Soul Of America Blog features special topics such as Black Hollywood, Black Museums, Black Innkeepers, Black Spas, Family Travel, Sports Travel, and Traveling. It also covers Transportation topics such as High-Speed Rail, Regional Rail, Rapid Transit in North America, modern airplanes, and other modes.

Stonetown

Stonetown

Stonetown

Stonetown

DESCRIPTION: Restaurants
CUISINE: Soul Food Fusion
CREDIT CARDS: yes
COVER CHARGE: no
PRICING: $$
ATTIRE: casual
TAKE-OUT: yes
TAKES RESERVATIONS: no
FAMILY-FRIENDLY: yes
DAYS & HOURS: Mon-Thu 11a-9p, Fri 11a-1a, Sat 10a-1a, Sun 10a-9p
ADDRESS: 627 Prospect Avenue East, Cleveland, OH
PHONE: 216-862-5772
WEBSITE: http://www.stonetownusa.com

Stonetown Review

This Soul Food Fusion restaurant has signature dishes that include alligator burgers, soul rolls, BBQ salmon, turkey chops and bayou pasta. The Warehouse District location is a plus when visiting downtown.

Cleveland, OH 44115

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Zanzibar

Zanzibar

Zanzibar

Zanzibar

DESCRIPTION: Restaurants
CUISINE: Barbecue
CREDIT CARDS: yes
COVER CHARGE: no
PRICING: $$
ATTIRE: casual
TAKE-OUT: yes
TAKES RESERVATIONS: no
FAMILY-FRIENDLY: yes
DAYS & HOURS: daily 11a-1a
ADDRESS: 12310 Superior Avenue, Cleveland, OH
OTHER LOCATIONS: 3770 Lee Road, 12201 Buckeye Road, 7815 Carnegie Ave
PARKING: on street
PHONE: 216-249-0710
WEBSITE: none

Zanzibar Review

Sophisticated and popular full-service restaurant located in Shaker Square. Zanzibar features Walleye Cakes, Soul Rolls, Smothered Steak, Seafood and more.

Cleveland, OH 44106

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Oprah’s Baltimore Milestone

Oprah’s Baltimore Milestone

Oprah Winfrey

Oprah Winfrey

Baltimore represents a major milestone in Oprah Winfrey’s career. In 1976, WJZ TV station was looking for someone to extend its appeal to Baltimore Metro Area’s half million black population and its female audience. An energetic age 22 Oprah Winfrey arrived from Nashville to become a news reporter and co-anchor on WJZ.

With a toothy smile and large Afro hairstyle, no one could imagine that Oprah’s Baltimore Milestone lies ahead.

Female audiences liked her emotional involvement in on-scene news reports. But for many, if not most male viewers, Oprah’s presentation style was distracting. That segment of the audience preferred Oprah or someone else to dispassionately report the news. Rather than perceive a bifurcated audience reaction as a reason to fire her, station producers saw an opportunity. They bet that Oprah had a special talent to host a successful talk show.

When approached by the TV station’s producer to host a talk show, many concerns ran through her mind. Hiring managers in her profession might view such a change as a demotion from her career track to news anchor in the largest TV markets. But after considering all the ramifications, Oprah followed her heart and accepted their offer in 1978. As a safety net, she continued as TV co-anchor for a time.

Oprah’s first TV talk show, People Are Talking, outperformed everything in its timeslot. Something else happened. TV ratings and surveys indicated that the audience saw her as a talk show host, not as a black talk show host. Word of a crossover hit gets around the TV industry. So in 1984, Oprah received a call she couldn’t refuse from a major TV producer in Chicago. And the rest is history on many levels for Oprah

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Baltimore Jazz

Billie Holiday Monument on Pennsylvania Avenue, Baltimore Jazz

Billie Holiday Monument on Pennsylvania Avenue; (c) Soul Of America

Baltimore Jazz

Baltimore has given the entertainment world such Jazz legends as Eubie Blake, Chick Webb, Cab Calloway and Billie Holiday. Blake co-wrote the first Black musical on Broadway. Chick Webb, Cab Calloway and Billie Holiday were legendary performers on Pennsylvania Avenue, the Chitlin’ Circuit and stages/nightclubs worldwide.

The Avenue’s cultural reputation escalated in 1922, as the black-owned Douglass Theater opened. A few years later the 1,000-seat theater was sold to European Americans and name-changed to the Royal Theater. Also in the 1920s, the Regent Theater opened. Seating 2,000 patrons, it was a grand vaudeville and movie house, famous for music and dance revues with chorus lines comparable to the Cotton Club. The Avenue had become was such a cultural magnet that the first talking movie in Baltimore was shown at the Royal Theater in 1929.

Royal Theater became a mainstay on the Chitlin Circuit, which included the Apollo in Harlem, Regal in Chicago, Howard in Washington, Paradise in Detroit and the Earl in Philadelphia. Ethel Waters got her start at the Royal and Pearl Bailey sang in a chorus line. The biggest stars in black entertainment performed at the Royal, including Louis Armstrong, Ethel Waters, Chick Webb, Fats Waller, Cab Calloway, Louis Jordan, Nat King Cole, Duke Ellington, Billie Holiday, Pearl Bailey, Count Basie, Platters, Sam Cooke, Temptations and Supremes. Every show night, a procession of Cadillacs and Lincolns lined up for blocks before arriving at the Royal Theater.

The Avenue had a solid roster of additional nightclubs, highlighted by the nationally famous Sphinx and Gamby’s, whose after-parties were “Off the Chain.” Imagine partying with Billie Holiday, Pearl Bailey Duke Ellington and Sam Cooke just after a performance!

With such a tradition to draw from, it is rather surprising that Baltimore’s musical torch is only being carried forward nationally by performing artists Toni Braxton and Dru Hill. Before moving to Oakland, Tupac Shakur (1971-1996) attended Baltimore School for the Performing Arts to study acting and ballet. Even then, his teachers said he showed tremendous potential.

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Baltimore Black Theatre



Arena Players Theatre, Baltimore Black Theatre

Arena Players Theatre, Baltimore; (c) Soul Of America



Baltimore Black Theatre

Baltimore Black Theatre tradition is much broader than the gritty neighborhoods and waterfront that made the city an attractive location for Roc, Homicide and The Wire television programs. These shows represented a wellspring of work for local actors, but it is more important to note accomplished actors like the powerful Claudia McNeil, beloved Charles Dutton, scholarly Anna Deveare Smith, and radiant Jada Pinkett-Smith. None, however, had more star appeal than the enigmatic and sexy Howard Rollins.

Rollins learned his craft at nearby Towson State College (now University) and honed it at Baltimore’s acclaimed Arena Players, a black theatre. At first, luck was his lady. He got a succession of big breaks. After playing the character Coalhouse Walker in the movie Ragtime (1981), Rollins received an Oscar nomination for Best Supporting Actor. Next, he garnered an Emmy Best Actor nomination for his TV series role on Another World (1982). Rollins then secured the lead role in the critically lauded movie, A Soldier’s Story (1984). Denzel Washington was a co-star. By then, Howard Rollins was considered the most likely person to become the next “Black Leading Man.” In 1985, Howard must have thought the acting world was slowly becoming his oyster. He won the co-lead role of Bannister Sparks in a well-budgeted ABC TV western series, Wildside. Then, lady luck walked out.

Howard Rollins in Ragtime

Howard Rollins in Ragtime movie

In the years before cable TV was very popular, ABC executives placed Wildside in the executioner’s time slot against The Cosby Show and Magnum PI. With predictably poor ratings, the show was dropped after only 6 episodes. Inexplicably, ABC did not move Wildside to another timeslot, nor consider a spin-off series for Rollin’s exciting Bannister Sparks’ character, who the sisters adored and brothers admired. Today, Rollin’s character would have been picked up by HBO or Showtime, making him millions. Considering that ABC did not attempt to get a return on investment with a hot actor, their bumbling move reeked of incompetence!

The careers of Denzel Washington, Wesley Snipes, Alfre Woodard, Louis Gossett, Jr., Angela Bassett, and Morgan Freeman were ascending in co-starring movie and TV roles, but Rollins was unable to find another lateral or step-up movie or TV project for years. Then in 1988, Rollins lent his considerable talents to the TV series, In the Heat of the Night. After several successful years, he felt the TV program had become formulaic, artistically stunting and he was tired of its Deep South location shoot. A stifled Howard Rollins could find no better career progress options. Black Cinema Noveau, started by Spike Lee and helpful to most big-name Black actors today, was just leaving the station.

Frustrated with his career, Rollins turned to cocaine. Erratic behavior and missed appointments soon followed, sending his career and life spiraling downward. He obtained only one other leading role in a B movie called On The Block (1991). By and large, Rollins paid the bills by guest starring in various TV series, plays and small movies until died in 1996 due to complications from lymphoma. He was 46. Such a loss! With another break, Howard Rollins’ career trajectory could have mirrored Denzel Washington’s career. Nevertheless, Howard Rollins remains the king of Baltimore Black Theatre and the Arena Players was his first courtyard.

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Maryland Crabs

Maryland Crabs at Home and the Inner Harbor

Thomas Dorsey, Soul Of America
Marshall Dorsey

Marshall Dorsey with his five grandsons (left-to-right) Thomas, Michael, Ronald, Lenny & Wayne in the party basement

Happy is the visitor to a Baltimorean’s home for a feast of Maryland Crabs. The recipe is simple. Only the mustard spices are secret. People in the know boil crabs in huge pots with one or two cans of beer, lots of Old Bay Seasoning, and a touch of vinegar. When done, we eat the crabmeat as is or dip it in spicy mustard. Part of the enjoyment is arriving early to watch your host pull Maryland Crabs from a bushel, then transport the uncooperative crustaceans to an oversized pot of boiling water.

In childhood, I remember a ride for ice cream cones with Granddad. Afterwards, we stopped at a crab shack on South Monroe Street in Baltimore to buy a bushel of blue-colored live Maryland Crabs.

Once home, Grandmother took half of the bushel of live crabs for first boiling. My four brothers and I went to play with fire trucks and army men in Granddad’s party basement. Minutes later, he returned to the basement with the bushel for us to tip over and watch the crabs’ mad scramble across the floor. Granddad grabbed the critters foolish enough to venture behind his well-stocked bar. One drink in, Granddad had a hearty laugh and glint in his eye with each catch. Some crabs locked claws with others. They were the easiest to catch. In his 40×20 foot basement, we spent a half hour retrieving the miniature clan. As Granddad taught, we grabbed them from center-behind to avoid being clawed. Raucous fun was had until the last critter was retrieved from under the couch where we played and later napped.

When the first crab boil completed, hungry stomachs were anxious to start well before the second boil completed.

Maryland CrabsBefore extracting crabmeat from the now orange-brown shells, Granddad, a proud veteran of these events, taught us to wear our bib with pride and hammer with precision. I remember the first time he yelled, “Don’t eat the Deadman.” For those who don’t know, that’s excrement stored inside the rear of the crab’s shell until its expelled. After we carefully separated tender white crabmeat from the Deadman and sucked moist crabmeat & juices from each claw, our taste buds exploded. Wow !!!

Since our gathering was on a hot & humid summer day in Baltimore, intense sweating accompanied the affair. Sniffing each shell’s caked-on seasoning cleared nasal passages. Ever the thoughtful hostess, Grandmother kept plenty of napkins and paper towels around to wipe our brow and nose, as much as our mouth. Sometimes the napkins had crab imprints on them – a nice touch and nicer memory.

Typical of those times, Granddad & Grandmother invited friends over for Saturday crabs — usually to celebrate the end of a month’s hard work – his as Maryland’s first Black Teamster, hers as a widely respected housecleaner for some of the wealthiest families in town. Their block on West Saratoga Avenue soon ran out of parking spaces. Hypnotically attracted to the aroma, next door neighbors, Mr. Monroe and his wife, made an impromptu visit with beer in-hand. The chilled cases of National Beer for adults and Root Beer for kids evaporated quickly. I recall drinking one bottle of beer for every three or four crabs as our clan motored through the pot-to-table procession with intense purpose and fervent delight.

Like many treasured experiences in life, we repeated this ritualistic feast again and again.

Rusty Scupper Restaurant, Baltimore

Rusty Scupper Restaurant, Baltimore; (c) Soul Of America

You may not have the fortune of being invited to someone’s home for Maryland Crabs. No worries, this is crab country. You may have also heard stories about succulent Maryland Crabcakes topped with secret-sauce mustard that makes you wanna holla. For the yearning traveler’s benefit, my son and I surveyed seafood restaurants around the Baltimore Inner Harbor, Fells Point and Canton.

For added purpose to the exercise, I planned a family get-together centered around birthdays and freshly-cooked seafood critters. My mother insisted on a venue where she could watch ships pass by. My brothers wanted a festive atmosphere for adults and kids. I demanded excellent Maryland Crabcakes. Growing up in California, my son was tired of my mystical tales about fabulous Maryland Crabs. He just wanted good & plenty.

From many options, our choice was the Inner Harbor favorite, Rusty Scupper. I have to admit, Rusty Scupper was initially chosen to please my mother and brothers. I knew their requests would be met, but I had doubts about the seafood. After all, Baltimore has many great seafood restaurants along and near its waterfront. My doubts were soon put to rest.

Dorsey family

Three generations of Dorsey Family enjoying dinner at Rusty Scupper

After seeing the menu deeply inspired by Maryland Crabs, we also noted fresh oysters, shrimp, lobster, clams and chicken. At elderly age, our mother has a reduced appetite. So we ordered her a cup of Maryland crab soup with crackers on the side. Wayne decided to risk it and ordered Canadian Lobster tails. I barely had lunch and love all seafood. Without dining restrictions, the entire menu was my oyster, so to speak. How fitting that I ordered oysters for starters. My younger brother Lenny chose the Rosemary Lemon Garlic Chicken and Raspberry Ice Tea. My son David and I ordered Maryland Crab Cakes with lots of gusto in our voices. My niece and nephew ordered from the Children’s menu. Our father Mick and our brothers Michael and Ronald were there in spirit.

There are few times in life when you remember the setting, people, service and meal as one harmonious symphony. This was such a time.

Maryland Crab Cakes

Maryland Crab Cakes, don’t you want some?

The waitress was attentive and made great dining suggestions. Our orders arrived slightly sooner than expected for such a large restaurant crowd. I may have had Maryland crab cakes as good in life, but never better. They were cooked to perfection with remarkable spice toppings that were 5-star. Wayne chomped down his lobster with a series of purposeful bites to extract every ounce of flavor. David marched through his crab cakes like it was the Last Supper. Slyly gazing at ships and water taxis passing, Mother was happily content to tease her meal. So I invited myself to finish her delicious crab soup. The kids did what hungry kids do.

It all came together as we sang happy birthdays at an Inner Harbor restaurant event that we’ll cherish for a lifetime. I bet if more people enjoyed Maryland Crabs/crab cakes together, the world would be a better place.

Rusty Scupper
ADDRESS: 402 Key Highway, Baltimore, MD
PHONE: 410-727-3678
http://www.rusty-scupper.com

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Civil Rights Hoax Gone Good



Afro-American Newspaper Headquarters, Baltimore

Afro-American Newspaper Headquarters, Baltimore; (c) Soul Of America



Civil Rights Hoax Gone Good

Baltimore’s most famous contribution to the Civil Rights Movement utilized well-intentioned deception and good timing. It was sparked by President John Fitzgerald Kennedy’s public complaint that restaurants along Maryland’s US Highways were an embarrassment because they discriminated against African diplomats traveling between the United Nations in New York and Washington. The context of JFK’s remarks requires a broader understanding of the times to fully appreciate what unfolded.

American leaders were living the Big Lie in the 1950s. Though African-Americans served in World War II and returned home to Jim Crow, our federal government lied to the world. It said that we were the beacon of democracy, fairness, and personal freedoms combined with a system of capitalism to pursue any activity within our God-given abilities. At every turn within and outside the United Nations, American political leaders portrayed Russia as the antithesis of personal liberty and opportunity. From 1950-1953, America fought a United Nations-backed war against North Korea to prevent the spread of Communism in South Korea, but also as a surrogate signal to Russia. African-Americans served again, this time in a war against the spread of communism. After the Korean War, they returned to the same Apartheid state.

To America’s shame in the early 1950s, most European American leaders refused to address the major domestic issue, “Unfair and Unequal Civil Rights.” Many black leaders were fed up with the Big Lie. Victories led by Thurgood Marshall in the 1954 Brown vs. Board of Education Supreme Court decision and the 1955-1956 Montgomery Bus Boycott, though important, generated civil rights progress and government job access far too slowly.

Frustrated by the state of affairs for black folks, some expatriated to France, where they were warmly received and fairly treated. Others, such as Paul Robeson and W.E.B. DuBois, converted to communism, primarily because communist nations respected them as human beings with equal rights. There is also evidence that they knew external pressure was needed to advance American civil rights faster. There is no compelling evidence that DuBois or Robeson were against capitalism. But since they spoke throughout Europe, Russia, and Africa, they were banned from America at times and shunned by mainstream media. African American media and leadership were pressured to disassociate from their “Communist Brothers.”

In parallel, Senator Joe McCarthy launched congressional hearings to investigate anyone with communist ties – significant or circumstantial. Such people were considered a threat to democracy and capitalism. Massive civil liberty violations ensued, most visibly in the Hollywood industry. The lives and liberties of many Americans were ruined before Congress finally put the clamps on McCarthyism. Though McCarthy was eventually defamed and left office, the McCarthy Era left a residue in America distrustful of all things communist.

In the 1950s Russia and America conducted nuclear bomb tests. Then in 1957, Russia launched the first successful space flight, Sputnik. The latter human achievement brought Russia international influence while lessening America’s diplomatic effectiveness. Sputnik circling the globe, including over America at will, caused the Pentagon to label Russian satellites as a national threat. The Cold War escalated and the space race was on.

In the Cold War, Russia and America competed for ideological suasion of newly freed and soon-to-be-freed African, Latin American, and Asian colonies. With Russian diplomats racking up frequent flyer miles in resource-rich Africa, plus Roberson and Du Bois touting communism as a governance option, a few new African nations chose communism. Closer to home in 1959, Castro chose communism as his governance option in Cuba. By 1961, you can bet JFK wasn’t the only one putting pressure on the governor to treat African diplomats fairly along Maryland state highways.

In reaction to higher forces, Maryland’s governor “persuaded” highway restaurants to serve African diplomats, but not African Americans. Afro-American Newspaper reporters George Collins, Herb Mangrum, and Rufus Wells seized the opportunity to expose the hypocrisy on 22 August 1961. Posed as African diplomats, they were permitted to dine at segregated restaurants along US Route 40 in greater Baltimore. A fourth reporter, I. Henry Phillips, was their photographer.

NAACP Headquarters, Baltimore

NAACP Headquarters, Baltimore; (c) Soul Of America

Imagine the brothers with African garments, affecting an accent and the anxious, but courteous service they received from waiters! One reporter thought a white colleague identified him, but the ruse somehow ran its course successfully. Their hoax, complete with photos, broke as a hot-selling Afro-American Newspaper exclusive and quickly escalated as a major human rights story worldwide. It became THE reference point for several United Nations members to publicly chide the USA for racist hypocrisy.

The national and international embarrassment caused Maryland to desegregate restaurants before the year ended and pressured shopping stores to desegregate in 1962. Baltimore’s distinguished record of civil rights achievements is a key reason the NAACP selected the city for its headquarters.

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Pennsylvania Avenue

Royal Theater Monument on Pennsylvania Avenue

Royal Theater Monument on Pennsylvania Avenue

Pennsylvania Avenue

Mention the heyday of Pennsylvania Avenue to any Baltimore native born 1950 or earlier and you are sure to revive tales of limos, lined up one after the other on “The Avenue.” Restaurants dished out Soul Food and Seafood with equal parts gusto. Nightclubs jumped with all the electricity of the latest dances. Big names in Black entertainment, business, education and politics showed up to see and be seen on The Avenue.

A large concentration of historic Black churches settled in the area prior to and after the Civil War. In 1925, Frederick Douglass High School was one of the best Black high schools in the nation. Morgan State College trained many Black professionals living in Baltimore. In the 1920s-1930s, racial assertiveness grew leaps and bounds in the city. African-Americans battled discrimination in education and led a successful “Don’t Buy Where You Can’t Work” campaign to force stores, including many on Pennsylvania Avenue, to hire African-American workers. As a result communities around the Avenue produced black doctors, dentists, real estate agents, physicians, attorneys, pharmacists barbershops, hair salons, who also formed a number of self-help associations and business leagues.

Although most Pennsylvania Avenue stores were owned by European Americans, they had a difference you felt in your gut. African-Americans could try on clothes — something not allowed elsewhere. On the Avenue, you could buy practically anything and holiday parades gave the area a sense of panache. The Avenue was a Jazz Mecca with Billie Holiday, Chick Webb, Cab Calloway, Eubie Blake and more. On The Avenue, you were Somebody!

Change brewed in the mid-1950s, as African-Americans slowly won opportunities to expand their livelihood throughout the city. Pennsylvania Avenue held on by its reputation for entertainment, the churches, and with promotional coupons to patronize small businesses on The Avenue. Then the 1960s arrived. TV became commonplace and downtown theaters completely desegregated, reducing the need to visit a black movie theater. The black middle class gave more patronage to downtown department stores and banks. Those gradual changes slowly weakened The Avenue, but rapid change came in April 1968.

The riots after Martin Luther King’s assassination in April 1968 were devastating. Merchants of all colors were looted. When those merchants collected insurance checks and moved their businesses from the inner city, the Black middle class followed. A second rapid change was caused by an urban redevelopment that disrupted businesses along Pennsylvania Avenue – a new subway line. Caught in the crosscurrents, the Avenue reached such a tattered state in 1971 that the Royal Theater was needlessly torn down by city officials without major protest by the community.

Fortunately, Jazz has returned to The Avenue Market and community revitalization efforts are underway, including the placement of more historic site markers. The Arch Club is still open at the corner of Pennsylvania and North Avenue. But one desperately missing piece is a cultural magnet to attract crowds again. An African-American Research Library, Cab Calloway and Chick Webb monuments at the Royal Theater site would do nicely. Maybe someone will convince Baltimore’s Great Blacks in Wax Museum to move here as well.

Visit the Pennsylvania Avenue African American Heritage Trail
Take a Sunday stroll through Baltimore’s premier historic African American community. Hear the stories of church and civil rights leaders that changed the nation. Along with New York City’s Harlem, Chicago’s Bronzeville and Washington’s U Street, Baltimore’s Pennsylvania Avenue was the place to be. Something was always happening on the “Avenue.” Guided walking tours provided May – October.

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Philadanco

Philadanco performance

Philadanco performance; credit Lois Greenfield

Philadanco

In the 1950’s, Joan Myers-Brown was first introduced to Dance. She said, “I don’t say I have to dance – I started dancing in high school, a teacher encouraged me to seriously study dance as an art and profession and I say “Dance” has me ever since.”

Before founding Philadanco, Myers-Brown first trained at the segregated Sydney-Marion School For African American Dancers. Later she studied at the Katherine Dunham School and with Walter Nicks and Karl Shook in New York City. As a young dancer from Philadelphia, Joan Myers-Brown performed with such entertainment legends as Cab Calloway, Sammy Davis Jr., Henri Coles and the great Pearl Bailey, who would later be a mainstay on the artistic board of Philadanco.

Philadanco founder Joan Myers-Brown

Philadanco founder Joan Myers-Brown

This year marks the Philadanco Dance Company Jubiliee heralding “Forty Years of Artistic Excellence.” Begun in 1970 by then single Joan Myers, Philadanco was a direct response to the lack of professional troupe outlets for her students in her previous schooling at the Philadelphia School Of Dance Arts, which still exists. Philadanco proudly stands as a West Philadelphia institution, world famous for its cutting edge choreography and instruction of African American inspired dance works. It is renown for performances styles ranging from ballet to jazz and modern. And if you were to approach dancing by the numbers, to date Philadanco has trained over 4,000 dancers and molded 650 troupe members. It has logged over 1,000 performances appearing in countries and venues around the globe. Philadanco annually touches over 100 million people via radio, television, live performances and its web presence.

Philadanco consists of four major companies connected as individual segments of a well-oiled dance machine. All placements are by audition. D/2 or Danco 2 (for dancers aged 15 to 23) is the second company or apprentice group which does primarily at home non-profit appearances on behalf of Philadelphia. Two of the junior dancers were recently hired by the Dallas Black Dance Theatre. Another duo of her students placed on So You Think You Can Dance, with dancer Anthony Burrell holding on until the final ten. There is also a highly touted D/3 Youth Ensemble for up and comers aged 9 to 16 and a six-week summer program focusing on youth in dance. Students age from 10 up and are selected from local dancers at low cost for community members. Philadanco also offers an intensive 40-week instruction and training program.

The professional performing company although housed and administrated in West Philadelphia makes appearances at home-base only twice a year. In 2000, the company along with eight other cultural arts organizations received permanent residency at the Kimmel Center For The Performing Arts. Philadanco’s busy touring schedule didn’t allow for its first performance at the Kimmel Center until 2002.

The fact that we only perform in Philadelphia two times a year, but the school is here speaks volumes. The city tried to get me to move downtown, but I think it is important for me to stay in the community.” Given Myers-Brown’s mission to expose young African Americans to dance and higher education through dance, her West Philadelphia decision makes sense.

We are affiliated with the University of the Arts and also Temple University. Most of the company members assistant teach there.” If your corner Ms. Brown, she would admit that she does too. Spreading her seeds, she tells her proteges to seek higher learning and to instruct professionally.

Go to a Historically Black College-there you develop your network, your support systems. You are part of professors who are interested in YOU.” Myers-Brown speaks of Howard University as a prime example. It is also where her friend the late Sherril Berryman-Johnson was in residence as the Lead Dance Instructor of the Dance Department in the School of Fine Arts. Kim Bears-Bailey, Philadanco’s present Assistant Artistic Director also acts as a professor of Dance at Howard University in Washington, DC.

Commenting on the recent American fascination with dance through TV programs such as So You Think You Can Dance and America’s Got Talent, Myers-Brown says, “its great that there is a medium to interest the public in dance. But if the mainstream did what they should for Black dancers and Black dance, I wouldn’t have Philadanco.” Nor would there be the sister troupes across America. Philadanco is the east coast matriarch of what Myers-Brown calls The Five Sisters of American Black Dance Troupes, which are: Dayton Contemporary Dance, Dallas Black Dance Theatre, Cleo Parker Robinson Dance Group in Denver, and Lulu Washington Dance Theatre in Los Angeles. These troupes are all headed by African American Women who are the muses of contemporary of American Black Dance today.

A pioneer on more than racial grounds, Philadanco was the first area dance organization to purchase its own corporate headquarters and studio facility as early on as 1981. In 1986, it created the first artist housing program for its principal dancers. The short block that it sits on is officially renamed “Philadanco Way.” The studios are multipurpose: part headquarters, part tour base, part rehearsal facility and rental space used by the likes of Will Smith, Stephanie Mills, Boys II Men, Eve and Biv10 Productions.

Philadanco awards

Philadanco awards

In the past Philadanco has done public facility tours in conjunction with the Greater Philadelphia Marketing and Tourism Commission. As well as with Arts organizations and convention groups. Usually they are groups that are already arts oriented such as the National High School Dance Educators Convention which Philadanco has hosted four times. Or the International Association of Blacks in Dance for which Myers-Brown is the founder and honorary chair. Philadanco also organized the first and second International Conference For Black Dance Companies.

Travelers can make site tours as member of groups, but must contact the office to coordinate with the troupe’s heavy travel schedule. As Philadanco tours more than any other Philadelphia cultural organization, Myers-Brown advises, don’t just show up. If you want to see a performance, contact Kimmel Center sales. “As a modern contemporary dance repertoire company, we represent what many other artists, and African American choreographers do, not just what I do.”

And what Joan Myers-Brown does is substantial. She is a member of Who’s Who In America, mother of three daughters, grandmother of six grandchildren, and was honored as one of Dance Women’s Living Legends. In 2010, she received the 86th distinguished Philadelphia Award. Yet even after forty years of revolutionary progress, walls of accolades, honorary degrees, titles, parenthood and grand-parenthood, Joan Myers Brown sums up her life’s work and Philadanco’s purpose as: “Its about the company; Its about dance.”

More information about Philadanco’s local and touring schedule can be found at http://www.philadanco.org

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Philadelphia Cheesecake

Jims Steaks, Philadelphia Cheesecake

Jim’s Steaks chef work his magic; credit B Krist

Philadelphia Cheesecake

Philadelphia Cheesesteak or “Philly Cheesesteak”, is simply a sandwich principally made up of thinly sliced pieces of steak and melted cheese on a long, lightly-baked hoagie roll. Many patrons ask that the foot-long roll be cut in half to serve a more reasonable portion. Some patrons eat two! Excuse us McDonalds. With so many cafes and delis serving Philadelphia Cheesesteak around town, it’s the unofficial fast meal of choice. If you can imagine one of those magnificently decadent goodies in your hand, you may have a casual interest in what comes next.

Most historians credit Pat and Harry Olivieri with inventing the Philadelphia Cheesesteak. In the 1930s, they began serving thinly chopped steak on hoagie rolls at their hot dog stand in South Philadelphia. Adding melted cheese was just an option. Customers loved ’em. They became so popular, Pat opened up his own steak restaurant shortly afterwards. For many years, Pat simply called it a “steak sandwich” not a “cheesesteak”. But as the years passed, Pat eventually yielded to customer demand and “cheese” was added to “steak.” His restaurant still operates today as Pat’s King of Steaks.

Pat's King of Steaks

Pat’s King of Steaks

The growth of Philadelphia Cheesesteaks accelerated when Cheez Whiz hit the market marketed in 1953. Cheese Whiz consists of soft American, Provolone, Swiss, Cheddar, or Mozzarella cheese that can easily be dipped and lathered on freshly cooked, thin-sliced steak already placed in the hoagie roll. The cheese melds to steak and roll, but its best to eat while warm. The availability of Cheese Whiz nationwide, made it easy to export a key ingredient of nationwide, so restaurants, ex-Philadelphians or customers could make their own versions of the now famous Philadelphia Cheesesteak.

Today, various celebrity chefs recommend other fancy cheeses and a hint of spices in their Philadelphia Cheesesteak. But fear not, the original served in South Philadelphia restaurants remains the best – others may taste good, but they are a derivative. We highly recommend visiting Pats King of Steaks, Geno’s Steaks, and Jim’s Steaks on 400 South Street, which often have lines of patrons waiting to order.

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