Mel Brown still provides the backbeat to Portland
'No. No, no, no,' Brown, 80, told KOIN 6 News. 'I'm just one of the musicians that grew up around here and lucky enough to be in the right place at the right time.'
Inarguably, Mel Brown's drumming places him as one of the most influential musicians in the history of the Rose City. In fact, his portrait hangs on a wall at the .
Honoring Portland's Godfather of Jazz, Mel Brown
His talents took root in Portland's jazz heyday. Black railway workers and porters moved west in the early 20th Century and brought the blues and jazz from big cities back east.
When World War II broke out, many people came to Portland from the South
Despite the and ongoing struggles in Portland's still-largely segregated communities, a rich jazz scene in historically Black Albina flourished. Brown grew up not far from clubs that brought in top tier talent.
'We had a paper called the Oregon Journal, and I used to deliver the newspapers around town. So you're around the music up and down Williams Avenue and you'd hear the door open up and you'd hear the music coming out in a whole bit. And it was like, 'Oh, OK, I think I want to do this,'' Brown said. 'But the people who were actually performing inside, those people also lived in the neighborhood. And so they would hear me sometimes during the day trying to beat on something and they would say, 'Oh, little kid, come here, let's show you what this is about.' I was like 14 or 15 years old and they just started coming out and just trying to help me out to get with the music.'
Already playing professional gigs by his senior year of high school in the early 1960s, Brown attended Portland State University on a music scholarship.
'I got a call to play a show. The drummer got sick, it was down at the Crystal Ballroom and it was a last minute thing, 'Come in, we need you quick.' And I go on to play not knowing the person I had to play behind,' he said, 'and that was Ike and Tina Turner.'
A later gig in Vancouver, British Columbia playing with Tommy Chong paved the way for a contract in Motown.
Where We Live: Portland's Mel Brown
'They had a TV special in LA, it was called 'TCB, Taking Care of Business'. It was The Temptations and The Supremes. And they called me to play the drums on that. And Barry Gordy said, 'I like the way he plays. I'm going to move him and put him with The Temptations. And that's how I got with The Temptations.'
After literally touring the world, Mel Brown returned to Portland in the late 1970s. Since then he's been a fixture of the city's live local music scene, still playing weekly gigs.
'I'll always be doing that all my life because people don't realize it, music kind of keeps you together. I've been around the world about nine or 10 times, and I may not speak the language, but every other country I've gone to, if you play music and play well, you end up having friends who you stay in touch with,' he said.
'Music is everything, brings everybody together.'
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Atlantic
an hour ago
- Atlantic
The ‘Slacker' Teen Who Was More Than Just a Punch Line
In the first episode of The Cosby Show, Cliff Huxtable (played by Bill Cosby) walks into his only son's messy room with a mission: getting him to care about improving his straight-D report card. But the teenager proves difficult to rattle. After his father makes a big show of giving him Monopoly money and then taking it all away bill by bill for hypothetical expenses, Theo (Malcolm-Jamal Warner) holds firm in his assertion that he doesn't need to emulate his parents in order to be happy. 'If you weren't a doctor,' he tells his father, 'I wouldn't love you less, because you're my dad.' Can't the same be true in reverse? For a moment, it seems as if Theo has gotten through. But instead, Cliff goes off, scolding his son for being 'afraid to try, because you're afraid that your brain is going to explode, and it's gonna ooze out of your ears.' The genius of the scene is that both characters are right. Theo is afraid to try, but he also recognizes one of his father's limitations: Cliff has a very specific idea of what success looks like, which can burden his children as they try to live up to it. It's a testament to Warner's skill as a performer that even when Theo isn't winning an argument with his dad, he evinces a complex vulnerability. Warner, who died last week, at the age of 54, struck a delicate balance while playing Theo: He's hubristic but not smug, clueless but not buffoonish. Nailing these nuances was key. Although today Cosby's name is inextricable from his tarnished legacy, The Cosby Show was nonetheless groundbreaking in its portrayal of a well-educated, middle-class Black family—and Theo's story bookends the series, starting with the Monopoly lesson and ending with his graduation from college. Cliff uses tough love to teach his son that hard work is instrumental to prospering in life. But Warner played Theo as the house jester, balancing the dramatic tension of his character's uncertain future with his impeccable ability to deliver a one-liner. Ultimately, Theo's development does not amount to simple 'success' or 'failure.' His arc comes into focus when he finds his sense of purpose—in part by challenging his parents' judgments and assumptions. As a high-school freshman at the start of the series, Theo isn't much for studying. Instead, he hopes to skate by on charisma alone—which rarely works—and aspires to land a variety of improbable dream jobs, such as tennis pro, pilot, and model. Theo's apathy serves as a counterpoint to Cliff's moralizing about the importance of education and family values to one's social mobility, which echoed Cosby's own. In retrospect, Cliff's fears about his son's future foreshadowed the comedian's public excoriations of Black youth, which drew national attention in the early 2000s—mainly, his charge that they were ' going nowhere.' The harshness that sometimes emerges in Cliff's approach to parenting lands with a more punitive thud in that context. And with Theo, we eventually see that the slacker persona his father has projected onto him is not the full picture. Theo's apparent lack of motivation occasionally drives his father to theatrical extremes. In one episode, Cliff enlists the entire family to simulate the 'real world' for his son; the exercise walks Theo through getting a job, renting an apartment, and surviving life's unpleasant realities for a day. Like the earlier Monopoly gambit, it doesn't really work. When his mother, Clair (Phylicia Rashad), suggests afterward that he's learned an important lesson, Theo clarifies for her. 'I learned that when I go into the real world,' he says, 'I don't want to do business with anyone in my family.' The episode's punch line reflects a common parent-child dynamic: Rather than attempting to find common ground, both sides put up a wall—in the Huxtables' case, through humor. The Cosby Show indulges in this again and again, as Theo's parents invent dramatic ways to school their son; they even go so far as to stage a mock trial to catch Theo in a lie. Their son, meanwhile, typically shrugs it all off with a joke. The show's early years often played the chasm between Theo's overconfidence and the outcomes of his actions for laughs too. For example, take a scene in which he tries to impress his older sister Denise's (Lisa Bonet) study buddy: Theo adopts a baritone voice, and then Denise manhandles him out the door. As with many adolescent boys, Theo's bravado is a mask for his still-developing identity. The relatability of his 'fake it 'til you make it' attitude renders him endearing, even when he's the butt of a joke. Still, Theo's self-mythology suggests a latent sadness, perhaps stemming from a suspicion that he might live out his adult life as a regular person, rather than the educated professional his parents expect him to become. But for as often as the show points out the teen's foibles, Warner never lets viewers dismiss Theo outright. For a while, he animates his character's puppyish demeanor with perfectly timed voice cracks and awkward body language. Yet the actor slowly recalibrates as both he and Theo age, shifting the fumbling swagger toward a more mature kind of self-assurance. Some of the show's most rewarding scenes arrive when Theo, as an older teen, earns his father's respect by showing up as his full self. On two separate occasions, Theo and his best friend, who goes by the nickname 'Cockroach' (Carl Anthony Payne II), write a rap for a class assignment. Both iterations include catchy lyrics that demonstrate an understanding of the material; teens like Theo and Cockroach can do great work, the show suggests, when they have room to be creative. It feels fitting, then, that Theo's emotional turning point comes from a diagnosis that upends his parents' skepticism about him. After he enrolls in college, Theo learns that he's dyslexic, which reframes his academic challenges, flighty aspirations, and self-doubts. (Charting a clear path forward is hard when you believe that you aren't smart enough to advance.) The revelation frees Theo from the 'failure' narrative that the adults in his life have pinned on him; he begins performing better academically as a result. More important, he invests his downtime in a meaningful, altruistic pursuit. As a volunteer at the local community center, Theo lights up while mentoring tweens who have struggles similar to his own, and not just because he's good at it. Working with a younger generation gives Theo a platform to draw upon his life experiences and learn as he goes, affirming his newfound sense of accomplishment. When one of his advisers tells him he's doing well but isn't 'there' yet, Theo agrees—a moment Warner underscores by smiling to himself as he murmurs, 'But I'm growing.' The pleasure Warner brings to the exchange reflects just how much his character has transformed from an aimless teen afraid to fail into an adult who recognizes that trial and error are part of life. The Cosby Show closes with the whole family gathering. Although Cliff reflects on the long, hard road his son faced to get here, Theo's real triumph is different, and more significant. He's no longer feigning confidence or struggling to understand why the things that come easily to others are so difficult for him. He won't become a doctor or a lawyer. After years of effort, he's defined what personal success means to him. A sense of direction is what his parents have wanted for him all along. And now he's found it for himself.

Business Insider
3 hours ago
- Business Insider
How the Black aristocracy of the Gilded Age ushered in a new era of education and freedom
Season three of "The Gilded Age" has continued to explore what it was like for wealthy Black Americans in the late 1800s in New York City. One main storyline in "The Gilded Age" follows Peggy Scott (played by Denée Benton), an author, journalist, and daughter of a formerly enslaved man, Arthur Scott, who is a successful pharmacist and business owner in Brooklyn. Her mother, Dorothy Scott, is an accomplished piano player. Peggy's character was inspired by a few real-life women, including Julia C. Collins, the first Black female author to publish a novel. "The Black elite of the Gilded Age signaled that we, too, have taste. We too have education. We are like other citizens," Carla Peterson, historian and author of "Black Gotham: A Family History of African Americans in Nineteenth-Century New York City," told Business Insider. After the Emancipation Proclamation was signed in 1863, the Gilded Age ushered in a Black aristocracy. The new class was made up of Black Americans who managed to amass wealth they'd previously been barred from. Industrialization and the railroad boom opened up business opportunities across the US. Many of the Black elite were made up of the "shopkeeping aristocracy" who owned retail and grocery stores and pharmacies, according to Peterson. "After the Civil War, there was an incredible explosion of modern industry, technology, and science, which fueled the money that makes the Gilded Age," Peterson said. "Black families of wealth emerged in this context." For example, Thomas Downing became one of the wealthiest people in NYC and was known as the"New York Oyster King." Thomas Downing, the son of formerly enslaved parents, moved to New York City and became a savvy businessman who popularized oysters, which had once been considered common food. In 1825, he opened the upscale Thomas Downing Oyster House, a restaurant so popular that Downing was nicknamed "the "New York Oyster King." Downing was one of the wealthiest people in New York City at the time of his death in 1866 — a millionaire in today's money, per The Virginian-Pilot. Still, he was prohibited from acquiring US citizenship until the Civil Rights Act of 1866 was passed, just one day before he died. Or maybe you've heard of Pierre Toussaint. Toussaint was born into slavery in Haiti and was eventually freed in New York City. He became a highly sought-after hairdresser among the society's upper crust, and used his new wealth to support orphans and immigrants to gain education and employment. Women also became more independent and wealthy, such as Mary Ellen Pleasant. Mary Ellen Pleasant became a self-made millionaire after she moved to San Francisco, following the glimmer of the California Gold Rush. While she worked as domestic help, she listened to the wealthy men she served as they exchanged information on making proper investments and managing money. Pleasant used that knowledge to buy up boarding houses, laundromats, restaurants, and Wells Fargo shares, becoming a famous figure in San Francisco in the second half of the 19th century. Some estimates by historians put her wealth around $30 million, which would be almost a billion in today's money. Gaining access to education was one of the ways Black New Yorkers achieved upward mobility. Money alone didn't grant access to the upper echelons of Black society. In addition to having "character" and "respectability," the Black elite emphasized both education and hard work as core values, according to Peterson. "Since Blacks came to this country, education has always been number one," Peterson told Business Insider. "There is a belief that if you had ambition, you could do anything you wanted. And ambition started with education." On February 25, 1837, Quaker philanthropist Richard Humphreys founded the first HBCU in the country, the African Institute — now Cheyney University — in Pennsylvania. The majority of HBCUs originated from 1865 to 1900, the period following the Emancipation Proclamation. Education was key to unlocking the skills to become a doctor or pharmacist, and also led to a flourishing of interests in humanities and the arts, according to Peterson. Scholars like W.E.B. Du Bois advocated for the need for an educated class. "The Negro race, like all races, is going to be saved by its exceptional men," Du Bois wrote in his essay, 'Talented Tenth." But as the name "Gilded Age" implies, not everyone was raking in wealth. Not everyone lived lavish lifestyles. The Gilded Age was also notorious for having the most significant wealth inequality in American history. The vast majority of workers, especially Black Americans and immigrants, faced extreme poverty and harsh working conditions in factories. "Chattel slavery is dead, but industrial slavery remains," economist and New York mayoral candidate Henry George said in 1886. And racism prevented even the most successful people of color from becoming fully integrated. Even those who did manage to gain wealth faced pervasive systemic inequities. White society largely viewed Black Americans as "a homogenous mass of degraded people," according to historian Willard B. Gatewood in his book, "Aristocrats of Color: The Black Elite." There was, however, a "certain amount of cooperation and interracial alliances between Blacks and whites," Peterson said. Peterson described how professional relationships enabled Black Americans to climb the ranks within businesses. She also pointed to the King's Daughters, a nationwide charity organization where white and Black women worked together to help those in need. Friendships between characters like Peggy and Marian, a white woman, in "The Gilded Age" were not unheard of. Erica Armstrong Dunbar, a professor of history at Rutgers University, told The Los Angeles Times about "the letters of white suffragists, women who had deep relationships with Black women, from the era of abolition up through the early 20th century." Activism of the 20th century would not have been possible without these men and women. Peterson said the emergence of the Black elite is inextricably tied to the burgeoning political and social activism in the 20th century, as exemplified by the 1909 founding of the National Association for the Advancement of Colored People, the political magazine The Crisis, and the Harlem Renaissance.
Yahoo
3 hours ago
- Yahoo
Gilbert Arenas Breaks Silence On Posting Bail In Illegal Gambling Case After Ex-Teammate Assumes His Guilt
Gilbert Arenas Breaks Silence On Posting Bail In Illegal Gambling Case After Ex-Teammate Assumes His Guilt originally appeared on Fadeaway World. Moments after pleading "not guilty" in a federal case against him and coming out on a $50,000 bail bond, Gilbert Arenas went on social media to break his silence on the shocking news of his arrest that broke the internet on July 30. Following his release, he went on X to post a video of himself running down some stairs while extending his arms in a sign of victory and said: "Can't hold me, baby! They can't hold me! Hello!" "I'm back on the streets. This ain't got shyt to do with me, just rented the house. Wasn't a part," he wrote in the caption. This news came just hours after Arenas was arrested alongside five other defendants, one of whom had alleged links to an Israeli transnational crime group. Arenas' trial date has been set for September 23rd, and he is mainly facing three charges. If found guilty on all three charges, Arenas could be looking at over a decade in prison. Ex-Teammate Reacts To Gilbert Arenas' Arrest Before the court decides on his guilt, the public has already begun their trial of Arenas, as his rivals and peers have begun making comments on the situation. While it was not surprising that Kwame Brown, who was Arenas' teammate-turned-rival, was celebrating his arrest. But it was surprising to see his close peer, Nick Young, who also appears regularly on Arenas' show, seemingly assume his guilt even before the trial. A clip of the former Lakers player's reaction to the incident went viral just a few hours before Arenas was released on bail. "Stupid m*****rf****r gone man, they got him!" repeated Young multiple times at the beginning of the clip in disappointment. While Young showed support but he assumed Arenas is guilty of whatever they accused him of. "Don't worry about the show or nothing. Don't worry about Gil's Arena, I got that now. We might as well change the show to Swaggy's Arena in conjunction with Gilbert's. We're gonna put a little Gilbert sign on the side, but it's Swaggy's Arena until you come back home." "My brother is an idiot, y'all, we're gonna change the show from Gil's Arena to Swaggy's Arena." Young reassures Arenas that he could be headed to a comfortable prison, but once again, he's assuming that he's guilty. "What they said he did, he did it," said Young while laughing about it on the clip as if this were a joke. "Underdog, don't trip, they got a TV in there, he could still make his picks from a cell," said Young hilariously, trying to reassure the sponsors of the show that Arenas would not be fully unavailable in prison. He then went on to make his demands from the show already, assuming that he gets to make the personnel decision. "I got some demands. I probably don't want Kenyon on there either, cause I'm tired of his s**t too. I'm tired of Ken f***ing with me, take his a** to jail too." Arenas was a veteran on the Wizards when Young was drafted by them as a rookie. Arenas mentored him for most of the time before Young moved on to the Clippers and eventually even joined the Lakers. Considering that the trial is set for late September, Gilbert may still make a few appearances on his show before potentially facing prison. His sponsors have a major decision to make at this point on what to do about the show that seems to have gained a significant audience over story was originally reported by Fadeaway World on Jul 31, 2025, where it first appeared.