In other words, if you play other venues, you’ve made an appearance, but if you play The Apollo, you’ve arrived.
Black legend singers plus#
Fresh) and rock (Prince, Parliament-Funkadelic), plus nearly every vital Black artist in comedy, dance, and spoken word. Since 1934, this 1,500-seat Harlem stage has showcased nearly every significant Black musical act in jazz (Louis Armstrong, Billie Holiday), soul (Aretha Franklin, Stevie Wonder), gospel (Mahalia Jackson, the Staple Singers), hip-hop (Run-DMC, Doug E. It’s fitting that Roger Ross Williams- the first Black person to win an Oscar for direction-is also the director of The Apollo, the tale of one of the first theaters that allowed Black people to both attend and perform. The Apollo, Dir. Roger Ross Williams (2019) Watch Tina Turner: The Girl From Nutbush on YouTube.Ģ. It turns out Tina Turner was always a rock star, but it took a moment for the world to notice. Her signature single “What’s Love Got to Do with It” became her first number #1 hit-spawning the Oscar-nominated biopic of the same name-and she ascended to a level of international arena touring on par with the top musical acts in the world. That stage-burning performance led to the cream of British music acts-The Fixx, Heaven 17, and Dire Straits, among others- contributing material to her 20-million selling Private Dancer album released by Capitol records in 1984. Her second career as a mid-tier, hitless touring act changed when Bowie played a Jedi Mind Trick on his label and persuaded record executives to see her in concert. The baggage of her past travels with her, and they’re going to see somebody who, like a phoenix from the ashes, is risen,” said David Bowie. “I think people actually go and see her not for the songs necessarily for what she represents.
Then Ike propelled his way into a drug addiction so abusive that Tina had to, once again, escape. Ike’s production and arrangement brilliance, combined with Tina’s raspy vocals and explosive dance moves, propelled The Ike & Tina Turner Show into stardom. “We’re going to repackage a 45-year-old Black female R&B singer, and sell her as a rock star to young people?” Tina Turner’s Private Dancer (Capitol, 1984) was exuberant, powerful, and like Turner herself, supremely ambitious.īorn in Nutbush, Tennessee-a town she acidly reduced to “ church house, gin house, schoolhouse, outhouse“-she eventually escaped her joyless surroundings to perform on the road with the equally joyless musician, Ike Turner. Chris Cowey (1993)įrom the cover of Tina! The Platinum Collection (Capitol, 2008)
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