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Late Blues Legend Muddy Waters' Chicago House Is Closer To Becoming A Museum
The Muddy Waters Mojo Museum has been planning to renovate the 19th century home and also hopes to build a studio in it
GRAMMY-winning blues great Muddy Waters' Chicago home is a step closer to becoming a museum, studio and cultural center, thanks to a $50,000 grant from the National Trust for Historic Preservation's African American Cultural Heritage Action Fund.
The Hyde Park Herald reports the money from the Washington D.C. organization will go towards home renovations. The Muddy Waters Mojo Museum has been planning to renovate the home with the help of donations. The blues musician lived in the house on 4339 S. Lake Park Ave. for 20 years after moving from the South to Chicago and was the first he ever owned.
Chandra Cooper, Muddy Waters Mojo Museum President and Waters' great-granddaughter, told the Hyde Park Herald the grant will be a major help.
"It was so significant to get this grant money from the trust, because it's really saving this house from any more deterioration," she said.
According to the Chicago Tribune, an Illinois landmark advocacy group listed the house as one of the most endangered in 2013.
Waters used the 19th century house as a place to convene with other blues musicians and entertainers. Cooper said the house will continue to be a supportive place for musicians.: "We want to be able to support older artists as well and as a small venue, where people can go in the basement and do a little recording, because while it wasn't a recording studio downstairs — it was a rehearsal studio — we'd like to incorporate that into the overall experience."
The grant won't cover all costs, but the museum’s interim executive director Amy Dean hopes the news will help attract more donations.
"It makes us legitimate and also helps get out the word about the project," Dean told the Chicago Tribune.
For more information on the house or how to donate, visit the Muddy Waters' Mojo Museum website.
Photo: Kelly Samson, Gallery Photography
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Joseph Rosen
Here's What Went Down At The 2023 Blues Music Awards In Memphis
A crowd of more than 1,100 filled the ballroom of the Renasant Convention Center in Memphis for a music-filled show. Here are four takeaways from the soulful evening.
For more than four decades — even during the pandemic — the Memphis-based Blues Foundation has annually recognized the genre's best, including such GRAMMY-winning luminaries as B.B. King, Buddy Guy, and Stevie Ray Vaughan.
On May 11, the foundation presented the 44th Annual Blues Music Awards, featuring a host of blues mainstays — as well as younger artists who combine the various strains of the blues with diverse strands of Americana.
A crowd of more than 1,100 filled the ballroom of the Renasant Convention Center in Memphis for a music-filled show that packed 25 awards and more than a dozen musical performances into a deceptively tight five-hour show.
Here are four takeaways from this year's Blues Music Awards:
Big Winners Were Touched By Tribulations
This was the second in-person BMA ceremony following two years of virtual presentations due to COVID. But while the pandemic has abated, illness still loomed over some of the night's wins.
Tommy Castro, who won B.B. King Entertainer of the Year for the second year in a row — and whose band is, ironically, called the Painkillers — missed the ceremony because he was recuperating from back surgery. His award was accepted by his frequent collaborator, Deanna Bogart, also a winner for Best Instrumentalist - Horns.
BMA regular John Németh, who recently survived a bout with a jaw tumor, was thankful just to be alive to accept his two awards on the night, one for best instrumentalist-harmonica and another for Best Traditional Blues Album for the aptly-titled May be the Last Time, a collaboration with Elvin Bishop and others that was recorded two weeks before his cancer surgery.
"I had no idea if I was going to be able to make it here tonight, but I did," said Nemeth to a round of applause. "I want to thank the Blues Foundation, I want to thank their HART Fund, and I want to thank everybody who donate to my GoFundMe to help me get a brand-new jawbone so I can play some more harmonica."
Repeat Winners Ruled The Night
A lot of familiar names were called out from the stage. In addition to Nemeth, Buddy Guy (Album of the Year and Contemporary Blues Album) and blues rock up-and-comer Albert Castiglia (Blues Rock Album and Blues Rock Artist) each won two awards on the night.
Meanwhile, Castro led the way among artists winning categories for consecutive years, including Albert Castiglia (Blues Rock Artist), Danielle Nicole (Instrumentalist Bass), Curtis Salgado (Soul Blues Male Artist) and Sue Foley (Traditional Blues Female Artist).
Perhaps most impressive though was GRAMMY-winning blues guitarist Christone "Kingfish" Ingram, who won Contemporary Blues Male Artist for an impressive fourth year in a row.
While ccepting the award, a humble Ingram said he hadn't prepared anything to say because he didn't expect to win. Right then, he thanked his fellow nominees, and returned to the stage for an acoustic set that showcased his strong, assured vocals as much as his adroit fretwork.
Hill Country Blues Are Alive And Well
The night before the BMAs, the Blues Foundation held a ceremony at the Halloran Centre in downtown Memphis to induct a new class into the Blues Hall of Fame.
This included departed greats Esther Phillips, Carey Bell, Snooky Pryor, Fenton Robinson, Josh White, and Junior Kimbrough, the late Holly Springs bluesman who helped pioneer what has become the North Mississippi Hill Country style.
At the BMAs, the sound made famous by Kimbrough and his close contemporary, the late R.L. Burnside, proved to be alive and well.
R.L.'s grandson, GRAMMY winner Cedric Burnside, who holds an impressive 10 BMAs, was, scheduled to perform but, for whatever reason, missed his slot.
His uncle Duwayne Burnside, who has written and played with his father, Kimbrough, and the North Mississippi Allstars, among others, carried the torch. He played an acoustic set of hill country classics backed by R.L.'s longtime guitarist Kenny Brown.
Young Artists Made Their Mark
Veteran blues artists dominated this year's BMAs, but a handful of young performers broke through at the show as well, wowing the audience with their performances.
McComb, Mississippi's Mr. Sipp (aka, Casto Coleman) returned to close out the night with a gospel-infused closing set that brought the crowd to their feet.
Two more former emerging artist winners also provided show highlights: GRAMMY-nominated band Southern Avenue rocked the house with an inspired acoustic stage mini set, featuring a trio of female voices.
Meanwhile, Detroit's Annika Chambers and her musical partner Paul DesLauriers delivered a high-energy segment that fused rock and soul into their blues.
Joining these up-and-comers was this year's Emerging Artist winner, 22-year-old St. Louis native Dylan Triplett.
A prodigy blessed with a four-and-a-half octave vocal range, Triplett took the stage early with his band to play R&B-inflected selections from his debut album, Who Is He? When his name was called for his award, he acknowledged his faith and thanked his parents — including his father, saxophone player Art Pollard.
Clearly, the blues are alive and well — and the 2023 Blues Music Awards remain a critical part of this magnificent musical sphere.
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.