Respect, starring Academy Award®-winner Jennifer Hudson, opens on Friday, August 13, 2021.
The Queen of Soul’s gospel roots and civil rights activism ran deep. Her father, Rev. C. L. Franklin, was a civil rights leader who mentored a young Martin Luther King Jr. Ms. Franklin toured the country with Dr. King and the Southern Christian Leadership Conference and used her voice to “deliver music for social justice.”
Ms. Franklin supported the Black Panther Party and the Free Angela Movement.
Congregations and organizations across the country will participate in RESPECT Sunday, “a nationwide campaign of faith leaders who will preach, teach, and share about themes of faith, family and civil rights that were deeply woven into the fabric of Ms. Franklin’s story in their worship services on Sunday, August 8, 2021.”
In a 1969 interview, Nina Simone said, “An artist’s duty, as far as I’m concerned, is to reflect the times. I think that is true of painters, sculptors, poets, musicians.”
The upcoming PBS documentary How It Feels To Be Free tells the story of six Black artists who reflected the times – Abbey Lincoln, Nina Simone, Pam Grier, Diahann Carroll, Lena Horne and Cicely Tyson.
Michael Kantor, American Masters series executive producer, said:
These revolutionary Black women embody stories of courage, resilience and heroism. They fought for representation and economic, social and political equality through their artistry and activism. We are proud to share the stories of how each left an indelible mark on our culture and inspired a new generation.
Executive producer Alicia Keys added:
I am proud to be a part of such a meaningful, important project. Art is the most powerful medium on the planet, and I continue to be inspired by and learn from these powerful, brave and stereotype-shattering women who leveraged their success as artists to fearlessly stand up against racism, sexism, exclusion and harassment. I honor their courage by celebrating their stories and continuing the work they started.
How It Feels To Be Free premieres Monday, January 18, 2021 at 9 p.m. on PBS. Check your local listing here.
I recently watched the powerful new documentary Billie via an exclusive screening by the 92nd Street Y.
Billie breathes life into nearly 50-year-old audiotapes of the hundreds of interviews journalist Linda Lipnack Kuehl conducted with Holiday’s contemporaries including Count Basie, Carmen McRae, Tony Bennett, singer Sylvia Syms and drummer Jo Jones. Archival materials and first-hand accounts shed light on systemic racism, racial segregation and the undertold story of her commitment to racial justice.
The civil rights pioneer said “Strange Fruit” was her personal protest. She performed the song at the end of every performance for 20 years despite FBI and police harassment. Bassist Charles Mingus said, “She was fighting equality before Martin Luther King. … That might be why the cops were against her too, not just junk.”
The special screening was followed by a Q&A with director James Erskine and executive producer Michele Smith, manager of the Billie Holiday Estate.
Billie is now showing in theaters and on virtual cinema. For updates, go here.
Music sustained the ancestors and was the soul of the Civil Rights Movement. Dr. Martin Luther King Jr. said:
In a sense the freedom songs are the soul of the movement. They are more than just incantations of clever phrases designed to invigorate a campaign; they are as old as the history of the Negro in America. They are adaptations of the songs the slaves sang — the sorrow songs, the shouts for joy, the battle hymns and the anthems of our movement. I have heard people talk of their beat and rhythm, but we in the movement are as inspired by their words. ‘Woke up This Morning with My Mind Stayed on Freedom’ is a sentence that needs no music to make its point. We sing the freedom songs today for the same reason the slaves sang them, because we too are in bondage and the songs add hope to our determination that ‘We shall overcome, black and white together, we shall overcome someday.’
The songs include Sam Cooke’s “A Change is Gonna Come,” Marvin Gaye’s “Inner City Blues (Make Me Wanna Holler),” John Coltrane’s “Alabama” and Billie Holiday’s “Strange Fruit.” You can listen to “Sounds of Social Justice: MLK 2020” here.
The Civil War ended on April 9, 1865 when Confederate General Robert E. Lee surrendered to Union General Ulysses S. Grant at Appomattox Court House. Still, the fight over the meaning of the South’s Lost Cause continues.
Picture this: Former South Carolina governor Nikki Haley said the Confederate Flag was hunky-dory until Dylan Roof “hijacked” it from the descendants of slave owners and their sympathizers for whom it symbolized “service, and sacrifice and heritage.”
Haley’s spin is fake news. William T. Thompson long ago spilled the tea on the meaning of the Confederate flag.
The symbol of white supremacy was weaponized during the Jim Crow era as African Americans fought for equal protection under the law and civil rights.
A recent issue of the Washington Post Magazine is devoted to photography that documents struggles with racism. Washington Post Columnist Eugene Robinson wrote in the introduction:
Racism is this nation’s telltale heart beating ominously in the collective subconscious. From time to time we come to believe we have expiated and silenced it once and for all. But then it is back — changed, perhaps attenuated, but unmistakable.
This is how the war against racism goes: progress, setback, optimism, despair — a cycle that frustratingly repeats and yet somehow inches us forward. Racism may be worse than in the recent past, but the individual and collective punishment it metes out is a shadow of what black Americans suffered a half-century ago. We have no choice but to believe that the Rev. Martin Luther King Jr. was right when he said that the arc of the moral universe is long but bends toward justice. We have somehow taken a detour, however, and must find our way back to the true path.
This issue is devoted to photography that documents this moment — not just our external struggle with racism, but the internal struggles as well. Some of the images are beautiful and unsettling. Some are jarring. If some make us uncomfortable, that is progress. An easy conversation about racism is not a real conversation at all.