The Revolution Comes to Juilliard

Turn on CNN or open the New York Times, and you may encounter someone explaining how exhausting it is to be a black person. The idea that systemic racism is leaving blacks scarred and spent has been embraced across mainstream America, articulated by corporate CEOs and university presidents. The latest performative assertion of black oppression is playing out at the Juilliard School in New York City. The controversy has significance beyond the school.

In September 2020, the Juilliard School’s Drama Division announced a series of “community meetings” to address “Equity, Diversity, Inclusion, and Belonging (EDIB) issues.” The school’s growing cadre of diversity bureaucrats would discuss Juilliard’s’ “anti-racism work.” The head of the Center for Racial Healing would give a presentation. Workshops would address such topics as “race in rehearsal” and “voice and speech and race.” NYU theater professor Michael McElroy, one of the school’s two external diversity consultants, would offer a three-day seminar in black musical culture.

These Drama Division meetings were part of Juilliard’s broader effort to bring race into all its activities, including music and dance. Damian Woetzel, former principal dancer with the New York City Ballet, became Juilliard’s president in July 2018 and proceeded to put increasing bureaucratic clout behind the concept that Juilliard has a racism problem. The school added diversity curricula and audition requirements. It beefed up its system for reporting bias incidents. It mandated diversity workshops for faculty and students.

Those efforts picked up steam after the death of George Floyd in Minneapolis on May 25, 2020. Within a week, Woetzel and the EDIB taskforce had sent out three schoolwide emails on the “work” Juilliard still needed to do to become an “anti-racist community.” ... It recommended that students and faculty read the books of Ta-Nehisi Coates, Robin DiAngelo, Ibram X. Kendi...

It all makes you long for the past:

“Berry Gordy III (born November 28, 1929), known professionally as Berry Gordy Jr., is an American record executive, record producer, songwriter, film producer and television producer. He is best known as the founder of the Motown record label.”

“As a record producer, he launched the Miracles and signed acts like The Supremes, Marvin Gaye, The Temptations, The Four Tops, Gladys Knight & the Pips and Stevie Wonder. He was known for carefully directing the public image, dress, manners, and choreography of his acts.”

“In 1988, Gordy was inducted into the Rock and Roll Hall of Fame. In 2016, he was awarded the National Medal of Arts by President Barack Obama.”

“Gordy’s father opened a grocery store, owned a plastering and carpentry business, and a printing shop. While his brothers Fuller and George were happy to work at jobs their father assigned to them in construction and printing, Berry and Robert, the younger boys, were less inclined to follow that path. Both Robert and Berry liked dancing and music, but Berry’s greatest interest was in boxing.”

“Gordy Jr. developed his interest in music by writing songs and opening the 3-D Record Mart, a record store featuring jazz music and 3-D glasses. The store was unsuccessful, and Gordy sought work at the Lincoln-Mercury plant, but his family connections put him in touch with Al Green (no relation to the singer Reverend Al Green), owner of the Flame Show Bar Talent Club, where he met the singer Jackie Wilson.”

“In 1957, Wilson recorded ‘Reet Petite’, a song Gordy had co-written with his sister Gwen and writer-producer Billy Davis. It became a modest hit, but had more success internationally, especially in the UK, where it reached the Top 10 and even later topped the chart on re-issue in 1986. Wilson recorded six more songs co-written by Gordy over the next two years, including ‘Lonely Teardrops’, which topped the R&B charts and got to number 7 in the pop chart.”

“Gordy reinvested the profits from his songwriting success into producing. In 1957, he discovered the Miracles (originally known as the Matadors) and began building a portfolio of successful artists. In 1959, with the encouragement of Miracles leader Smokey Robinson, Gordy borrowed $800 from his family to create an R&B record company.”

“It was The Miracles who gave the label its first million-selling hit single, with the 1960 Grammy Hall of Fame smash, ‘Shop Around’.”

“Gordy’s gift for identifying and bringing together musical talent, along with the careful management of his artists’ public image, made Motown a major national and then international success. Over the next decade, he signed such artists as the Supremes, Marvin Gaye, the Temptations, Jimmy Ruffin, the Contours, the Four Tops, Gladys Knight & the Pips, the Commodores, the Velvelettes, Martha and the Vandellas, Stevie Wonder and the Jackson 5.”

“In 1972, Gordy relocated to Los Angeles, where he produced the commercially successful biographical drama film on Billie Holiday, ‘Lady Sings the Blues’, starring Diana Ross (who was nominated for an Academy Award), Richard Pryor, and Billy Dee Williams (...). Initially the studio, over Gordy’s objections, rejected Williams after several screen tests. However, Gordy, known for his tenacity, eventually prevailed.”

“Although Motown continued to produce major hits throughout the 1970s and 1980s by artists including the Jacksons, Rick James, Commodores, Lionel Richie and long-term signings Stevie Wonder and Smokey Robinson, the record company was no longer the major force it had been. Gordy sold his interests in Motown Records to MCA and Boston Ventures on June 28, 1988, for $61 million. He later sold most of his interests in Jobete publishing to EMI Publishing. Gordy wrote or co-wrote 240 of the approximately 15,000 songs in Motown’s Jobete music catalogue. However, the true test of the label’s worth would come a few years later, when Polygram paid over $330 million (Diana Ross was given shares in this version of the label) for the Motown catalog.”

“Gordy published an autobiography, ‘To Be Loved’, in 1994.”

https://en.wikipedia.org/wiki/Berry_Gordy

“Scott Joplin (c. 1868 – April 1, 1917) was an American composer and pianist. Joplin achieved fame for his ragtime compositions and was dubbed the ‘King of Ragtime’.”

“Joplin grew up in a musical family of railway laborers in Texarkana, Arkansas, and developed his own musical knowledge with the help of local teachers. While in Texarkana, Texas, he formed a vocal quartet and taught mandolin and guitar. During the late 1880s, he left his job as a railroad laborer and traveled the American South as an itinerant musician. He went to Chicago for the World’s Fair of 1893, which played a major part in making ragtime a national craze by 1897.”

“Joplin moved to Sedalia, Missouri in 1894 and earned a living as a piano teacher. There he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. He began publishing music in 1895 and publication of his “Maple Leaf Rag” in 1899 brought him fame. This piece had a profound influence on writers of ragtime. It also brought Joplin a steady income for life, though he did not reach this level of success again and frequently had financial problems. In 1901, Joplin moved to St. Louis, where he continued to compose and publish and regularly performed in the community.”

“In 1907, Joplin moved to New York City to find a producer for a new opera. He attempted to go beyond the limitations of the musical form that had made him famous but without much monetary success. His second opera, ‘Treemonisha’, was never fully staged during his life.”

“In 1916, Joplin descended into dementia as a result of syphilis. He was admitted to Manhattan State Hospital in January 1917 and died there three months later at the age of 48.”

“Joplin’s music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album recorded by Joshua Rifkin. This was followed by the Academy Award-winning 1973 film The Sting, which featured several of Joplin’s compositions, most notably ‘The Entertainer’, a piece performed by pianist Marvin Hamlisch that received wide airplay. Treemonisha was finally produced in full, to wide acclaim, in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.”

https://en.wikipedia.org/wiki/Scott_Joplin

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