Coachella headliner looking for HBCU band to perform at festival
In an exciting development for both music and academic communities, renowned artist Travis Scott is seeking a Historically Black Colleges and Universities (HBCU) marching band to join him on stage at the upcoming Coachella Valley Music and Arts Festival in April 2025. Scott, known for his dynamic performances and innovative collaborations, reached out via social media to invite bands to participate in a live rendition of his latest track, '4×4.'
On his official X (formerly Twitter) account, Scott posted: 'Any hbcu or really any college with a band. Big or small. That stand to take on that horn arrangement from 4×4. I'm down to bring u with me to Coachella to do it with me. And possibly figuring out a way to take care a semester cause college is hard. But music is fun :)). Show me something'
This initiative not only highlights Scott's commitment to incorporating diverse musical elements into his performances but also underscores the significant cultural contributions of HBCU bands. Known for their vibrant energy, precision, and rich musical heritage, HBCU marching bands have long been a staple in American music culture.
Scott's invitation presents a unique opportunity for an HBCU band to showcase their talent on one of the world's most prestigious music festival stages. The collaboration aims to blend Scott's contemporary hip-hop style with the traditional sounds of a marching band, promising a memorable performance for Coachella attendees.
In addition to this collaboration, reports suggest that Scott plans to cover the tuition for a semester for the participating band's members, further emphasizing his support for education and the arts within the HBCU community.
This move has garnered widespread attention and praise, with many lauding Travis Scott for using his platform to uplift and invest in the future of HBCU students. As the festival approaches, anticipation builds around this groundbreaking performance and its potential to inspire similar initiatives within the music industry.
By bridging the gap between mainstream music and academic institutions, Scott's endeavor not only enriches the cultural tapestry of Coachella but also shines a spotlight on the exceptional talent nurtured within HBCUs. This collaboration is poised to be a landmark moment, celebrating the fusion of contemporary artistry and time-honored musical traditions.
The post Coachella headliner looking for HBCU band to perform at festival appeared first on HBCU Gameday.
Copyright HBCU Gameday 2012-2025
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Atlantic
43 minutes ago
- Atlantic
When Mick Jagger Met the King of Zydeco
The story I'd heard was that Mick Jagger bought his first Clifton Chenier record in the late 1960s, at a store in New York's Greenwich Village. But when we talked this spring, Jagger told me he didn't do his record shopping in the Village. It would have been Colony Records in Midtown, he said, 'the biggest record store in New York, and it had the best selection.' Jagger was in his 20s, not far removed from a suburban-London boyhood spent steeping in the American blues. I pictured him eagerly leafing through Chess Records LPs and J&M 45s until he came across a chocolate-brown 12-inch record—Chenier's 1967 album Bon Ton Roulet! On the cover, a young Chenier holds a 25-pound accordion the length of his torso, a big, mischievous smile on his face. Bon Ton Roulet! is a classic zydeco album showcasing the Creole dance music of Southwest Louisiana, which blends traditional French music, Caribbean rhythms, and American R&B. This was different from the Delta and Chicago blues that Jagger and his Rolling Stones bandmates had grown up with and emulated on their own records. Although sometimes taking the form of slower French waltzes, zydeco is more up-tempo—it's party music—and features the accordion and the rubboard, a washboard hooked over the shoulders and hung across the body like a vest. Until he discovered zydeco, Jagger recalled, 'I'd never heard the accordion in the blues before.' Chenier was born in 1925 in Opelousas, Louisiana, the son of a sharecropper and accordion player named Joseph Chenier, who taught his son the basics of the instrument. Clifton's older brother, Cleveland, played the washboard and later the rubboard. Clifton had commissioned an early prototype of the rubboard in the 1940s from a metalworker in Port Arthur, Texas, where he illustrated his vision by drawing the design in the dirt, creating one of a handful of instruments native to the United States and forever changing the percussive sound of Creole music. Within a few years, the brothers were performing at impromptu house dances in Louisiana living rooms. They'd begin playing on the porch until a crowd assembled, then go inside, pushing furniture against the walls to create a makeshift dance hall. Eventually, they worked their way through the chitlin circuit, a network of venues for Black performers and audiences. They played Louisiana dance halls where the ceilings hung so low that Cleveland could push his left hand flat to the ceiling to stretch his back out without ever breaking the rhythm of what he was playing with his right. Influenced by rock-and-roll pioneers such as Fats Domino, Chenier incorporated new elements into his music. As he told one interviewer, 'I put a little rock into this French music.' With the help of Lightnin' Hopkins, a cousin by marriage, Chenier signed a deal with Arhoolie Records. By the late '60s, he and his band were regularly playing tours that stretched across the country, despite the insistence from segregationist promoters that zydeco was a Black sound for Black audiences. He started playing churches and festivals on the East and West Coasts, where people who'd never heard the word zydeco were awestruck by Chenier: He'd often arrive onstage in a cape and a velvet crown with bulky costume jewels set in its arches. Chenier came to be known as the King of Zydeco. He toured Europe; won a Grammy for his 1982 album, I'm Here! ; performed at Carnegie Hall and in Ronald Reagan's White House; won a National Heritage Fellowship from the National Endowment for the Arts. He died in 1987, at age 62. This fall, the Smithsonian's preservation-focused Folkways Recordings will release the definitive collection of Chenier's work: a sprawling box set, 67 tracks in all. And in June, to mark the centennial of Chenier's birth, the Louisiana-based Valcour Records released a compilation on which musicians who were inspired by Chenier contributed covers of his songs. These include the blues artist Taj Mahal, the singer-songwriter Lucinda Williams, the folk troubadour Steve Earle, and the rock band the Rolling Stones. In 1978, Jagger met Chenier, thanks to a musician and visual artist named Richard Landry. Landry grew up on a pecan farm in Cecilia, Louisiana, not far from Opelousas. In 1969, he moved to New York and met Philip Glass, becoming a founding member of the Philip Glass Ensemble, in which he played saxophone. To pay the bills between performances, the two men also started a plumbing business. Eventually, the ensemble was booking enough gigs that they gave up plumbing. Landry also embarked on a successful visual-art career, photographing contemporaries such as Richard Serra and William S. Burroughs and premiering his work at the Leo Castelli Gallery. He still got back to Louisiana, though, and he'd occasionally sit in with Chenier and his band. (After Landry proved his chops the first time they played together, Chenier affectionately described him as 'that white boy from Cecilia who can play the zydeco.') Landry became a kind of cultural conduit—a link between the avant-garde scene of the North and the Cajun and Creole cultures of the South. From the July 1987 issue: Cajun and Creole bands are conserving native music Landry is an old friend; we met more than a decade ago in New Orleans. Sitting in his apartment in Lafayette recently, he told me the story of the night he introduced Jagger to Chenier. As Landry remembers it, he first met Jagger at a Los Angeles house party following a Philip Glass Ensemble performance at the Whisky a Go Go. The next night, as luck would have it, he saw Jagger again, this time out at a restaurant, and they got to talking. At some point in the conversation, 'Jagger goes, 'Your accent. Where are you from?' I said, 'I'm from South Louisiana.' He blurts out, 'Clifton Chenier, the best band I ever heard, and I'd like to hear him again.' ' 'Dude, you're in luck,' he told Jagger. Chenier was playing a show at a high school in Watts the following night. Landry called Chenier: 'Cliff, I'm bringing Mick Jagger tomorrow night.' Chenier responded, 'Who's that?' 'He's with the Rolling Stones,' Landry tried to explain. 'Oh yeah. That magazine. They did an article on me.' It seems the Rolling Stones had yet to make an impression on Chenier, but his music had clearly influenced the band, and not just Jagger. The previous year, Rolling Stone had published a feature on the Stones' guitarist Ronnie Wood. In one scene, Wood and Keith Richards convene a 3 a.m. jam session at the New York studios of Atlantic Records. On equipment borrowed from Bruce Springsteen, they play 'Don't You Lie to Me'—first the Chuck Berry version, then 'Clifton Chenier's Zydeco interpretation,' as the article described it. Chenier was in Los Angeles playing what had become an annual show for the Creole community living in the city. The stage was set at the Verbum Dei Jesuit High School gymnasium, by the edge of the basketball court. Jagger was struck by the audience. 'They weren't dressing as other people of their age group,' he told me. 'The fashion was completely different. And of course, the dancing was different than you'd normally see in a big city.' The band was already performing by the time he and Landry arrived. When they walked in, one woman squinted in Jagger's direction, pausing in a moment of possible recognition, before changing her mind and turning away. Chenier was at center stage, thick gold rings lining his fingers as they moved across the black and white keys of his accordion, his name embossed in bold block type on its side. Cleveland stood beside him on the rubboard. Robert St. Julien was set up in the back behind a three-piece drum kit—just a bass drum, a snare, and a single cymbal, cracked from the hole in the center out to the very edge. Jagger took it all in, watching the crowd dance a two-step and thinking, ' Oh God, I'm going to have to dance. How am I going to do this dance that they're all doing? ' he recalled. 'But I managed somehow to fake it.' At intermission, a cluster of fans, speaking in excited bursts of Creole French, started moving toward the stage, holding out papers to be autographed. Landry and Jagger were standing nearby. Jagger braced himself, assuming that some of the fans might descend on him. But the crowd moved quickly past them, pressing toward Clifton and Cleveland Chenier. Before the night was over, Jagger himself had the chance to meet Clifton, but only said a quick hello. 'I just didn't want to hassle him or anything,' he told me. 'And I was just enjoying myself being one of the audience.' The next time Mick Jagger and Richard Landry crossed paths was May 3, 2024: the day after the Rolling Stones performed at the New Orleans Jazz & Heritage Festival. During their set, the Stones had asked the accordion player Dwayne Dopsie, a son of another zydeco artist, Rockin' Dopsie, to accompany the band on 'Let It Bleed.' A meal was set up at Antoine's, in the French Quarter, by a mutual friend, the musician and producer C. C. Adcock. Adcock had been working on plans for the Clifton Chenier centennial record for months and was well aware of Jagger's affection for zydeco. He waited until the meal was over, when everyone was saying their goodbyes, to mention the project to Jagger. 'And without hesitation,' Landry recalled, 'Mick said, 'I want to sing something.' ' As the final addition to the album lineup, the Stones were the last to choose which of Chenier's songs to record. Looking at the track listing, Jagger noticed that 'Zydeco Sont Pas Salé' hadn't been taken. 'Isn't that, like, the one?' Adcock recalls him saying. 'The one the whole genre is named after? If the Stones are gonna do one, shouldn't we do the one ?' The word zydeco is widely believed to have originated in the French phrase les haricots sont pas salés, which translates to 'The snap beans aren't salty.' Zydeco, according to this theory, is a Creole French pronunciation of les haricots. (The lyrical fragment likely comes from juré, the call-and-response music of Louisiana that predates zydeco; it shows up as early as 1934, on a recording of the singer Wilbur Shaw made in New Iberia, Louisiana.) Many interpretations of the phrase have been offered over the years. The most straightforward is that it's a metaphorical way of saying 'Times are tough.' When money ran short, people couldn't afford the salt meat that was traditionally cooked with snap beans to season them. The Stones' version of 'Zydeco Sont Pas Salé' opens with St. Julien, Chenier's longtime drummer, playing a backbeat with brushes. He's 77 now, no longer the young man Jagger saw in Watts in 1978. 'I quit playing music about 10 years ago, to tell the truth,' he said when we spoke this spring, but you wouldn't know it by how he sounds on the track. Keith Richards's guitar part, guttural and revving, meets St. Julien in the intro and builds steadily. The melody is introduced by the accordionist Steve Riley, of the Mamou Playboys, who told me he'd tried to 'play it like Clifton—you know, free-form, just from feel.' It's strange that it doesn't feel stranger when Jagger breaks into his vocal, sung in Creole French. His imitation of Chenier is at once spot-on yet unmistakably Jagger. From the May 1971 issue: Mick Jagger shoots birds I asked him how he'd honed his French pronunciation. 'I've actually tried to write songs in Cajun French before,' he said. 'But I've never really gotten anywhere.' To get 'Zydeco Sont Pas Salé' right, he became a student of the song. 'You just listen to what's been done before you,' he told me. 'See how they pronounce it, you know? I mean, yeah, of course it's different. And West Indian English is different from what they speak in London. I tried to do a job and I tried to do it in the way it was traditionally done—it would sound a bit silly in perfect French.' Zydeco united musical traditions from around the globe to become a defining sound for one of the most distinct cultures in America. Chenier, the accordionist in the velvet crown, then introduced zydeco to the world, influencing artists across genres. When I asked Jagger why, at age 81, he had decided to make this recording, he said, 'I think the music deserves to be known and the music deserves to be heard.' If the song helps new listeners discover Chenier—to have something like the experience Jagger had when he first dropped the needle on Bon Ton Roulet! —that would be a welcome result. But Jagger stressed that this wasn't the primary reason he'd covered 'Zydeco Sont Pas Salé.' Singing to St. Julien's beat, Jagger the rock star once again becomes Jagger the Clifton Chenier fan. 'My main thing is just that I personally like it. You know what I mean? That's my attraction,' he said. 'I think that I just did this for the love of it, really.'
Miami Herald
an hour ago
- Miami Herald
NBA icon celebrates 50th birthday wearing Norfolk State jersey
On June 7, 2025, NBA legend Allen "The Answer" Iverson celebrated his 50th birthday in fitting style-sporting a Michael Vick No. 7 jersey at a lavish after?party that doubled as a testament to sports, music, and HBCU culture colliding under one roof. The festivities were nothing short of remarkable. Hip Hop turned up when Baton Rouge rapper Lil Boosie delivered a high?energy set, igniting the crowd. Among the VIPs were boxing champion Terence Crawford and none other than Norfolk State's head football coach, Michael Vick. The former NFL star, who took the helm at NSU in December 2024, has already begun elevating the university's brand through his celebrity gravitas and wide network. Vick's hiring marks part of a broader trend in HBCU athletics, following trailblazers like Deion Sanders and Eddie George, in leveraging household names to boost visibility and recruitment. Norfolk State's athletic director, Melody Webb, emphasized that Vick's "resilience and personal journey" make him the perfect ambassador to attract talent and media attention. Meanwhile, Iverson-born June?7,?1975, in Hampton, Virginia-reflected on a career that defied expectations. Standing just 6?0? and 165?lb, he was a rare force in a league of giants. Nicknamed "The Answer," he amassed 11 NBA All?Star nods, a 2001 MVP award, four scoring titles, and over 24,000 career points, all with his trademark fearless style and cultural flair. After retiring in 2011, he continued shaping the game's culture and influence-later culminating in a statue unveiled near the 76ers' training complex in 2024. That evening, with music booming, HBCU jerseys front and center, and legends mingling, Iverson's milestone became more than personal-it was a celebration of intertwined legacies. As coach Vick builds Norfolk State's brand and Iverson's influence endures, the night stood as a vivid reminder that greatness spans generations, sports, and stages. The post NBA icon celebrates 50th birthday wearing Norfolk State jersey appeared first on HBCU Gameday. Copyright HBCU Gameday 2012-2025
Newsweek
an hour ago
- Newsweek
Adam Scott's Strange Practice Routine Unveiled amid US Open Run
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Saturday was moving day at the U.S. Open, and Adam Scott took full advantage. The 44-year-old Australian surged up the leaderboard, firing a 3-under 67 at Oakmont Country Club. Currently, he sits just one shot behind leader Sam Burns, heading into the weekend round. It was a vintage performance from Scott, who has somehow only one major championship to his name despite his immense talent. His round started with a bogey on the first hole, but he quickly rebounded, collecting four birdies, including a clutch stretch on 13, 14, and 17. His composed play has put him in the final pairing on Sunday, where he'll battle Burns, who is chasing his first major title. ATLANTA, GA - SEPTEMBER 22: Adam Scott and Jason Day of Australia wait together on the second tee during the first round of the TOUR Championship By Coca-Cola at East Lake Golf Club on September... ATLANTA, GA - SEPTEMBER 22: Adam Scott and Jason Day of Australia wait together on the second tee during the first round of the TOUR Championship By Coca-Cola at East Lake Golf Club on September 22, 2016 in Atlanta, Georgia. (Photo by Kevin C. Cox/Getty Images) More Getty Images Adam Scott's weird practice round revealed As Scott prepares for the final showdown, a viral video has added much more interest in his golf swing. Jason Day, currently sitting T21 at 5-over, spotted Scott's unusual practice routine and couldn't help but share it. "Okay, next time you see Adam on the range, watch him," Day told Dan Rapaport from Scratch. "He goes like this," Day said, imitating Scott's swing move, "and then he... Behind the back? Every single shot." Did you know Adam Scott had this practice habit? 🤔 He's T-2 heading into the final round of the U.S. Open. — Skratch (@Skratch) June 14, 2025 Rapaport, intrigued, asked if Scott had been doing this since childhood. "I don't know, I don't know... I asked him that one time and he's like he didn't even know he was doing it," Day replied. Scott's quirky swing habit isn't the first of its kind. Jim Furyk, known for his looping, unconventional swing, has built a career around his unique mechanics. Matthew Wolff, another player with an unorthodox takeaway, has also drawn attention for his distinctive motion. But no doubt, Adam Scott's swing was the coolest! If Scott wins at Oakmont, he'll set a new record for the longest gap between first and second major wins—12 years since his 2013 Masters victory, where he defeated Ángel Cabrera in a playoff. Adam Scott of Australia looks on while playing the ninth hole during the second round of the 125th U.S. OPEN at Oakmont Country Club on June 13, 2025 in Oakmont, Pennsylvania. Adam Scott of Australia looks on while playing the ninth hole during the second round of the 125th U.S. OPEN at Oakmont Country Club on June 13, 2025 in Oakmont, U.S. Open history, however, has been less dominant, with his best finish coming in 2015 (T4 at Chambers Bay). Scott spoke about his determination to chase another major, calling his approach "old man's golf" but emphasizing his passion for competing at the highest level. "It would be super fulfilling," Scott said of a potential second major. "Everyone out here has got their journey, you know. Putting ourselves in these positions doesn't just happen by fluke. It's not easy to do it. I really haven't been in this kind of position for five or six years, or feeling like I'm that player. But that's what I'm always working towards. It's not that easy to figure it all out." Now, with one round to go, Scott has a chance to rewrite history. He'll tee off in the final pairing on Sunday, looking to add a U.S. Open trophy to his resume and prove that experience still matters in golf's toughest test. More Golf: Scottie Scheffler Reveals Feeling Being 'Hit by a Bus' at U.S. Open
