Latest news with #SoulTrain
South Wales Argus
a day ago
- Entertainment
- South Wales Argus
WWE legend Eugene to wrestle in Caerphilly
Brilliance Pro Wrestling, which is based in the town, is presenting Broken Empire on August 3, which will be headlined by Eugene in a six-man tag team main event alongside local favourites Soul Train. Eugene shared a huge a moment with Hulk Hogan, when Hogan came to his rescue in front of more than 20,000 fans at WrestleMania 21 in LA. Best known for his time in WWE with victories over superstars such as Kurt Angle and Triple H, Eugene will also lead an exclusive pro wrestling masterclass earlier on the day. The live event from No Mercy Wrestling Event Production promises an afternoon of family-friendly wrestling entertainment. Doors open at 2.30pm with the event starting at 3pm. It will take place at Caerphilly Leisure Centre. Tickets are from £12.50 for children, £20 for adults, with group discounts available. For tickets and further details, go to
Forbes
22-07-2025
- Entertainment
- Forbes
Kwame Braithwaite, Beyond ‘Black Is Beautiful,' At Arkansas Museum Of Fine Art
Kwame Brathwaite, 'Untitled (Couple's Embrace),' 1971 c. Archival pigment print, mounted and framed. Courtesy of Philip Martin Gallery and The Kwame Brathwaite Archive. © Estate of Kwame Brathwaite 'Kwame Brathwaite: The 1970s' at the Arkansas Museum of Fine Arts in Little Rock contradicts what museumgoers expect from photography exhibitions. For starters, the photos are in color, not black and white. Technicolor. That super 1970s saturated color. 'Soul Train' color. Rich. Vivid. Secondly, the subjects are contemporary. Contemporary to the 70s anyway. Forget stilted pictures of Gilded Age society debutants or industrialists, Brathwaite's models are hip. Fly. They look ready to walk right out of the picture frame and get down, get on stage, walk a runway. Most unconventionally, the photographs depict African Americans. Aspirational African Americans. Idealized African Americans. Smiling African Americans. African Americans posed in high fashion, successful, happy, not being beaten on by police, protesting being beaten on by police, or living in poverty–the way Black people are routinely depicted in museum exhibitions. That shouldn't surprise anyone who knows Braithwaite (1938–2023). His photographs helped create the visual overture for the Black is Beautiful Movement of the late 50s and early 60s. According to the National Museum of African American History and Culture, 'The phrase 'black is beautiful' referred to a broad embrace of black culture and identity. It called for an appreciation of the black past as a worthy legacy, and it inspired cultural pride in contemporary black achievements.' Braithwaite's pictures, organizing, and promotion helped create momentum for the slogan. The Arkansas Museum of Fine Arts new presentation highlights 16 of the artist's independent studio works created subsequently, during the 1970s. 'This exhibition takes a look at Brathwaite's evolution as an artist in the 1970s—an era where his camera moved from documenting a movement to exploring deeply personal and creative narratives,' Catherine Walworth, the Jackye and Curtis Finch, Jr., Curator of Drawings at AMFA, said. 'Kwame Brathwaite: The 1970s' shows a more experimental and expressive side of Brathwaite's photography—one where color, composition, and cultural storytelling take center stage. Kwame Braithwaite Photography In The 1970s Kwame Brathwaite, 'Untitled, Models in parking lot. New York, NY,' 1972, c. Archival pigment print, mounted and framed. Courtesy of Philip Martin Gallery and The Kwame Brathwaite Archive. By the 70's, Brathwaite's star had risen to the point of being one of the top concert photographers, shaping the images of such figures as Stevie Wonder, Bob Marley, and James Brown. Building on his activist roots from the African Jazz Art Society and Studios and Grandassa Models, this period highlights Brathwaite's mastery of light and form, and his continued commitment to celebrating Black identity and creativity. For background, Brathwaite co-founded the African Jazz Arts Society and Studios in 1956 as a teen along with his older brother. The collective brought together creatives across multiple disciplines. They also founded the Grandassa Models in 1962, a modeling agency for Black women challenging white beauty standards. 'Grandassa' is taken from the term 'Grandassaland,' the name Black nationalist Carlos Cooks used to refer to Africa. 'There was an intentionality to this interdisciplinary group of very young people coming out of design school in the mid-1950s,' Walworth told 'Brathwaite, his brother Elombe (Brath), and the other members of the African Jazz Art Society and Studio, used their creative skills to actively support the Black community. They were also members of Carlos Cook's African Nationalist Pioneer Movement and took much of their philosophy and activist direction from that movement. The overarching aim was to uplift Black people, and all of Brathwaite's work can be seen through that lens of advancement, promotion, pride, and love.' Like all great artists, his creativity evolved. 'Kwame Braithwaite: The 1970s,' focuses on that evolution. 'This exhibition builds on his 1950s and 1960s collective action, but pivots to focus on Brathwaite's independent commercial studio practice in the 1970s,' Walworth explained. 'Images on view show him capturing a new generation of performers like Nina Simone, Marvin Gaye, and Stevie Wonder on larger stages.' All in bold color. Walworth specifically selected only color photographs for the show. 'Brathwaite started out as a black and white photographer, and those images are magical. They really meet the subject matter where it is at—especially jazz clubs throughout New York and its boroughs in the late 1950s and 1960s. We also tend to think of those historical eras as black-and-white worlds, before color photography entered the picture in a big way, but I particularly love his color images. I find them unforgettable, and each portrait has its own defining palette—one that shifts a bit in the 1970s to brighter tones,' Walworth said. 'To me, he has a painter's sense of color and it makes the exhibition feel exuberant. I also think that he used color strategically to evoke an emotional glow around his subjects.' A positive glow. Celebratory. 'Both as part of the AJASS collective and in his studio practice, he uplifted musicians, models, and individuals like jewelry designer Carolee Prince, who is featured in the exhibition wearing a pair of her own earrings,' Walworth said. 'With the images in this exhibition from the 1970s, we see him not only supporting professional creatives, but generally putting light and joy into the world.' Light and joy with a Black face. African American trauma has been well documented in photography and art–and needs to be, continues to be–it has often been presented, however, to the exclusion of Black joy, and celebration, and achievement, and love. Braithwaite worked to correct that imbalance throughout his career. 'New' Kwame Braithwaite Photographs Installation view of "Kwame Brathwaite: The 1970s," at Arkansas Museum of Fine Arts. Jason Masters; Arkansas Museum of Fine Arts Working with The Kwame Brathwaite Archive, the exhibition features three never-before-seen images. The newly released pictures include portraits of model and designer Carolee Prince, singer and songwriter Teddy Pendergrass, and a striking group shot of four models against a purple background. 'In the case of the four models with a purple background, I was able to choose from two different options from the same shoot and think about the impact of subtle differences,' Walworth explained. '(The Kwame Brathwaite Archive) is a physical archive with original negatives, contact sheets, slides, prints, and the artist's own notes and writings. Every now and then when the moment is right, Robynn (Brathwaite) and Kwame Brathwaite, Jr. follow the artist's expressed wishes and release something new.' On July 31, 2025, Brathwaite, Jr., the artist's son, will share his unique and personal perspective on Brathwaite's work and legacy during a talk at the AMFA. Guests will learn about Kwame Brathwaite's powerful photography and its lasting impact on Black identity and culture. Tickets are free, but registration is recommended at 'Kwame Brathwaite: The 1970s,' can be seen through October 12, 2025. More From Forbes Forbes The Arkansas Museum Of Fine Arts: America's Most Inviting Art Museum By Chadd Scott Forbes Mosaic Templars Cultural Center Shares Stories Of African American Experience From Little Rock, Arkansas By Chadd Scott Forbes Kwame Brathwaite Shows 'Black Is Beautiful' At Columbia Museum Of Art By Chadd Scott
Irish Examiner
21-07-2025
- Entertainment
- Irish Examiner
Leon Bridges review: Soul power of Texan star shines through at rain-soaked Iveagh Gardens, Dublin
Leon Bridges, Iveagh Gardens, Dublin ★★★★☆ A newspaper in his home town of Fort Worth, Texas once described Leon Bridges as someone whose 'music sounds like he looks' and they were bang on. When he appeared to a sold-out Iveagh Gardens resplendent in a light blue demi safari suit and oversized shades, the handsome 36-year old looked like he'd just stepped out of an early 1970s episode of Soul Train. Even if you happened to be wearing earmuffs, you could've still hazarded a fair guess at what he was hawking. Bridges has released four excellent albums in the last ten years, veering from Motown stomp to progressive R&B, and last year's Leon is his best yet, a rich southern soul stew with even a hint of Van Morrison about it. He got down to business with two of its strongest cuts, the Marvin Gaye-ish When A Man Cries and a marvellous 'trip down memory lane' with Panther City, a tune which evoked the Isley Brothers at their breezy best. His superb seven-piece band were groovier than a new set of tires from the off but Bridges voice was equal to them, smooth as silk at the mic in between bouts of rug cutting to the Hammond swirl of Better Man or the bass-driven Northern Soul chug of Flowers. Leon Bridges and his band on stage at Iveagh Gardens, Dublin. 'What's up Dublin? Make some noise,' was pretty much the extent of his inter-song patter, and even though Leon isn't quite up there with his idols in the showman stakes, it didn't really matter as he testified his way through songs as great as Coming Home. Sadly, while every soul present was on Bridges' side, the weather wasn't. Once the serious rain got started, it didn't let up which always puts a damper on an outdoor show. Still, two of his collaborations with fellow Texans (and hipster Shadows) Khruangbin – Mariella and a well-received, if unfortunately titled, Texas Sun – did their best to keep spirits up. Better again was a three-song run from 2018's Good Thing. You Don't Know, Bad Bad News, and If It Feels Good (Then It Must Be) all proved irresistible, taking us from the discotheque to a head-nodding jazz club to a Pharrell Williams/Nile Rodgers rump shaker. The latter even had his two guitarists temporarily going Disco Lizzy as they harmonised lines. Shapes were thrown by smiling faces despite the downpour. River, a moving, gospel-tinged plea for spiritual renewal, found the sodden crowd in fine voice, Peaceful Place reminded one of Paul Simon's world music forays, and the closing Beyond is a love song Sam Cooke would have considered a good day's work. Bridges offered his thanks for us putting up with the rain. He was worth a soaking.
Boston Globe
09-07-2025
- Entertainment
- Boston Globe
These six record stores are a vinyl lover's delight
.bofbpic img { width: 100%; height: auto; } Cheapo Records Mona Miri for the Boston Globe With music, sometimes only a classic will do. That's Cheapo, a Central Square mainstay since 1954. The rarities behind the counter are the stuff of any collector's dreams (including plenty of original pressings) and the stock of new and used records is continuously being refreshed. Sellers can trust their pre-loved vinyl to the capable hands of curators paying fair prices for the good stuff. Just like it's always been. Address: 538 Massachusetts Avenue, Cambridge Phone: Find online: .bofbpic img { width: 100%; height: auto; } Good Taste Records Good Taste isn't the biggest record store — nor does it need to be. From rare grooves to the latest drops, the selection here focuses on quality over quantity. Offerings range from hip-hop to metal to nostalgia, and include a growing collection of used records. Always-friendly husband-and-wife owners Coty and Lindsey Smith are a draw themselves: Since opening shop in the North End in 2022, they have created a welcoming atmosphere for audiophiles and newbies alike. Address: 4 Thacher Street, North End Phone: Find online: .bofbpic img { width: 100%; height: auto; } Music Research Library Zachary Warf This Beacon Hill spot is on Joy Street — and for vinyl collectors, there may be no happier place. Music Research Library has become a destination for its deep — and deeply varied — collection of clean, used vinyl. There are plenty of classics, but it's the rare and obscure selections, including many international artists, that have disc diggers coming back for more. With a staff that's eager to help, the experience is well worth the hike up the hill. Address: 24 Joy Street, Beacon Hill Phone: Find online: .bofbpic img { width: 100%; height: auto; } Stereo Jack's Mona Miri for The Boston Globe Stereo Jack's was a Cambridge stalwart before packing up — with longtime employee Chris Anzalone newly at the helm — for Somerville's Ball Square in 2022. Now the reins have been passed to manager Wayne Rogers, who will own and operate the beloved store for years to come (we hope). With one wall dedicated to new offerings from pop stars such as Sabrina Carpenter and another to rare used editions, the store embodies the quirky diversity of the vinyl renaissance. Address: 736 Broadway, Somerville Phone: Find online: .bofbpic img { width: 100%; height: auto; } Village Vinyl & Hi Fi This Coolidge Corner spot is the place to find that record you never knew you needed until you got there. Congolese jazz? A Disney animated movie soundtrack? A throwback compilation of Soul Train hits? Check. Check. Check. The store is intimate and the staff are helpful — the type of people who care about music and sound quality. Speaking of which, there's plenty of vintage stereo equipment for sale, too. Address: 307 Harvard Street, Brookline Phone: Find online: Boston Globe Best of the Best winners for 2025 were selected by Globe newsroom staff and correspondents, and limited to Boston, Cambridge, Somerville, and Brookline. We want to hear from you: ? 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Black America Web
24-05-2025
- Entertainment
- Black America Web
Op-Ed: Ashes to Ashes, Big House to Dust: Why White Folks Are Grieving Over Destroyed Relics To White Supremacy
Source: Steve Schaefer / Getty Black folks have spent all week cackling, meme-making, and yelling collective gratitude into the smoke as we watched the ancestors give multiple divine smacks to the face of white nostalgia and its sadistic fetish for racial oppression. In the span of days, three shrines to white supremacy caught heat, holy fire, and even a drop kick from a tree. First, a fire engulfed the big house at Louisiana's Nottoway Plantation, where scores of enslaved Africans labored and died. Then, days later, came news out of Oak City, North Carolina, that in April, the Confederate Fort Branch Museum got demolished by a tree because it, too, was probably tired of the revisionist lies. And then earlier this week, the Kalorama mansion burned in Washington, D.C.'s whitest neighborhood, where racist housing covenants used to keep Black folks out, except when we were scrubbing toilets and polishing silver. Black folks are now standing by with popcorn, tea, Juneteenth grills, sage bundles, and Soul Train lines, watching to see what gets smited next should the ancestors have some righteous rage and ancestral wind left. Because there's lots more racist kindling out there. Maybe a lightning bolt at Mount Rushmore straight through George Washington's stone wig. Perhaps a few sinkholes to swallow the remaining Christopher Columbus statues, or maybe just hit them with a weeklong pigeon orgy. Maybe they can bless us with a heat wave that melts every wool waistcoat and makes butter churns explode at Colonial Williamsburg. Or maybe they'll dispatch a hungry termite plague on the Daughters of the Confederacy headquarters. Meanwhile, white folks have been sobbing and grieving over these destroyed historic relics like somebody intentionally knocked MeeMaw's ashes off the fireplace mantle. They've also taken to popular social media pages such as Plantations and Mansions to call Black folks 'haters' and 'racists,' and they're crawling onto our pages to give us breathless lectures about not 'erasing the past.' Source: The Washington Post / Getty But Black folks aren't trying to 'erase' history when we celebrate the destruction of these monuments to white terrorism. We're tired of white folks venerating the parts of it where their ancestors were committing genocide, slavery, and all other manner of human rights violations and calling it 'civilization,' 'progress,' and 'democracy.' We are unapologetically declaring that we don't care about granite altars to genocide, cast-iron heroes of enslavement, or roadside shrines to domestic terrorism masquerading as Southern 'heritage.' We don't need these chambers of horror, haunted houses, statues, and other relics to remember atrocities. We have books, archives, museums, and oral histories of those still living. As a historian with a Ph.D. in African American history, let me say this with my whole chest: Destruction is not always erasure! It is often correction. There's a false premise that preservation of all history, in every form, is inherently virtuous. It ain't. Should Nazi swastikas be maintained on buildings or Hitler statues appear on street corners in Germany for the sake of teaching 'valuable lessons?' Should Indigenous nations across the Americas be forced to maintain monuments to conquistadors who raped, pillaged, and renamed everything they touched—for the sake of 'historical context?' Do people really believe that enslaved people were standing around and saying, 'Wow, what a teachable moment that ride through the Middle Passage was, or that lash across my back is?' Mature societies that truly want progress don't fetishize their hate symbols, nor do they honor their shame. They confront them, dismantle them, teach about them, and bury the symbols that glorify the horrors. The very idea that we should retain relics, monuments, and institutions built on white supremacy for the sake of 'reminders' is ahistorical and dishonest. These old relics aren't neutral. They are tools of power and propaganda that don't teach history. They shape memory and rewrite history in service to power. Confederate monuments, for example, weren't put up right after the Civil War. They popped up decades later as part of a 20th century campaign of narrative warfare to reassert white dominance during Jim Crow and the Civil Rights Movement. Source: Joe Raedle / Getty Real historians know that history isn't just about preservation. It is about interpretation, confrontation, and accountability. Some relics deserve to be in museums, stripped of their pedestal and power. Others, especially the architecture of white supremacy, deserved to be bulldozed into dust and spit on for good measure, not to erase the past, but to end its hold on the present. Because memory without justice is nostalgia for oppression. Black folks and other groups on the receiving end of white hatred don't need to see violent relics on display, so we don't forget how sadistic our oppressors can be. We live with the echoes of that inhumanity every day through police brutality, discrimination, racial disparities in all indices of wellbeing, voter suppression, mass incarceration, eco hazards, underfunded schools, and…and…and… While racist white folks are out here sobbing about a burned-down big house, they're silent about Donald Trump and his ilk banning books, gutting DEI, firing teachers, shuttering archives, eliminating Black Studies programs on college campuses, purging Black and queer authors from libraries, rewriting slavery as 'skills training,' slashing healthcare access, gutting reproductive rights, criminalizing homelessness, and recreating Jim Crow. If your moral compass needs a plantation house, a statue of a slaver, or a dusty Confederate flag and some damn cannon balls to know right from wrong, then you are broken. ut don't expect Black folks, whom you've spent centuries demonizing and calling outsiders, to join in solidarity at the altar of whiteness so you can feel connected to the past. SEE ALSO: White Folks Gave Us 'Black Fatigue,' Now They're Trying to Steal It America Welcomes Afrikaner 'Refugees' to Rescue Whiteness SEE ALSO Op-Ed: Ashes to Ashes, Big House to Dust: Why White Folks Are Grieving Over Destroyed Relics To White Supremacy was originally published on Black America Web Featured Video CLOSE
