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tKljE CIjarlottE ^0£(t THURSDAY, MARCH 7, 1996 B^ARTS & ENTERTAINMENT Atlanta artist uses exhibit to help injured student By Winfred B. Cross THE CHARLOTTE POST W hat do Spike Lee, NFL linebacker Cornielus Bennet, “Roots” author Alex Haley and actor Dorian Harewood have in coi^on? Thstj^all own paintings by Atlanta artist Sidney Carter. Carter, whose work has been sold in more than 100 galleries from Seattle to Washington, D.C., will hold an exhibit 6-9 p.m. Saturday at the Afro- American Cultural Center. Part of the proceeds will go to The Unseld "Bingo" Smith Foundation medical fund. A meet the artist reception will be held at the 12:30 p.m. Friday at the Government House Hotel and Conference Center, 201 S. McDowell St. Carter, a former University of Tennessee-Martin football player, describes his paintings as "nostalgic. "I reach back into our roots," he said. "I like to do older peo ple interacting with young people. It doesn't matter the color. These are experiences everyone has gone through. It's the simple things, how things used to be and how I wish they still were." Two of Carter's newest pieces will be shown at the show. One of the pieces, "A Tribute to Black History" depicts a slave with a whipped-scarred back, shackled with the American flag. The ofSSr, "A Mother's Prayer" is fai^fess political but just as striking. Carter's been involved in art since he was in kindergarten. While a first-grader at Springfield Elementary School in Panama City, Fla., his art work was recognized by the city's mayor during Children's Art Month. Carter won first place in the Collegiate Sports Information Directors Association's nation al contest for a cover he designed for UTM's 1988 media guide. Despite early achievements, Carter's cal^ had plenty of bumps. "I used to make Xerox copies of my work and sell them for $20," he said. "This was black and white, mind you. I invest ed that money into my work." Carter got a big break in 1990 while pledging the Omega Psi Phi Fraternity in Oak Ridge, Tenn. His chapter, Zeta Gamma Gamma, com missioned him to do a painting of the fraternity's founders, which became "Living Legacy." "That allowed me to get more prints made," he said. "They realljpSicked me on that one." Carter moved to Atlanta, See CARTER Page 2B By Winfred B. Cross Joe Sample Old Places, Old Faces A1 Schmitt and Joe Sample, W producers amer Bros. a 'i! ii; it Joe Sample is on a mission to keep jazz and soul alive through the 21st centu ry- "(T)hat's a big part of SIDNEY CARTER Everybody Say Freedom: Everything You Need to Know About African-American History Richard Newman and Maria Sawyer Ph.D, Foreword by Henry Louis Gates Jr. Plume Publishing $12.95 By Jeri Young THE CHARLOTTE POST Who were Lemuel Haynes, Lucy Terry Prince and George Herriman? Answers to these and others can be found in “Everybody Say Freedom: Everything You Need to Know About African-American History,” written by prominent historians Richard Newman and Marcia Sawyer. The third in a new multicultural series from Plume Publishing, a subsidiary of Dutton Signet, “Everybody Say Freedom” attempts to shed light on the mystery of the history of African Americans from the arrival of the first indentured ser vants in 1620 to the present. Written in a question-and-answer format, “Everybody Say Freedom” is easy to read and insightful. In 301 pages, Newman and Sawryer cover many of the most important movements and inventions of African Americans. The authors also discuss vari ous schools of thought on the exclusion of African Americans as "citizens." They also explore the attitudes of whites, especially those in power, toward blacks. Newman and Gates seek to understand the origins of racial discrimination as well as its consequences. The book boasts an impressive bibliography as well as sectional "For More Information" texts that provide the reader with ample opportu nities to further explore topics of special interest. “Everybody Say Freedom” is a good starting point in anyone's examination of Afiican American history. The book can be easi ly understood by students, each chapter has an opening set of "test questions" and is an excellent reference for school projects. The book is careful to include many unknown and important African American heroes. Of course, in a mere 301 pages, Newman and Gates can not go into great detail, but manage to convey the historical signifi cance of the topics covered. By the way, Lemuel Haynes was a minister and soldier during the Revolution who wrote one of the first essays that argued See BOOK Page 2B Sample CD is breath-takingly fresh what this album is about," Sample ,said recently. "Frankly, H^elieve the 21st century is going to need a lot of soul," He may be right, and some one may still be playing this CD in 2001. It's that good. No, it's that great. Sample has always shied from indulging into pop-jazz. He's always been a traditional ist and a minimalist, even with his super group the Cursaders. What he's created on Old Places, Old Faces, his latest for Warner Bros., is nothing short of brilliant. He's dug deep into the roots of his soul to deal with demons and fond memories with melodies that linger hours after the song^^ ROBERT STEWART finished. The CD is moody, almost brooding. It’s fer from depress ing, however. la fact, it’s uplift ing to see someone so commit ted to a genre. There's passion coming from Bangle's talented fingers. There isn't a synthesizer or drtmtlmachine to be found on this work. Sample has asked some the best to. Jam with him and the results are as vivid as a Monet painting.Each song has its own story, its own place in Sample’s private history. It's hard to point to favorites when all 10 songs are a stun ning achievement in their own right. The title tune is the most reflective and may best display Sample’s gift as a pianist and writer. "Stones For Ben" makes you want to find a comer of a smokey jazz club and just chill."Hippies On A Comer" has an in-your-face defiant strut that makes your right foot pat joyously. It's only March, but this could easily end up on my "best of list" for '96. Robert Stewart In The Gutta Robert Stewart and Craig Morton, producers Qwest AVamer Bros. ☆ ☆ ☆ ☆ While Sample is keeping jazz-soul alive, 26-year-old Robert Stewart is doing the same for jazz-blues. How serious is this kid? He has the admiration of tmm- peter Wynton Marsalis, for whom he has played. Marsalis even bought him the Selmer Super Action 80 sax he plays. Stewart, whose principal instrament is the flute, has See SOUNDS Page 2B JOE SAMPLE O’JAYS
The Charlotte Post (Charlotte, N.C.)
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March 14, 1996, edition 1
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