Granderson: Soul singer Frankie Beverly’s legacy of healing

As I reflect on the passing of Frankie Beverly, I can’t help but feel a deep sense of nostalgia and reverence. Growing up, his music was more than just background noise; it was a beacon of hope, resilience, and unity that echoed in the hearts of many Black families.

Reflecting on the passing of Frankie Beverly, lead singer of Maze, this week, I couldn’t help but remember the crowd on his recordings from a November night in 1980 at Saenger Theater. His album “Live in New Orleans” wasn’t just a concert recording; it was a snapshot of history at a pivotal moment.

Approximately a week prior, President Carter failed to secure reelection. In Orleans Parish, where Beverly was working, approximately 60% of the votes were cast for Carter. During his single term, the GDP expanded by an impressive 4.6%, but inflation and poverty levels both stood at 13%. Reagan, Carter’s opponent, argued that social programs and welfare recipients were responsible for the economic difficulties. This criticism was first put forth by Reagan during his 1966 campaign for California governor, when the “war on poverty” had only just started; at this time, the overall poverty rate was 17%, but it exceeded 40% for African Americans in 1965.

By 1980, it was evident that Reagan and his party harbored strong opposition towards the War on Poverty, along with those who were intended to benefit from it. In his initial two years in office, he reduced spending on social programs by over $22 billion. Notably, when Reagan departed from the White House, the nation’s poverty rate had risen to its highest since 1965.

In 1980, Beverly’s song “we’ll get through these changing times” from New Orleans was not just about that moment or the future; it encapsulated everything that followed and the path we were walking on. His music served as both a soothing prelude to the impending turmoil and a means of finding solace amidst the chaos. As a result, the fourth track “Joy and Pain” on the live album seemed less like a typical R&B performance and more like a spiritual awakening or revival.

Occasionally, life doesn’t go as planned, but as we mature, we learn to deal with its ups and downs – the happy moments and the hardships. Does anyone agree with this sentiment?

When I was young, I believed I grasped the essence of Beverly’s words in “Joy and Pain.” However, as Beverly pointed out, with age comes a deeper understanding. With more mature perspective, it becomes clearer how excruciating it must have been for parents to struggle with providing food or electricity for their children.

In 1981, when “Live in New Orleans” was released, approximately one out of every seven Americans found themselves in poverty, crack epidemic was sweeping through major cities, and the divorce rate reached an all-time high. Much like Bruce Springsteen and John Mellencamp served as advocates for the white working class during this period, Beverly’s music provided solace and inspiration to the Black community.

Time and again, you can count on it

At some point during the recording, Beverly reminisces about a tale where someone inquired as to why he decided to record a live album in New Orleans. His response was fittingly casual: “Why not? You get it, right?” Looking back, it’s clear that Beverly made an ideal selection of city for the setting.

Following the period of enslavement, New Orleans experienced tragic events like the 1866 massacre, the Race Riot of 1900, and numerous other violent attacks, which took many lives, devastated Black-owned businesses, and destroyed homes. Despite the prosperity in New Orleans during the construction of the Saenger (in 1924), Jim Crow laws ensured that Black people remained politically marginalized.

Two months following its opening, the area was hit by the catastrophic Great Mississippi Flood of 1927, resulting in over $1 billion worth of destruction – roughly one-third of the federal budget’s value during that period.

Over 1,000 lives were lost, and over 700,000 people were forced to leave their homes due to the devastating flood. Many of the victims were descendants who had been compelled into sharecropping – a system that followed emancipation from slavery. Just about a mile away from Saenger lies a restaurant where prominent civil rights figures like Thurgood Marshall and Martin Luther King Jr. would gather for prayer, meals, and discussions with local leaders, planning ways to challenge oppressive legislation.

I can’t help but marvel at how each pivotal moment in New Orleans’ vibrant history has molded its unique character, a trait that resonates profoundly in the collective spirit captured on that 1980 recording before Saenger. What made this album truly transformative was the validation of a shared experience and resilience, powerfully articulated by those who were there, contributing to an emotional bond that continues to endure today.

Prior to the widespread broadcast of “Before I Let Go,” the tragic demise of Ernest R. Lacy ignited a series of protests that lasted for several months in the city streets of Milwaukee.

22-year-old Lacy, who happens to be African American, was assisting his cousin with apartment painting when he felt hungry and decided to walk to a store for some food. Unfortunately, during this outing, police officers stopped him, stating that he matched the description of a suspect wanted for a rape case. Tragically, Lacy lost his life while in their custody. It was later discovered that the actual rapist was someone else, and he was duly convicted. Regrettably, the innocent Lacy had already passed away.

In periods when surrendering to hate and despondency seemed more appealing, Beverly instead championed love and resilience through a series of enduring masterpieces that are a staple at any cookout worth battling traffic for. Maze concerts served as a comforting ointment rich in wisdom and warmth, blending elements of family gatherings and communal therapy.

As a devoted admirer, I’d like to share that the legendary figure I admire has been honored with Lifetime Achievement Awards by both BET and the NAACP. His extraordinary career transcended eras, and his voice resonated in nine gold records. His music continues to inspire generations, shaping the landscape of our musical world.

Unfortunately, despite his deserving status, Beverly never received a Grammy from the Recording Academy. However, there’s still an opportunity for them to rectify this oversight and recognize Beverly’s talent appropriately. The fact is, it wasn’t Beverly’s skill that held him back; rather, it was the industry itself that limited his success.

For many years prior to 1920, African Americans had already developed the blues as a musical genre; it was only later that Mamie Smith entered a recording studio to produce what is widely regarded as the first blues record. The acclaim received by this recording paved the way for “race records,” which eventually resulted in Billboard maintaining a list of the most popular records in Harlem during the 1940s.

For many years, Motown received little recognition during award seasons. In 1985, the American Music Awards introduced a “Favorite Black Single” category, which could be seen as an attempt to appease everyone. It was long after long periods of trying to box in something as natural and free-flowing as music, much like attempting to make an amoeba maintain a specific shape.

The struggle within the industry remains significant; it even captured national attention earlier this year as Tracy Chapman joined forces with Luke Combs on stage. Their performance, coupled with a tale about American poverty, served as a poignant reminder that music has always been intended to unite us rather than divide.

It’s there to hold us together.

Beverly understood that as well as anyone.

@LZGranderson

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2024-09-13 23:31