I love music and politics. But after back-to-back political conventions, I need a break.
So I am in Philadelphia for R&B Week. The festivities will culminate tomorrow with the celebration of the Rhythm & Blues Foundation’s 20th anniversary and star-studded Pioneer Awards gala.
While it’s known as the City of Brotherly Love (and Sisterly Affection), Mayor Michael Nutter is not showing Sarah Palin any love:
I was astounded, astounded at what I saw at the Repulsive National Convention on Wednesday night, at the RNC between Giuliani and Governor Palin.
I last saw Nutter in Denver at a reception for Hillary Clinton’s delegates. At that time, he was astounded, astounded by the sexist attacks on Hillary Clinton.
I am a big fan of Hillary Rodham Clinton…There was some hurt at the end. The hurt that some of us are feeling today will be so much worse if John McCain is elected President of the United States.
Anyway, that’s politics.
But discordant political notes are not “The Sound of Philadelphia.” Two visionary songwriters and producers, Kenneth Gamble and Leon Huff, turned the intersection of politics and popular culture into music that has inspired three generations of political activists, entrepreneurs and community organizers.
From time to time, politics and music collide. The rock group Heart reportedly sent a cease and desist letter to the Republican National Committee asking it to stop using their hit song, “Barracuda,” as the unofficial theme song for Palin.
If the McCain campaign has not gotten permission to use “Johnny B. Goode,” they may hear from Chuck Berry’s lawyer.
With both Obama and McCain promising “change,” it was fitting that I spent part of Sunday afternoon in the original studio of “American Bandstand,” where Sam Cooke performed “A Change is Gonna Come.”
The iconic dance show was hosted by Dick Clark. The Moonglows was one of Clark's first African American guests. Harvey Fuqua is the last Moonglow standing, but the 79-year-old still rocked “Sincerely” and “Ten Commandments of Love.”
For me, the highlight of “Back to Bandstand” was Chubby Checker whose remake of Hank Ballard’s “The Twist” was recorded in the studio that was taken over by Gamble and Huff.
And yes, I did the twist like I did last year when the Trotter Group was given a private tour of Philadelphia International Records.
For more info about the Rhythm & Blues Foundation, go here.
