercely independent woman who raised two daughters on her own, doesn’t seem the type to back down from a challenge. Doctors and advocates say the fear that kept her from acting quickly is all too common among black women. It is among the factors that contribute to a disturbing trend: Although they are less likely than white women to get breast cancer, black women are more likely to die from it. The difference in mortality began to emerge in the early 1980s. By 2007, according to the American Cancer Society, even though rates for both groups were going down, death rates were 41 percent higher among African American women than among white women.

Some health-care professionals and advocates contend that the disparate mortality rates argue for a more urgent effort to reach more black women. They are frustrated that, with all of the information available about the importance of early detection and treatment, the statistics remain so dire.

In a survey focusing on African American women by The Washington Post and the Kaiser Family Foundation, 75 percent of black women rated their health as good or excellent, about the same percentage as white women, black men and white men.

Health data, however, tell a different story. Across the country, women of color report higher rates of disease and health problems, are more likely to be uninsured and have had fewer doctor visits for preventive care. A 2009 Kaiser study noted “consistently higher rates of health challenges among black women, ranging from poor health status to chronic illness to obesity and cancer deaths.”

For breast cancer in particular, experts cite some additional factors: Black women often get their diagnoses at later stages and appear to be more susceptible to aggressive tumors. They also have a higher rate than white women of a diagnosis before age 40.

 

+++++++++++++++++++++++++++++++++++++++++++++++++

Breast cancer disparity between black women and white women

+++++++++++++++++++++++++++++++++++++++++++++++++


Poverty and racial inequities are the primary factors driving the disparity, according to a study released Wednesday at a breast cancer forum sponsored by the Avon Foundation. The study, which compared mortality rates between black and white women in the nation’s 25 largest cities, states that “nearly five black women die needlessly per day from breast cancer” because they don’t have information about the importance of breast screening and they don’t have access to high quality care. The authors of the study, conducted by Sinai Urban Health Institute and published Wednesday in Cancer Epidemiology, said genetics play only a small role in the disparity.

“Our research shows societal factors — not genetics — are largely to blame for the racial disparity in breast cancer mortality nationwide,” Stephen Whitman director of the institute and lead author of the study, said in a news release. “When a woman believes genetics causes her disease, it breeds a sense of hopelessness and fear.” He said that women can play an active role in reducing their risk, but that the health-care community needs to improve access to quality care for all women, including those who are uninsured or under-insured.

Regina Hampton, a surgeon who specializes in benign and malignant breast disease, works with the Capital Breast Care Center in the District, which serves uninsured women, and runs her own private practice in Prince George’s County, where she sees many women with good health-care coverage.

In both settings, she said, “a lot of women come in at later stages . . . and what I hear from my patients is they’re all afraid.”

Besides the fear that most women have that the disease will rob them of femininity or sexuality, Hampton and others think black women also carry angst stemming from a historically unhealthy relationship between African Americans and a medical system that was inaccessible. Often lacking the money or insurance for preventive care, many black people didn’t seek medical help until they were seriously ill.

Cancer of any kind was viewed by many as certain death, because most of the people they knew who had the disease died. Hampton says some patients still bring up an old myth advising against cancer operations for fear of spreading the disease.

Breast cancer, she said, “is the most treatable female cancer that we have. I think one of the challenges is getting people to realize that the survival rates are very good for breast cancer if you present early. I think that message has not resonated through our community.”

Yates, 53, said that once she got her diagnosis and learned that she could fight the disease and most likely beat it with an aggressive treatment plan, “I felt immediately empowered. Immediately.”

Last week, she completed her treatment. “I am officially a survivor,” said Yates, who lives in Lanham and works for an information technology firm. One of her biggest surprises along the way has been discovering how many friends and acquaintances are breast cancer survivors but never mentioned it.

Until recently, she’d heard only about women who had died from the disease.

“Now, everybody tells me, ‘Oh, yeah, girl, I had my surgery 12 years ago.’

“You hear all these stories from these women who had these awesome, victorious experiences. It’s not easy, but they survived, and they’ve survived for long periods and they’re not telling anyone.”

Yates says she will not keep quiet. “Oh, I tell people. I talk about it.”

‘We deny our pain’

Eleanor Hinton Hoytt, president and chief executive of the Black Women’s Health Imperative, an advocacy group, addresses the disconnect between what black women say and what statistics show about their health in a new book, “Health First! The Black Woman’s Wellness Guide.”

“Black women invariably put on a mask. We deny our pain, grief and sorrows because we want to project an image of what I call being okay to the world and to our families and community,” she said. “We put that veil over what bothers us because so many others depend on us being in good health or being okay.”

Many of the findings of the Post-Kaiser survey support Hinton Hoytt’s assessment. Black women were more likely than white women to report being worried about losing their jobs, not having enough money to pay their bills, being a victim of a violent crime and being discriminated against. They are more often responsible for their elderly relatives’ financial needs and more likely to provide child care for family and friends.

Such demands not only put wear and tear on black women’s bodies but also leave little time and energy for addressing their health needs. Obesity — more common among black women than among white women, or men of either race — “drives a lot of our leading conditions that lead to high mortality,” Hinton Hoytt said. “Fat just squeezes the life out of us.”

Black-oriented radio and cable television networks run public service announcements about diabetes, hypertension, and the dangers of HIV and AIDS. But aside from the month of October, or leading up to major fundraising walks, breast cancer is rarely discussed in media targeted to the black community.

Karen Eubanks Jackson, founder of the Sisters Network, a national organization of African American breast cancer survivors, suggests that black women have not had a prominent role in the breast cancer movement. White women, she said, see themselves depicted in the media as survivors. “They champion each other as survivors. It’s very difficult for an African American woman to open a magazine and see someone saying, ‘I’m a survivor.’ ”

Jackson, an 18-year survivor, said she founded the organization because there was no national voice to speak to the disease’s disproportionate effect on black women. The Sisters Network has chapters in 43 cities and 22 states.

“Stop the Silence” is the organization’s slogan, Jackson said, because “there has been a definite increase in awareness, but the fact is women still are hesitant to speak up, whether to ask questions about the disease itself or to accept the fact that they’ve been diagnosed with it.” Jackson’s group has partnered with Delta Sigma Theta Sorority, a national black women’s organization, on education efforts.

The Susan G. Komen for the Cure foundation has a program and a Web site called the Circle of Promise, which recruits black women to share information about the disease with other black women.

“We think that, like so many things, we value the information of our peers. That’s the philosophy behind the Circle of Promise,” said Susan Brown, director of health education for Komen. About 110,000 women have signed up as “ambassadors” and, armed with facts about screening and treatment, they spread the word in churches, sororities and business groups.

Marc Hurlbert, executive director of the Avon Breast Cancer Crusade, said individual institutions need to coordinate better to make sure that women have access to high-quality breast-health care.

“We think most women want to do the right thing. It’s getting access to it,” Hurlbert said. “And institutions are doing their best to provide quality care, but no one can solve the problem on our own.”

Women in the Washington region who have no insurance and can’t pay for medical care can get free mammograms at the Capital Breast Care Center, which was started by Georgetown’s Lombardi Comprehensive Cancer Center in 2004 with a grant from Avon because of concern about the District’s high mortality rate.

Beth Beck, director of the center, near the Eastern Market Metro station on Pennsylvania Avenue SE, said that the center does about 2,000 mammograms each year and that 10 to 15 percent of the patients have abnormal findings, twice the national average. Almost all of the patients are African Americans or Latinas.

The center visits community health clinics, homeless shelters, and other neighborhood social and services organizations to encourage women to come in for mammograms. They have a van service for women who don’t have transportation. Women who receive a diagnosis of breast cancer are enrolled in Medicaid to cover the cost of their treatment.

Karen Crawford, who lives in the District, had not had a mammogram in more than 10 years, so when the center gave a presentation at her church, a cousin encouraged her to sign up.

Although she is employed, Crawford, 63, said she hasn’t had health insurance since her divorce 13 years ago.

Her mammogram last month turned up a shadow, and, after additional tests, she is awaiting a biopsy. She said she is “hoping for the best.”

‘It was surreal’

Most types of breast cancer are diagnosed based on the presence of cells that have receptors for estrogen, progesterone or a protein that promotes cell growth. None of these receptors are present in triple-negative breast cancer, meaning it can’t be treated with hormones or other drugs that target those specific types of breast cancer. Doctors and researchers do not know why black women are twice as likely as other women to get a diagnosis of triple-negative breast cancer.

The day after her doctor told her she had triple-negative breast cancer, Tiffany Mathis started thinking about arranging her funeral. Later that day, she called a friend who was a lawyer and told her she wanted her to help draw up a will.

Nothing suspicious had shown up on Mathis’s mammogram in January 2011, but six months later, during a self-examination, she found an unusual lump. She didn’t panic because the texture of her breasts is normally lumpy, but she decided to check it out. Her doctor determined that it was a malignant tumor and, after more tests, that she had triple-negative breast cancer.

“It was surreal,” Mathis recalls. “For three days, I was literally trying to plan a funeral.” Her husband and daughter, who researched the disease and told Mathis that most women survive breast cancer, helped her focus instead on a battle plan.

Mathis, 43, whose cancer was discovered in Stage 1, had a lumpectomy last fall. She is undergoing chemotherapy. There is still “a tiny piece of cancer in me,” she said, and doctors believe it can be eliminated with radiation. Her medical team has told her that her prognosis is good.

Lisa A. Newman, a surgical oncologist and professor of surgery at the University of Michigan, is studying whether the higher incidence of triple-negative breast cancer in black women is genetic.

Working closely with a clinic in Ghana, Newman has seen a higher incidence of triple-negative breast cancer, as well as estrogen-receptor-negative cancer, which also shows up more in black women in the United States.

“It’s been remarkable to see that the pattern of breast cancer in this part of Africa really does support our theory that African ancestry in and of itself may be putting us at risk for certain patterns of the disease,” said Newman, who also is director of the Breast Care Clinic at the University of Michigan.

Triple-negative breast cancer is treatable, and early detection is even more important because of its aggressiveness.

After Mathis shared her diagnosis with her circle of girlfriends, one of them confided that she had never had a mammogram. “She’s older than I am and had never had one. So she got one.”

Mathis said it is vitally important that women take ownership of their bodies and their health. Remember, she says, that she discovered the cancerous lump that the mammogram missed. “Knowing yourself and taking charge of your own health is so very important, especially for black women.”

Mathis, who lives in Owings Mills and works for a health-care firm, tapped into the Baltimore chapter of the Sisters Network, which she said has been “a lifesaver and a resource.”

“I feel good,” she said. “It is scary. It’s no joke. I’m not going to downplay it.” But, she added, laughter lightening her voice, it has helped that her husband has “accepted my bald head. So I’m good now.”

 

VIOLENCE: Anna Brown’s Death Reminds Us Why Everyone Needs Health Coverage > Clutch Magazine

Anna Brown’s Death

Reminds Us Why

Everyone Needs

Health Coverage

Thursday Mar 29, 2012 – by

As the Supreme Court deliberates about the fate of the Affordable Care Act, the death of 29-year-old Anna Brown reminds us why health coverage is so vital to all.

Six months ago Anna Brown, a homeless woman in St. Louis, refused to leave St. Mary’s Health Center after complaining of pain in her legs. Although she had been quickly examined by a doctor, Brown told hospital workers she couldn’t leave because she was in too much pain. After hours of asking for further treatment, hospital officials informed police of Brown’s refusal to leave, and she was dragged out of the ER.

Police accused Brown of being on drugs and hauled her to jail for trespassing. Instead of placing her on a bed, they carried her into the jail cell by her arms and ankles, and left her on the floor.

She was dead within 15 minutes.

An autopsy found no drugs in Brown’s system, but  saw that she died of blood clots in her legs and lungs. Although Brown died months ago, her story was recently brought to light by the St. Louis Post-Dispatch which uncovered surveillance videos from both the hospital and jail.

Brown’s family doesn’t know who to blame for her death. Police have pointed the finger at hospital officials, and doctors at St. Mary’s are saying they followed the proper procedures.

The St. Louis Post-Dispatch reports:

St. Mary’s officials say they did all they were supposed to do for Brown. Richmond Heights police said they trusted a doctor who said she was fit for jail.

Brown’s mother, Dorothy Davis, isn’t sure what to think.

“If the police killed my daughter, I want to know,” she said. “If the hospital is at fault, I want to know. I want to be able to tell her children why their mother isn’t here.”

Davis also faults the St. Louis County Family Court, which she said forced her into a heartbreaking dilemma after the state took away Brown’s children on a claim of neglect. Davis could take in her grandchildren or her daughter, a judge said, but not both.

“I’m mad at myself because if I hadn’t listened to the courts, she would still be here,” Davis said. “If she had been here at this house, she would be here today.”

Brown’s family says she fell on hard times after her house was destroyed in a tornado in 2010, and she lost her job shortly thereafter. After child services found her and her children living in deplorable conditions, they took her children away and charged her with parental neglect.

After losing her children and city officials condemned her home, Brown’s family said she seemed to spiral downward. After refusing mental evaluations by the city for months, Brown’s mother said she may have  finally been trying to get it together. Brown joined a drop-in service for the mentally ill, and her specialist said she was making progress. But sadly, she died soon after trying to put her life back together.

A change.org petition demanding health care for all has been started in memory of Anna Brown, who many feel would still be alive if she had health coverage.

The petition asks President Obama to fight for health care for all, but clearly, he can’t do it alone.

Read more about Anna Brown’s heartbreaking story on the St. Luis Post-Dispatch and if you’re so moved, sign the petition.

 

HISTORY: Amy Ashwood Garvey: A Revolutionary Pan-African Feminist

 

Amy Ashwood Garvey:

A Revolutionary

Pan-African Feminist

by Nydia Swaby

 

 

“A nation without great women is a nation frolicking in peril. Let us go forward and lift the degradations which rest on the Negro woman – God’s most glorious gift to all civilizations.”

~Amy Ashwood Garvey

Amy Ashwood's reception at Juaben. Photo courtesy Lionel Yard collection.

 

If you ask a Jamaican to name a national hero, the first person that usually comes to mind is Marcus Garvey, the Black Nationalist who popularized the movement of Pan-Africanism in the early 20th century. Based on his belief that the only way to improve the conditions of black people around the world was to unite them into one racial community Marcus Garvey founded the United Negro Improvement Association (UNIA) in Kingston, Jamaica in 1914. The influence of “Garveyism” can be traced throughout the Afro-Caribbean, United States, and Africa. People of African heritage from every corner of the world know of Marcus Garvey’s philosophy and writings.

Unfortunately, the same cannot be said of Amy Ashwood Garvey, Marcus Garvey’s first wife and co-founder of the UNIA. Serving as a representative of the Pan-African movement Amy Ashwood lived a politically active life independent of her relationship with Marcus Garvey. She toured the United States, all islands of the Caribbean, South and Central America, Europe, the British Isles, and West Africa lecturing on the need for unity among people of African descent and chronicling the experiences of the people she encountered with the goal of publishing her findings. To date, none of Amy Ashwood Garvey’s manuscripts about her travels and humanitarian work have ever been published. However, two biographies have been written about her life, and she is referenced in several articles and books on Caribbean radicalism, Pan-Africanism, and Black nationalism.

Amy Ashwood and Guests at Afro-Women's Centre. Photo courtesy Lionel Yard collection.

 

Amy Ashwood incorporated feminist ideologies into her humanitarian work. Most Pan-African leaders of the time, such as W. E. B. Du Bois and Marcus Garvey, were focused on issues of race and class. But as a woman of African descent Amy Ashwood was particularly concerned with issues of race, class, and gender and how the intersection of all three uniquely affected the black woman. Amy Ashwood believed that women should fight for equal rights, so she focused her efforts on ensuring that women of color were part of the fight against oppression and colonialism.  She believed in bringing women of color together “so that they may work for the betterment of all.”[i] She argued that “there must be a revolution among women” and that they “must realize their importance in the post-war world.” Throughout her travels in the United States, London, Africa, and the Caribbean, she aimed to build a non-hierarchical international woman’s movement that would appeal to all women of color.

Within the Pan-African movement Amy Ashwood served as a voice for women, ensuring that the predominantly male leaders of the movement heard their concerns and considered their needs.  While she did not perceive black men to be the primary oppressors of black women she did believe that they were partially responsible for black women being “shunted to the social background to be a child bearer” and could only get positions working as a domestics.[ii] Amy Ashwood saw colonialism as the true oppressor of all people of color. From her perspective the race, class, and gender oppression that black women and other women of color experienced could be explained as existing as a result of colonialism. Like communist feminist Claudia Jones she believed that women were important allies in the fight for colonial freedom and perceived black men to be comrades in the struggle.

Lionel M. Yard, an amateur historian who was good friends with Amy Ashwood, wrote the first of biographic sketch of her life in the 1980s. While constructing his rendition of Ashwood’s life entitled Biography of Amy Ashwood Garvey 1897-1969: Co-founder of the Universal Negro Improvement Association, Yard traveled to London in search of information where he acquired a collection of her private papers that were scheduled for removal and dumping the following day.[iii] In order to write this biography, Yard utilized the letters and manuscripts he found at Amy Ashwood’s former residence in London; court records regarding her legal suits with Marcus Garvey; FBI interviews in Jamaica, London, Ghana, Liberia, and Panama; personal conversations with Ashwood; and an recording she did in the basement of his home honoring her late husband.[iv] Dr. Tony Martin, a former history professor who helped to found the Africana Studies Department at Wellesley College, wrote the second of the Amy Ashwood biographies entitled Amy Ashwood Garvey: Pan-Africanist, Feminist, and Mrs. Marcus Garvey No. 1 (2007). Martin, who’s written a series of eight books on Marcus Garvey’s life and teachings, spent 27 years researching Amy Ashwood, traveling to London, Africa, and Jamaica in search of information.

L to R: Claudia Jones, Paul Robeson, Amy Ashwood. Photo courtesy Lionel Yard collection.

 

Both these historians inspired my own research on Amy Ashwood Garvey’s life and political activities.  Thanks to a lead provided in the forward of Dr. Tony Martin’s work and the wonders of the internet, I was able to locate Lionel Yard’s daughter Patricia Maillard and his grandson Phil Maillard, still living in Brookyln, in possession of Lionel Yard’s research materials and several drafts of his manuscripts. The Maillards were kind enough to let me into their home on two occasions to review Amy Ashwood’s private papers and a collection of photographs, my personal favorite being a picture of Ashwood with Claudia Jones and Paul Robeson. According to Martin the documents in Lionel Yard’s collection are “invaluable historical information,” and I most certainly agree.[v]

Although the documents haven’t been catalogued, pouring through the handwritten letters, manuscripts, and photographs in the Yard collection provided a rare glimpse into who Amy Ashwood Garvey was separate from her relationship with Marcus Garvey. Amy Ashwood had her own understanding of how best to advance the Pan-African movement, her own ideologies of the role of the Black woman, and disagreed with some of Marcus Garvey’s own teachings.  An analysis of Amy Ashwood’s political activities reveals that, as early as her teenage years, she was an ardent Pan-Africanist but first and foremost Amy Ashwood Garvey was a feminist. She believed empowering black women was essential to the establishment of a united racial community. Through my research on her political life before, during, and after her marriage to Marcus Garvey, I aim to shed light on the many contributions she made not only to the Pan-African movement, but also to the feminist movements in Africa and the African Diaspora. ▢


[i] New York Amsterdam News, April 1, 1944: reprinted in Pan-African History: Political Figures from the Africa Diaspora Since 1787 by Marika Sherwood and Hakim Adi, 72.

 

[ii] George Padmore, ed. Colonial and Coloured Unity: History of the Pan-African Congress. London: (The Hammersmith Bookshop LTD), 98-99

[iii] Tony Martin The New Marcus Garvey Library, vol 6, The Pan-African Connection: From Slavery to Garvey and Beyond. Rev. ed. (Dover, Massachusetts: Majority Press, 1983), X and Lionel M. Yard Biography of Amy Ashwood Garvey: 1897 – 1969. (Associated Publishers, Inc, 1908), 229

[iv] Yard, 210-212, 228-230

[v] Martin, X

 

VIDEO: Negra Li discusses her career and new album > Black Women of Brazil

Negra Li discusses

her career and new album

 

 

afro brazilian women

Negra Li is a major point of reference in the world of Brazilian Black Music having started her career firmly within the genres of both Hip Hop and Brazilian styled "Black Music". Now before we get into Negra Li's music and career, let me first describe what is referred to as "Black Music" in Brazil. In general, the musical style known as the Samba represents the heart and soul of the Brazilian people. Equal to Jazz and Blues in terms of cultural and historical significance, Samba is enjoyed by Brazilians of all races and classes and is seen as a force that unites the country. But while the origins of Samba can be traced to Afro-Brazilian musicians, descendants of African slaves, of urban Rio de Janeiro of the late 19th and early 20th centuries, it is not necessarily regarded as "Black Music" or "Música Negra" because it was appropriated and used as a symbol to promote national unity and even the idea of Brazil being a "racial democracy". 

 

In the 1970s, many Afro-Brazilians were influenced by the Black Power Movement and Soul Music that was coming out the United States. The music and styles of important African-American artists like James Brown, Aretha Franklin, the Jackson 5 and many others had a huge influence on the development of black pride and black identity in Brazil. As such, many black Brazilians began to feel the need to carve out a separate music, style and identity that they had as their own as the Samba had become a national symbol rather than a black symbol. In black circles of the 1970s, black Brazilians began imitating hairstyles, handshakes and clothes that they had been exposed to through popular blaxploitation films. This influence led to several prominent Afro-Brazilian musicians and bands like Banda Black Rio starting to explore new production styles in mixing elements of American Soul, Jazz and R&B with Brazilian rhythms and creating styles such as the Samba-Rock. Other artists like Tim Maia, Toni Tornado and Gerson King Combo were recording blatant imitations of 70s James Brown influenced Soul with Portuguese lyrics. 

 

Today in Brazil, there is a whole genre known as "Música Black" or "Black Music" (which is actually said in English) that defines imported black American music or a type of Brazilian made music that is heavily influenced by styles coming out of the United States. Throughout the country in large metropolitan cities like Rio de Janeiro, São Paulo, Salvador and Belo Horizonte, cities with large Afro-Brazilian populations, there are clubs, parties and dances that cater to this audience and which attract predominantly black participants. It is against this backdrop that allowed an artist like Negra Li to gain prominence. The owner of a powerful voice, she drew the attention of Brazilians for having been the first female Brazilian rapper to gain wide exposure in the genre. 



Born Liliane de Carvalho, in the Vila Brasilândia neighborhood of the city of São Paulo, her interest in music began as a child under the influence of major icons, such as Whitney Houston and Lauryn Hill. He sang in the church and participated in theater ... but it was in her late teens that she met the rapper Helião, who is considered her greatest songwriting partner, where he received a special invitation and entered the rap game with the group RZO. This experience was considered her best musical education. She learned to write songs, honed her political discourse and claimed her placed in the spotlight.

 

2005 CD Guerreiro Guerreira with Helião

 

She was pursued by Universal Records when she was part of the group, but felt unprepared to initiate a solo career. After leaving the RZO, she teamed up Helião and recorded the 2005 CD Guerreiro Guerreira which further solidified her reputation in black music circles. In 2006 she opted for a solo career and signed a deal with the Universal Music label and released the CD Negra Livre, which besides being a play on her name also means free black woman.

 

2006 CD Negra Livre

 

His first solo effort caught the attention of the public by bringing tracks flavored with both Hip Hop and Pop production standards. The result of her unique personality, Negra Li purposely decided to show her other side, or rather, all of her musical nuances in Negra Livre and succeeded! That same year she starred in the film Antônia which, in the following year, became a hit series on the Globo television network.

 

Negra Li with husband, musician Junior Dread and daughter, Sofia

 

In July of 2008, Negra Li married the musician Junior Dread, and on August 25, 2009, she gave birth to daughter Sofia. Currently, she is the finishing touches on her new CD Tudo de Novo, which refers to an extremely musical album composed of tracks ranging from pop to jazz, and explores all her eclectic musical tastes.

In an exclusive interview, she introduced some of the tracks from Tudo de Novo which will soon be distributed to the major music stores throughout Brazil.

 

RSBRASIL: Who are your main influences in Black Music?

 

Negra Li: For my life, my biggest influences in the Black Music are Lauryn Hill and Jorge Ben Jor. For this CD we were very much inspired by Stevie Wonder, Corinne Bailey, Joss Stone, Michael Jackson and Lisa Stansfield. Also I love everything that Beyonce, Rihanna, Jay Z and Snoop Dogg do. The masters James Brown, Ray Charles, Jorge Ben Jor, Tim Maia, Wilson Simonal, Roberto Carlos, Erasmo Carlos, Toni Tornado, Cassiano, Hyldon, Carlos Dafé, Gilberto Gil and Ed Motta deserve praise. And of course, I can’t fail to mention the great divas: Elis Regina, Leny Andrade, Amy Winehouse, Aretha Franklin, Whitney Houston, Jill Scott, Tina Turner, Erykah Badu, Mary J. Blige, Toni Braxton , Kelly Rowland, Keisha, Donna Summer, Lady Zu, Sandra de Sá*, among others.

 

RSBRASIL: In your opinion what is the importance of Rap for the culture of our country? How relevant was rap to your professional growth?

 

Negra Li: In my opinion, rap is a movement of redemption. It has the power to take the youth away from the street violence and bring an occupation. It generates jobs and you don’t need much in order for this to happen. Rap was my opportunity in the music and  will never forget that.

 

RSBRASIL: What else inspires you to write?

 

NegraLi: Simple everyday things. Love, family, prejudice, difficulties.

 

RSBRASIL: Who were/are your major songwriting partners? Is there some national or international singer or songwriter with whom you would love to compose or record a song? Why?

 

Negra Li: Without a doubt my greatest writing partner was Helião. I learned a lot from this teacher. I also have a friend named Adriana Pereira, who is a great partner when it comes to writing songs. I would still like to do something with Jorge Ben Jor and my dream is to write with Lauryn Hill, because they are two people who I identify a lot with musically and above all I admire.

 

RSBRASIL: Have you ever composed a song in honor of your daughter?

 

Negra Li: I wrote a few sketches, but I haven’t recorded anything. But this new CD has a song called “Hoje Só Quero Ser Feliz (Today, I Just Wanna Be Happy)”, written by Rick Bonadio, which reflects perfectly the feeling of being a mother. I’m always thinking of my little one. The song was made especially for me, which makes it even more special.

 

RSBRASIL: What difficulties do you face in staying in the Black Music genre?

 

Negra Li: Brazil has a lot of talented people, but unfortunately does not have room for everyone, so I feel a very lucky person to have achieved something despite the ups and downs that are a part of my career, maintaining me in the Brazilian music scene, especially coming from the Black Music genre. But as we all know prejudice is not a part of my career because I'm used to doing different musical styles. Suddenly this mixture is what people like. But the difficulty exists in everyday life, for example, we still find contractors who don’t really value our work , among others challenges that only those who are on the road know about.

 

 

RSBRASIL: To what extent do you have the freedom to choose the songs on your CDs?

 

Negra Li: Complete, they only put songs on that I approve. Of course I count on the help of professionals who are used to listening with their undivided attention. But if the music doesn’t get in my head it doesn’t end up on the CD.

 

 

RSBRASIL: Is there any pressure on you for being the first representative of Black Music to have a contract with international record label?

 

Negra Li: Actually it is important to clarify that I was not the first representative of Black Music, but I was the first women of rap music to sign with a major label. But speaking of pressure, early in 2004, I felt this, because they treated me like a novelty. But not anymore, I think people have gotten used to it.

 

RSBRASIL: Due to the great development and enhancement of Rap music here in Brazil can we expect a return to your origins in your new work?

 

Negra Li: Wrong. There are no rhymes on this CD. More than ever I feel free and confident to try new horizons. First, because rap is very well represented with this new generation of MCs. When I started there were very few women in rap. I think that this space was wide open and represented well by Flora Matos, Karol Conká and Lurdez da Luz, among others. And then because above all I am a singer and want to explore my talent of interpretation. In this CD there is only one composition of my partnership with the band's guitarist Khristiano Oliveira, which is a reggae tune called “Volta Pra Casa (Go Back Home)”, the other 10 tracks, ranging from pop to jazz, are compositions of others, such as Sérgio Britto, Leoni, Edgar Scandurra, Di Ferrero, Rick Bonadio, Leandro Lehart, among others. I don’t like to limit myself to anything, I like challenges and new developments in my life. While I have my health and disposition I will do everything I want to do and God will let me.


*- Jorge Ben Jor (or simply Jorge Ben), Tim Maia, Wilson Simonal, Roberto Carlos, Erasmo Carlos, Toni Tornado, Cassiano, Hyldon, Cassiano, Hyldon, Carlos Dafé, Gilberto Gil, Ed Motta, Elis Regina, Leny Andrade, Lady Zu and Sandra de Sá are all past or present singers of Brazilian Popular Music or Brazilian styled Black Music. 


Check out Negra Li and Helião in the video for the song  "Exército do Rap (Rap Army)" 

Source: Rolling Soul

 

 

 

VIDEO: Deniece Williams "Unsung" Episode > SoulTracks

Watch Deniece Williams

"Unsung" Episode


Deniece Williams is one of our favorite songstresses of the last three decades and she finally got her due this past week on TV One's Unsung. 

Possessing one of the sweetest voices in soul music, Deniece Williams spent a decade at the top of the soul charts making unabashedly positive, thoughtful music, and then another decade as a significant Gospel artist. Her clear delivery and her understated, girl-next-door style won for her a slew of fans and established for her a solid -- if often underrated - catalog of hits.

Born in 1951 in Gary, Indiana to a strict Pentecostal family, "Niecy" grew up listening to great Gospel and Jazz singers in her home, including her talented mother. While she did not intend to pursue a career in music, her emerging vocal talent brought her notice in the Chicago area and the opportunity to audition for Stevie Wonder in 1971. Wonder fell in love with her sweet, feminine voice, and hired her for what turned into a three-year stint as part of his vocal group, Wonderlove.

READ MORE ABOUT DENIECE WILLIAMS