Newspapers / The Charlotte Post (Charlotte, … / Oct. 3, 1996, edition 1 / Page 17
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mUH tKIje Cljarlotte THURSDAY, October 3, 1996 1BIARTS & ENTERTAINMENT African American sit-coms back in style By Winfred B. Cross THE CHARLOTTE POST By Winfred B. Cross THE CHARLOTTE POST Looked at your television lately. African Americans are everywhere unless you tune in to NBC. That’s right. The network that brought you the ‘80s smashes “A Different World” and the “Cosby Show” is now known as “No Black Contracts.” Not one African American show is featured on NBC. No, not one. Heck, you’ll be hard pressed to find black people anywhere on NBC. The network doesn’t seem to be hurting, however. With Shows like “Seinfeld” “Mad About You” and “Friends,” it doesn’t matter what black Homeboys in Outer Space shows did for them in the past. It’s “what have you done for me lately?” Several black-themed shows are returning. Fox still has the funny “Living Single” and the no-longer funny “Martin.” I guess you can call “New York Undercover” a black show since most of the criminals are black, unless it’s a racial issue then its a piece of po’ white trash. “Family Matters” is still hanging at ABC, but not Mr. Cooper. WB still has “Wayans Brothers,” the sassy “Moesha” and the sweet “The Parent Hood” and “Sister Sister. There are a handful of new black-themed shows. Have I mentioned none of them are on NBC? Nope, not one. An NBC alumnus is doing wonders for CBS. Bill Cosby and Phylicia Rashad team up for “Cosby.” Bill’s ditched his high-dollar digs, medical prac tice and children for a more urbane, middle-class setting. He’s been forced to retire and he’s driving his wife crazy. It’s actually based on a British comedy. It’s not the “Cosby Show,” but nothing ever will be. It was good enough to be the highest debuting show at 8 p.m. Mondays in the last 10 years. He’s also helped CBS to leap frog over ABC for second place. Speaking of frogs, Michigan J and the WB network has its share of black-based shows. The newest is Steve Harvey’s self-titled show (8 p.m. Sundays). Harvey’s roped into becoming a school teacher at a high school full of misfits. You know the school has problems when Cedric the Entertainer is the gym instructor. His class is filled with cut-ups who have problems with self-esteem, motivation and choosing the correct weave length. The pilot’s best moment? Havey has to get between two warring women and says “look, this ain’t Ricki Lake. I’ll let you fight.” Malcolm & Eddie Moesha Giving Harvey stiff competi tion for best new black comedy is the UPN’s “Malcolm & Eddie.” The show stars anoth er “Cosby Show” alumnus, Malcolm-Jamal Warner, and comedian Eddie Griffin. It’s sort of an “Odd Couple” premise: Warner’s buttoned down and serious about becoming a sports caster while Griffin is, well, reckless and clueless. It’s funny stuff, espe cially when Griffin flies off into one of his homemade dance routines. His attempt to put lyrics to Quincy Jones’ “Sanford & Son” theme, was hilarious. Warner is the per fect straight man to Griffins no-harm-meant-buffooneiy. More troubling is UPN’s “Sparks”(9:30 p.m. Mondays). See HOMEBOYS on page 2B Mayfield’s pen, voice still have passion By Winfred B. Cross Whodini Sammie Wallace God Will Get You Through It Sammie Wallace, pro ducer Special Ideal Records/Pure Records ☆ ☆ 1/2 Oammie Wallace was a local promoter for a number of years. Now he’s trying his hand at being a gospel singer. It’s not a bad choice for Wallace. He has an expressive and explosive tenor that’s well- suited for the dynamics of singing gospel. I might question his choice of material, however. Not that it’s not good. Far from it. “God Will Get You Through It” is a nice piece of work. But you will find it familiar. It’s a rework ing of the Solo hit “Where Do You Want Me To Put It.” I’m not crazy about turning overt ly secular songs into gospel songs. He has done a master ful job of changing the words. The more representative song is the ‘B’ side of this sin gle “Praise Him Tonight.” It has an r&b-based beat, but it’s original. Curtis Mayfield New World Order Curtis Majrfield, exec utive producer Warner Bros. Records Sammie Wallace ☆ ☆ ☆ ☆ I’ve been a fan of Curtis Mayfield since I heard the Impressions sing “Your Precious Love” way back in the ‘60s. That was just one of many songs that spoke vol umes about Mayfield as a writer and a singer. His thin, airy tenor was a thing of beau ty. His writing? Few, if any, equaled him. Mayfield’s been quiet lately. He was involved in a freak accident in 1990 which left him a quadriplegic. His recov ery has slowed his appear ances. But not his writing skills. Mayfield has been writing with the aid of a computer. The fruits of his writing can be found in his latest CD New World Order. It’s a sparkling collection of his vivid writing style and ‘90s cutting-edge production. Two of the 13 songs are remakes of. his own classics - “We People Who Are Darker Than Blue” and “The Girl I Find Stays On My Mind.”^ Mayfield doesn’t stray too far from the original renderings. There’s no need. The lyrics are timeless. The new songs will fit into his burgeoning song book as if they were written in his hey day. Mayfield is still writing about relevant subjects: man’s inhumanity to man, equality, justice, peace and self-worth. And, of course, he writes as nice a love song as anyone. The title song is classic Mayfield. He juxtaposes lyrics of despair and strife (Another victim born out here in the hood/And based on statistics it really ain’t all good./Welfare takes the tab and daddy can’t sign/And can’t be seen, the family becomes a crime) with a chorus of hope (A new world order, a brand new day/A change of mind for the human race). It’s the same stuff rap pers talk about, except they would use a sting of unneces sary obscenities to be descrip tive. There’s plenty of other good stuff. Mavis Staples makes a guest appearance on “Ms. Martha,” a funky, funky num ber produced by Organized Noise. Think of it as TLC’s “Waterfalls” meets Mayfield’s “Freddie’s Dead.” The produc tion crew clears out of Mayfield’s way, letting his Curtis Mayfield voice and subtle style shine through. Aretha Franklin lends her soulful pipes on “Back To Living Again,” a never-give-up anthem. Who better than Mayfield to sing such a song? None. Mayfield is unable to stand, so his delivery is a little labored and weak. Otherwise he’s in fine voice and great spirits. Those interested in songwrit ing should take a listen to this record and Mayfield’s other stuff as well. His true fans should be glad to add this to their collection. Welcome back, Curtis. Whodini Six Jermaine Dupri, executive producer So So Def Records/Columbia Records ☆ ☆ ☆ See SOUNDS Page 2B
The Charlotte Post (Charlotte, N.C.)
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Oct. 3, 1996, edition 1
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