Life Without Basketball takes us inside the world of Bilqis Abdul-Qaadir. As a record-breaking high school star and college athlete, her life as a basketball player had structure and a clear forward path. Bilqis was raised to follow the Quran and has been wearing hijab since the age of fourteen. She extends this practice onto the court as well, covering arms and legs underneath her uniform and wearing a tightly wrapped headscarf. When she began her college career in 2009 she became the first NCAA Division I athlete to do so. Her story attracted the attention of national media and later, the White House.
Having just come off the best year of her college career at Indiana State, Bilqis began pursuing her goal to play professionally. At this point she was informed that FIBA (the international governing body for the sport) had a rule banning headscarves from international competition. FIBA initially explained the rule as a measure to keep the game religiously neutral, and then later cited false safety concerns. The news came as a shock. Covering is an essential part of her faith and the rule puts her hoop dreams just out of grasp.
As Bilqis transitions out of the world of a professional athlete, we watch as she focuses her abilities on training the next generation of Muslim girls at the first of its kind athletic program at an Islamic school. The film explores the complex world of being Muslim in America, where family tradition and public perception are often at odds. We spend time with her parents and family gaining understanding of the challenges unique to African American Muslims, especially those who have converted from other faiths. We also elevate the sometimes mundane or ordinary parts of life that all Americans relate to. The film examines layers of identity, radical change, and common nostalgia.
After years of protest FIBA revised their rule in May of 2017 and Bilqis is now eligible to return to the court. Before a speaking engagement at the Global Forum for Sport and Human Rights in Geneva, Bilqis finally obtains an in-person meeting with the organization. Despite their lack of apology and willingness to offer support, she decides to pursue the game again on her own.
Life Without Basketball will inspire emotional involvement and provoke action.
The film promotes inclusion and empowerment through Bilqis’s journey to play professional basketball. It normalizes Muslim culture in America and abroad and offers positive images of African American family dynamics and women’s athletics. These narratives are actionable within communities and lead to sharing and organic audience building.
Through Bilqis and the film, we have developed relationship with non-profits, colleges, companies and community centers internationally. These relationships create opportunities for speaking events and screenings that create a dialogue and raise awareness of the prejudice that women, women of color, and Muslim women face in the world of athletics—a microcosm of the oppression they experience in the U.S. and abroad.
Our distribution plan for Life Without Basketball includes these kinds of grassroots community events in addition to a traditional track of theatrical, television, and streaming. We are also seeking to develop further educational content as an additional source of revenue and engagement.
Charleston-Based Jazz Quintet to Perform May 17, Lead Arts Outreach in Local Schools
Brookfield, WI (April 18, 2019) From playful game songs to ecstatic shouts, from heartbreaking spirituals to delicate lullabies, the Charleston-based quintet Ranky Tanky will perform the timeless music of Gullah culture for audiences at the Sharon Lynne Wilson Center for the Arts (Wilson Center) Friday, May 17, 2019, at 8:00 p.m.
Ranky Tanky released their eponymous debut on October 20, 2017. ByDecember 2017, the group had been profiled on NPR’s Fresh Air with Terry Gross and their album soared to #1 on Billboard, iTunes, and Amazon jazz charts. Mixing low country traditions with large doses of jazz, gospel, funk, and R&B, tickets for this soulful performance are $44-$60 (prices subject to increase based on demand) and may be
purchased online at www.wilson-center.com, via phone at 262-781-9520, or in person at the Wilson Center Box Office at 19805 W. Capitol Drive in Brookfield’s Mitchell Park. Parking at the Wilson Center is free.
“Gullah” comes from West African language and means “a people blessed by God.” “Ranky Tanky” translates loosely as“Work It” or “Get Funky.” Grammy-nominated Quentin Baxter (drums, percussion), Kevin Hamilton (bass), Artistic Director and Conductor of the Charleston Jazz Orchestra Charlton Singleton (trumpet, vocals), and Clay Ross (guitar, vocals) first came together in 1998, fresh out of university, to form a seminal Charleston jazz quartet. Now, united by years apart and a deeper understanding of home, these South Carolina natives have come together again, joined by one of the low country’s most celebrated vocalists and American Idol competitor Quiana Parler, to celebrate the bone-deep mix of spirituals and gutbucket blues that mark the low country mainland and Sea Islands—music made by a self- contained culture of descendants of enslaved Africans that introduced such indelible parts of American songbook as“Kum Bah Yah” and “Michael Rowed the Boat Ashore.”
Their debut album Ranky Tanky features 13 arrangements of Gullah folk songs, with lyrics and melodies ranging fromtraditional spirituals to children’s rhymes to dance music. In a 2017 interview with NPR, Ross credited 20th century American gospel and folk singer Bessie Jones as laying much of the groundwork for the band due to her extensive recording and documentation of the songs and rhymes later used in Ranky Tanky.
On March 15, 2019, Ranky Tanky debuted the stirring new single “Freedom” with a performance on NBC’s TODAY. The song leads the group’s upcoming sophomore album, Good Time, set for release in fall of 2019. “The idea of ‘Freedom’ isat the heart of the American identity, and particularly for the Gullah people who are descendants of enslaved African-Americans,” states the band as a collective. “Freedom is a universal anthem. This song holds a universal truth, yetundoubtedly represents something different to every individual that hears it.”
In addition to the public Wilson Center concert, Ranky Tanky will be giving two back-to-back performances for studentsat Milwaukee charter school Capitol West Academy on the morning of May 17. As part of the Wilson Center’s ArtsReach program, both performances will celebrate a weeklong visual arts residency taking place at the school in partnership with the Wilson Center and Ghanaian painter Francis Annan Affotey. Throughout the week, approximately 15 students will work with Affotey to create artwork inspired by Gullah music, with the project to be unveiled at the performance. For more information on the arts education outreach sessions/performances, contact [email protected] or 262-373-5037.
Ranky Tanky is presented as part of the Wilson Center’s 2018/2019 Performing Arts Series, which is made possible by Enterforce, Godfrey & Kahn S.C., and Krause Funeral Homes & Cremation Services. Arts education outreach with Cynthia Sayer is made possible by Wilson Center Residency Sponsor Herzfeld Foundation, and this project is supported in part by an award from the National Endowment for the Arts. The Wilson Center is grateful for the support of Show Media Partner 88Nine Radio Milwaukee.
ABOUT THE SHARON LYNNE WILSON CENTER FOR THE ARTS
As a multidisciplinary nonprofit cultural arts facility with a 17-year history of excellence, it is the mission of the Sharon Lynne Wilson Center for the Arts to serve as a catalyst for lifelong discovery and exploration of the arts. Situated in Brookfield’s beautiful Mitchell Park, the Wilson Center is recognized as a cultural anchor in the Greater Milwaukee community and focuses on three main disciplines: performing arts, arts education, and visual arts. Since opening in 2002, the Wilson Center has continued to celebrate its five core values of excellence, innovation, passion, stewardship and collaboration through a diverse array of premier performances, educational programs, classes, festivals and special events. The Wilson Center annually welcomes more than 45,000 people, including more than 10,000 students every year—many of whom are being introduced to the arts for the first time. Through arts education programs such as Beyond the Classroom, ArtsReach, and Arts Camp: The Art of Nature, as well as year-round visual art classes and exhibitions, the Wilson Center promotes lifelong learning for children, teens, families, and adults. For more information, visit www.wilson-center.com.
ABOUT RANKY TANKY
The word “Gullah” comes from West Africa and means “a people blessed by God,” and “Ranky Tanky” translates loosely as “Work It” or “Get Funky!” The soulful songs of the Gullah culture are brought to life by this band of native SouthCarolinians who mix the low country traditions with large doses of jazz, gospel, funk, and R&B. Fresh out of college, trumpeter Charlton Singleton, guitarist Clay Ross, bassist Kevin Hamilton, and drummer Quentin Baxter originally worked together as an in-demand jazz quartet on the Charleston scene in the late 1990s before splitting off to each
make their way as freelance musicians, working with names like Houston Person, Freddy Cole, Cyro Baptista, and René Marie. Gaining years of valuable experience while developing a deeper appreciation for the South Carolina Gullah tradition they came from, the band reformed with the dynamic vocalist Quiana Parler to celebrate the bone-deep mix of spirituals and gutbucket blues that mark the low country mainland and Sea Islands—music made by a self-containedculture of descendants of enslaved Africans that introduced such indelible parts of American songbook as “Kum Bah Yah” and “Michael Rowed the Boat Ashore.” From playful game songs to ecstatic shouts, from heartbreaking spirituals to delicate lullabies, the musical roots of Charleston, South Carolina, are “rank” and fertile ground from which thesecontemporary artists are grateful to have grown. Ranky Tanky released their eponymous debut on October 20, 2017. By
December of that year, the group had been profiled on NPR’s Fresh Air with Terry Gross and their album soared to the #1 position on the Billboard, iTunes, and Amazon Jazz Charts.
KEVIN HAMILTON (BASS) is a celebrated artist in Charleston’s vibrant jazz scene. He has performed internationally with diverse ensembles such as The Charleston Jazz Orchestra, Houston Person, Gregory Hines, and René Marie. KevinHamilton joined the U.S. Department of State’s OneBeat program in 2012 and holds a degree in music theory and composition from the College of Charleston.
QUIANA PARLER (VOCALIST) has spent more than 20 years as the most sought-after vocalist in the low country. Known locally for years prior, she rose to national prominence after her success on the 2003 season of American Idol. From there, she toured and recorded alongside successful artists as diverse as Kelly Clarkson, Maroon 5, Clay Aiken, Miranda Lambert, and David Foster. Beyond Idol, her performances have been featured on national broadcasts like The View,NBC’s TODAY, Jimmy Kimmel Live!, The Tonight Show, The Tyra Banks Show, and Saturday Night Live, as well as the
Academy of Country Music Awards and the American Music Awards. www.quianaparler.com
CLAY ROSS (GUITAR/VOCALS) has established himself as an in-demand sideman and innovative bandleader on the international music scene, winning multiple grants through the U.S. State Department and touring worldwide as a Cultural Ambassador. As a solo artist and founder of the NYC based band Matuto, Ross has released five albums on the Ropeadope and Motema Record Labels. As The Wall Street Journal said, “Mr. Ross is a very deft guitarist with a rich vocabulary of folk, blues, and jazz at his disposal…” www.clayross.com
CHARLTON SINGLETON (TRUMPET/VOCALS) is the Artistic Director and Conductor of the Charleston Jazz Orchestra, a 20- piece jazz ensemble of some of the finest professional musicians in the Southeast and the resident big band in Charleston, South Carolina. He has toured across Europe and throughout the United States and has also shared the stage with and/or worked with some of the most talented entertainers in the world. Outside of music and entertainment, he is a devoted husband and proud father. www.charltonsingleton.com
QUENTIN E. BAXTER (DRUMS) is a Grammy-nominated musician/producer currently on tour with Freddy Cole and René Marie. A prominent figure in the jazz community of his native Charleston, he is the Co-Principal of Charleston Jazz Initiative, a founding board member of Jazz Artists of Charleston, and an Adjunct Professor of Jazz Studies at the College of Charleston. www.baxtermusic.com
MADISON – On Saturday, May 4, 2019, the 7th annual Performing Ourselves Showcase “Hand in Hand” will feature two performances by approximately 125 youth from schools and community centers across Madison.
The program, which is co-directed by Associate Professor and Chair Kate Corby (UW-Madison Dance Department) and Mariah LeFeber, has provided a series of experiential movement and performance classes to over 350 under resourced local youth throughout the past year. The showcase performances are the culmination of a year of instruction by program staff and undergraduate dance majors who work collaboratively with preschool, elementary, middle and high school school youth to create new choreography.
This year the program partnered with: the Allied Learning Center, East Madison Community Center, Elver Park Neighborhood Center, Goodman Community Center, Kennedy Heights Community Center, Lussier Community Education Center, Mendota elementary School, Vera Court Neighborhood Center, Aldo Leopold Elementary School, and the Madison Community Montessori School.
Performing Ourselves aims to foster creativity and connection, empower youth and develop leaders through dance. Corby says it facilitates an active learning experience for youth in Madison by engaging them in the process of creation and performance as a means of engendering empowerment and identity.
Since its launch in 2012, the program has grown exponentially. There are currently 11 UW student teachers, serving eleven community and school sites, under the leadership of Mary Patterson, the program’s Outreach Specialist and Dance/Movement Therapist.
May 4, 2019 at 12:00 p.m. and 4:30 p.m.
H’Doubler Performance Space, Lathrop Hall
1050 University Avenue, Madison, WI
Admission to the event is free.
This year’s programming is supported by the UW Dance Department, Professional Learning and Community Education in the UW-Madison School of Education, American Girl Fund for Children, the Evjue Foundation, Inc., Endres Manufacturing Co. Foundation, the UW School of Education’s Virginia Horne Henry Fund for Women’s Physical Education and Movement, Dane Arts, Door Creek Church, Madison Arts Commission, the Wisconsin Arts Board and many generous individuals.
Shandle Chapman grew up in ‘Brew City’ and is returning during National Poetry Month
- Coffee Makes You Black, 2803 N. Teutonia Avenue. The book-signing event is from 8 to 11 a.m. on April 19. Breakfast will be available. Click here for the event flyer.
- Rise & Grind Café, 2737 N. Martin Luther King Drive. This is also a book-signing event, which will be held from 8 a.m. to 12 noon. And it will be a party: it is Ms. Chapman’s birthday! Click here for the event flyer.
Evelyn Patricia Terry: America’s Favor/Guests Who Came to Dinner (and Stayed!) opens at the Lynden Sculpture Garden on Sunday, April 28, 2019 with a reception from 3 to 5 pm. The reception is free and open to the public. “America”—from its origins to present day news reports of racial and ethnic interactions–is a recurrent theme in Terry’s work. Over the course of more than fifty years, she has made several bodies of work that address the “conundrum of co-existence that repeatedly occupies the news, my thoughts, and many conversations.” In America’s Favor/Guests Who Came to Dinner (and Stayed!), the most recent in a series of exhibitions on the theme, Terry brings together different bodies of work: an iconic table installation, artist books, and mixed media works that layer drawings and other forms of mark-making on sewn rag paper pieces.
In the rear of the building, Terry will be exhibiting nine works from her Play the Race Card series. The series dates from 2006-7, when Terry began using torn canvas strips recycled from previously set-aside paintings. Focusing on two politically and emotionally charged color groupings, “red, black and green” and “red, white and blue,” on a backdrop of other colors, this work promotes race conversations as commonplace topics like weather–absent the political biases, empowerment drain, and emotional damage harbored.
The exhibition remains on view through Sunday, July 28, 2019. The Lynden Sculpture Garden is located at 2145 West Brown Deer Road, Milwaukee, WI 53217. During the course of the exhibition, Terry will be offering a series of hands-on workshops at Lynden.
America’s Favor/Guests Who Came to Dinner (and Stayed!), is part of Lynden’s 2019 Call & Response programming. Call & Response is an ongoing project that gathers a community of artists who share a commitment to the radical Black imagination as a means to re-examine the past and imagine a better future. Other participants in the 2019 programming include indigo activist Arianne King Comer, visual artist and Nohl Fellow Rosemary Ollison, filmmaker and storyteller Portia Cobb, chef and food scholar Scott Barton, choreographer Reggie Wilson, and performance collective Propelled Animals, among others.
More information and a schedule of workshops at:
Evelyn Patricia Terry has returned to “America” several times over the years, and its episodic manifestations can be read as a kind of diary. In 1996, working with the Haggerty Museum of Art, Terry created her first table installation, Guess/Guests Who Came to Dinner, at the (former) Watts Tea Shop. This original dinner table featured mismatched plates, assorted stemware, various ethnic dolls, and a Reverend Josephus Farmer Statue of Liberty sculpture from her art collection. For Guests Who Came to Dinner (and Stayed), made for Pure Black, an exhibition Terry co-curated with Della Wells at the University of Wisconsin-Milwaukee Union Art Gallery in 2004, she expanded the installation, placing written words and healthy raw foods–ginger, garlic, lemons–on each plate.
She took up the theme again in two series of artist books America’s Favor (named from her 1972 screen print edition) and America: Guests Who Came to Dinner (and Stayed)—named after the table installation. Most recently, Terry was invited to display the table installation at the Mobile Design Box, a local alternative space, and to fill the empty walls with two-dimensional work that could be hung with pins or tacks. Working on short notice and with these restrictions, Terry elected to use the space as a studio to produce a new body of work. Searching out all the marked-up rag paper pieces she had fortuitously filed and saved over the years, she created vertical and horizontal substrates by randomly sewing several pieces together. She enhanced these sewn compositions with new marks and figurative drawings of her female and male ethnic doll collection in their “country of origin” dress, building thematic connections to the table installation. The figures are drawn alone or coupled, sometimes in strange inter-ethnic relationships and sometimes together with “their own kind.” Text, too, has been an essential and continuous element in the “America” series, appearing on plates, across book pages, on cards, and in titles that provide clues to the artist’s thoughts. For this exhibition, Terry will be producing new books and mixed media works.
America’s Favor/Guests Who Came to Dinner (and Stayed!)is the latest entry in Terry’s diary. She has mined her five-decade history as an artist to create the exhibition by repurposing the torn and cut sections of etchings, screen-prints, monotypes, and randomly printed rag paper scraps that she has accumulated as a printmaker, and by referencing items in her personal collection, from ethnic dolls to the work of other artists. America’s Favor/Guests Who Came to Dinner (and Stayed!) is the latest entry in Terry’s diary, an up-to-the moment index of the artist’s aesthetic and material interests, her personal concerns, and her approach to embracing the world she lives in.
About the Artist
Evelyn Patricia Terry is a full time professional visual artist, presenter, writer and art collector based in Milwaukee. She works across many media: printmaking, drawing, painting, installation, and public art. During her long career, she has garnered awards, fellowships, grants, and commendations for community work with students and other artists. Concentrating on printmaking, she earned both a BFA and an MS in Visual Arts from the University of Wisconsin-Milwaukee (UWM). She earned an MFA from the School of the Art Institute of Chicago after Ruth Milofsky, a UWM arts education professor and mentor, set up a fund to give her a deadline to go back to school so she might be better prepared as an artist.
In 2012, Terry received the Wisconsin Visual Artist Lifetime Achievement Award from a Wisconsin consortium of art and humanity organizations. In 2014 the Milwaukee Arts Board honored her with their Artist of the Year Award. Terry’s work is internationally exhibited and collected; over 400 private, corporate, and public collections own her artwork including the Milwaukee Art Museum, the Museum of Wisconsin Art, the Haggerty Museum of Art at Marquette University, the Racine Art Museum and the Wright Museum of Art at Beloit College. From 2016 through 2018, several universities—including UWM, the University of Wisconsin-Madison, and Duke University–acquired Terry’s hand-constructed artists’ books. In 2009, influenced by Dr. Margaret Burroughs, a visual artist, poet, and founder of the DuSable Museum of African American History, and by Chicago art consultant Susan Woodson, Terry founded the Terry McCormick Contemporary Fine and Folk Art Gallery, a home-based gallery, following the death of her partner, self-taught folk artist George Ray McCormick, Sr.
About the Lynden Sculpture Garden
The Lynden Sculpture Garden offers a unique experience of art in nature through its collection of more than 50 monumental sculptures sited across 40 acres of park, lake and woodland. The sculpture garden is open to art and nature lovers of all ages daily, 10 am-5 pm; until 7:30 pm on Wednesday evenings in the summer; closed Thursdays. Admission to the sculpture garden is $9 for adults and $7 for students and seniors; children under 6 and members are free. Annual memberships are also available.
“Mr. Wilson’s most adventurous and honest attempt to reveal the intimate heart of history” -The New York Times
[Milwaukee] – Milwaukee Repertory Theater’s 65th Anniversary Season concludes in the Quadracci Powerhouse with Two Trains Running, part of Pulitzer Prize-winning playwright August Wilson’strailblazing American Century Cycle, April 16 – May 12, 2019.
The Two Trains Running cast features local husband and wife duo Chiké Johnson (Our Town, Milwaukee Rep) as Sterling and Malkia Stampley (Dreamgirls, Milwaukee Rep) as Risa along with Frank Britton (Shape, La MaMa) as Hambone, Doug Brown (Jitney, Cincinnati Playhouse in the Park) as West, Jefferson A. Russell (Our Country’s Good, APT) as Wolf, Raymond Anthony Thomas (Jitney, Broadway) as Memphis, and Michael Anthony Williams (Persephone, BAM) as Holloway.
Two Trains Running is directed by Timothy Douglas (Gem of the Ocean, Milwaukee Rep) with set design byTony Cisek (The Night is a Child, Milwaukee Rep), costume design by Kara Harmon (The Niceties, MTC), lighting design by Michael Gilliam (Bonnie and Clyde, Broadway), compositions and sound design by Matthew M.
Nielson (Peter and the Starcatcher, Milwaukee Rep), and stage managed by Kimberly Carolus (The Chinese Lady, Milwaukee Rep).
It’s 1969 and change is in the air. But for the owner of a rundown diner in a dying Pittsburgh neighborhood, the Civil Rights Movement may just be an impractical dream. Torn between whether to gamble on an urban- renewal buyout or sell his building to a predatory businessman, he finds himself caught between idealism and brutal reality. Two Trains Running paints a compassionate and unforgettable portrait of ordinary people in the midst of transformation.
Two Trains Running is a co-production with Cincinnati Playhouse in the Park. Executive Producers areJackie Herd-Barber and Michael Barber with Associate Producers Amy and Fred Croen and media sponsorMilwaukee Journal Sentinel. The Rep is sponsored in part by The United Performing Arts Fund.
Two Trains Running runs April 16 – May 12, 2019 in the Quadracci Powerhouse. Opening night is set for Friday, April 19 at 8pm. Purchase tickets at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224- 9490 or in person at 108 E. Wells Street in downtown Milwaukee.
Two Trains Running
April 16 – May 12 (Opening Night Friday, April 19, 8pm) in the Quadracci Powerhouse By August Wilson
Directed by Timothy Douglas
Talks and Events
Rep-in-Depth: A pre-show conversation with a member of the cast or artistic team. Rep-in-Depth occurs approximately 45 minutes before curtain for every performance.
TalkBacks: A discussion with members of the cast and artistic team following the 8pm performance on the following Thursdays: April 25, May 2 and May 9.
Roundtable Discussion – Power & Money & Development: Wrestle with the role of real estate and investment in the past, present, and future of Milwaukee while hearing from local entrepreneurs and property developers on Sunday, April 28 from 5-7 p.m.
Roundtable Discussion- Power & Money & Redlining: Explore the history of redlining in Milwaukee during a discussion featuring local historians, activists, and residents on Sunday, May 5 from 5-7 p.m.
For more information on these events, please visit: https://www.MilwaukeeRep.com/Tickets–Events/Events/
Audio-Described Performance: Tuesday, April 23, 6:30 pm – the show will be described for patrons who are blind or have low vision.
American Sign Language Interpreted Performance: Thursday, May 2, 7:30pm – the show will be signed for patrons who are deaf or have low hearing.
Captioned Theater Performance: Sunday, May 5, 2pm – the show includes captions.
Tickets: www.MilwaukeeRep.com, by phone at 414-224-9490, or at the Ticket Office at 108 E Wells Street, Milwaukee.
Hours: 12noon – 6pm; on performance days the Ticket Office remains open until 15 minutes past curtain.Student Discounts: Students 18 and under can purchase $20 tickets for select seating areas.
35 & Under: Select $20 tickets available for patrons 35 & Under. (Select 35 & Under price at checkout online)Group Sales: Discounted tickets for parties of 10+. Call 414-290-5340.
About Milwaukee Repertory Theater
Milwaukee Rep is the largest performing arts organization in Wisconsin in terms of audiences served and one of the largest professional theaters in the country. Each year, The Rep welcomes up to 275,000 people at nearly 700 performances of 15 productions ranging from compelling dramas, powerful classics, new plays and full-scale musicals in its three unique performance venues – the Quadracci Powerhouse, Stiemke Studio and Stackner Cabaret. Now in its 65th Season, The Rep has gained a national reputation as an incubator of new work, an agent of community change and a forward-thinking provider of vital arts education programs. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world- class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity.
The 3rd Annual Gospel Radio Awards hosted by Kim Burrell were held on April 1st in Rockford, IL. The show presented by SOAR Gospel Radio and Sunwise Media, Inc. is set to air on The WORD Network, June 21st @ 8 PM ET / 7 PM CT on Channel 373 DirecTV. In addition to DirecTV, it will also stream LIVE on
The Gospel Radio Awards brought together Gospel music’s superstars from across the nation. Karen Clark-Sheard of the Grammy-Award Winning Gospel group, The Clark Sisters, received the Legend Award. Multiple Stellar Award-Winning singer and actress, Tammela Mann, received the Chart Achievement Award. The Grammy-Award Winning worship leader, Tasha Cobbs-Leonard, was honored with the Industry Impact Award, and Dr. Matthew Stevenson was presented with the Luminary Award.
This special evening included appearances by a Who’s Who of Gospel music including Kierra Sheard, Todd Dulaney, Jekalyn Carr, Dorinda Clark Cole, Shana Wilson Williams, Donald Lawrence, Jessica Reedy, Kelontae Gavin, Darius Paulk and other top performers. Comedian Deon Freeman kept things loose and fun with his impromptu stints of humor.
Two-Time Stellar Award winning online radio station, SOAR Radio, and the founder of Sunwise Media, Ri-Karlo Handy, joined forces to expand the footprint of this growing event. Handy stated, “In line with our expansion plans, we are a pleased to report that this event will be broadcast nationally in partnership with the Word Network with Monica Wright and Baron Jay Littleton serving as executive producers.”
Tune into The Gospel Radio Awards on The WORD Network; June 21st at 8PM EST and 7PM Central on Channel 373 DirecTV. In addition to DirecTV, it will also LIVE stream on http://www.thewordnetwork.
Or Stream it on blkprime.com Starting October 1, 2019 BLK PRIME provides original media programming that inspires diverse audiences worldwide. The 2018 Awards are available on their platform now!
Rockford area residents can enjoy the encore airing during the week of June 24th on a WIFR TV affiliate. (Details to follow)
About SOAR Radio: Founded in 2014, SOAR Gospel Internet Radio has enjoyed explosive growth in both listenership and influence within the Gospel Music Industry. A two time Stellar Award winner, SOAR Radio has become the most recognized 24/7 broadcaster of Gospel Music in the country. Now with national TV exposure, the partnership of Sunwise Media and SOAR Radio is well positioned to increase its name recognition and influence within the Gospel Music Industry. Above all, says Justin Francis, our mission is to increase the recognition of Gospel Music and its current and historical influence within the African-American culture. https://soarradio.com