Stevie Wonder's 1967 Song "I Was Made To Love Her" & The Curtis Family C-Notes' Rendition Of That Song (on June 2021 America Got Talent Contestants)

Weedy Weed Smoker, Nov 24, 2017

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America's Got Talent 2021 The Curtis Family C-Notes Full Performance & Story Auditions Week 2 S16E02

Talent KingHD, June 8, 2021

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The song begins at 2:41 in this video.

This video has a total of 15,451 as of  July 14, 2021 at 11:04 AM ET.

Another video of this performance can be found at  https://www.youtube.com/watch?v=inI4alL3J-g&ab_channel=America%27sGotTalent . That video has 1,885,985 as of 11:07 AM ET.This family band brought the house down with an incredible rendition of "I Was Made to Love Her."

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Edited by Azizi Powell

This pancocojams post showcases Stevie Wonder's 1967 rendition of his hit song "I Was Made To Love Her" as well as a June 2021 rendition of that song by The Curtis Family C-notes, contestants on America's Got Talent. 

Information about and lyrics for "I Was Made To Love Her" are also included in this post along with a few comments from the discussion thread for that America's Got Talent video.

This post also includes biographical information about The Curtis Family C-notes.

The content of this post is presented for cultural, entetainment, and aesthetic purposes.

I'm particularly interested in documenting the large afro hairstyles and 1970s clothing styles that are worn by The Curtis Family C Notes in 2021 as well as the discussion thread comments about those styles and which older groups The Curtis Family C-Notes remind people of.

All copyrights remain with their owners.

Thanks to Stevie Wonder for his musical legacy. Thanks to The Curtis Family C-notes for their musical performance. Thanks to all those who are quoted in this post and thanks to the publishers of this videos on YouTube.   

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INFORMATION ABOUT THE SONG "I WAS MADE TO LOVE HER"
From https://en.wikipedia.org/wiki/I_Was_Made_to_Love_Her_(song)
" "I Was Made to Love Her" is a soul music song recorded by American musician Stevie Wonder for Motown's Tamla label in 1967. The song was written by Wonder, his mother Lula Mae Hardaway, Sylvia Moy, and producer Henry Cosby and included on Wonder's 1967 album I Was Made to Love Her.

Released as a single, "I Was Made to Love Her" peaked at No. 2 on the Billboard Pop Singles chart in July 1967. The song was held out of the top spot by "Light My Fire" by the Doors and spent four non-consecutive weeks at No. 1 on the Hot Rhythm & Blues Singles chart in the United States.[1] The song reached No. 5 in the UK, Wonder's first top ten hit in that country.[2]

When asked in a 1968 interview which of his songs stood out in his mind, Wonder answered "'I Was Made to Love Her' because it's a true song".[3] The last lyric line "You know Stevie ain't gonna leave her" was ad libbed by Wonder."...

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LYRICS: I WAS MADE TO LOVE HER

(Writers: Lula Mae Hardaway, Stevie Wonder, Henry Cosby, Sylvia Moy)

I was born in Lil' Rock,
Had a childhood sweetheart,
We were always hand in hand.

I was hightop shoes and shirt tails,
Suzy was in pig tails,
I know I loved her even then.

You know my papa disapproved it,
My mama boohooed it,
But I told them time and time again,
"Don't you know I was made to love her,
Built a world all around her"
Yah! Hey, hey, hey.

She's been my inspiration,
Showed appreciation
For the love I gave her through the years.

Like a sweet magnolia tree
My love blossomed tenderly,
My life grew sweeter through the years.

I know that my baby loves me,
My baby needs me,
That's why we made it through the years.

I was made to love her,
Worship and adore her,
Hey, hey, hey.

All through thick and thin
Our love just won't end,
'Cause I love my baby, love my baby. Ah!

My baby loves me,
My baby needs me,
And I know I ain't going nowhere.

I was knee high to a chicken
When that love bug bit me,
I had the fever with each passing year.

Oh, even if the mountain tumbles,
If this whole world crumbles,
By her side I'll still be standing there.

'Cause I was made to love her,
I was made to live for her, yeah!
Ah, I was made to love her,
Built my world all around her,
Hey, hey, hey.
Oo baby, I was made to please her,
You know Stevie ain't gonna leave her, no,
Hey, hey, hey.

Oo wee baby, my baby loves me,
My baby needs me,
Hey, hey, hey.
OO my baby loves me....

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BIOGRAPHICAL INFORMATION ABOUT THE CURTIS FAMILY C-NOTES
From www.thecurtisfamilycnotes.com
"The Curtis Family C-notes, a musical band and vocal group... the band members are Maestro, his wife and their 5 children! "Papa C.", Maestro Curtis, "Mama C.", Nola Curits, Zahara (14) vocals, guitar/ukulele and violin, Nile (13) vocals, electric bass and cello (Zahara and Nile are 362 days apart, "Irish twins"), Isis (12) vocals, drums, percussions, Kiki (10) vocals, electric guitar/ukulele, and Phoenix (8) vocals and piano.

 In the tradition of family bands such as the Jackson 5, the Partridge Family, the Sylvers, the Carpenters, The The Curtis Family C-notes perform as a band and a vocal group, from songs by the Mills Brothers and the Andrews Sisters, to Jefferson Airplane, Sly & the Family Stone and the Hawkins Singers, as well as original compositions.  Mama and Papa C. aspire for their children to enter into the sciences because music is a way of life, music is everyone's birthright it is also a fun way to, teach mathematical relationships, develop critical thinking skills, teach the children to work as a group and independently.  With all of that said, the C-note children are proving to be skilled musicians, vocalists and entertainers and their parents are overwhelmingly proud."...

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SELECTED COMMENTS ABOUT THE CURTIS FAMILY C-NOTES ON AMERICA'S GOT TALENT 
From https://www.youtube.com/watch?v=inI4alL3J-g&ab_channel=America%27sGotTalent

(All these comments are from June to July 14, 2021. The comments are given in relative chronological order except for replies. Numbers are added for referencing purposes only.)

1. Rex Racer
"Hello, this is 1973 calling, and I’m diggin’ it, baby!"
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This comment was written in italics in this discussion.

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2. Jill Dymond
"This Curtis group was entertaining, a remembrance of the way we were. Fantastic 🎤🎙🎧🎹👍🙏🥰"

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3. Odd team of the Undertaker, Mumkhar, and Ron Paul
"Once I heard the dad say the 50s-70s were the golden age of music, I knew this act would be amazing."

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4. Jacob McCain
"This was so funky, so soulful, this is what we need, a new age Jackson five! They just sang their faces off! Can I just stop by their house for lit jam sessions😂"

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5. Johny-OlSkool ™
"This was sooooo Awesome! I loved every aspect of this!!! The Family spirit, the clothes, the mind set, and OMG the Music!!!!

Thank You so much Curtis Family C-notes! ❤️

 The World needs more of this!!!🙌🏻

 I pray you guys win!  🙏🏻"

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6. Carolyn Huff
"The Curtis Family rocked the house! They're amazing!"

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7.  Mimo Muiruri
"The hair, the hair,, the hair. ♥

..they are also very very talented.

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8. Amanda Ihara
"oh gosh this group passed me some jackson 5 vibes but guess what they have their own little twist but still they made me so nostalgic oof"

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9. Thomas Webber
"OMG!!! I love this Family!!! They remind me of the Jackson 5 , but with Parents!!! Moma's got some pipes on her , and they all  sound Great!!! Total Respect for the Father!!! As far as I'm concerned ,they should have got the Golden Buzzer , that's my Opinion!!!"

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10. justine swan
"Amazing! Not only the music, but the love, and good vibes that they radiate!! We need more of this in our world today!! "

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11. OICU812
"They're like a cross between the Jackson 5 and the Partridge Family singing Stevie Wonder..."

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12. Chris Lucas
"We finally got the next generation Jackson 5 group 💁🏾‍♂"

*️*
13. Cecilia Rauth
"The Jackson 5 all over again, but with parents.  They all sound great, but that mama can really sing!👍🥰🥰🥰🥰🥰🥰🥰👏👏👏

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Reply
14, battle rap reactions
"The little  one can to"

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15. June Berry
"As soon as I saw your outfits and hair I was hooked. I couldn't wait to see your performance. You didn't disappoint me! You guys were awesome!!!! 💜

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Reply
16. The Curtis Family C-notes
"@June Berry  thank you! Papa C is our stylist and the children were blessed by the Hair Gods 😁😊🙏🏽💜"

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Reply
17. Wizzy's Lounge TITAURE
"You are a breath of fresh air. Live from Zimbabwe... Africa. You colours are just earthy. Go family. Amazing vibes"

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Reply
18. The Curtis Family C-notes
" @Wizzy's Lounge TITAURE  thank you so much! Wow! Zimbabwe!"

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19, Jay Gordon
"Like the Jacksons, the Cowsills, and Partridge family rolled up into one, with a touch of Sly and the Family Stone."

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20. Aaron Bierman
"I studied and worked at the music school in SF where Nola and Maestro teach (and where the kids take lessons). Wonderful family and they are such a joy to be around!"

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Reply
21. The Curtis Family C-notes
"Thanks Aaron! CMC represent! We miss you at CMC! 🙏🏽 best of luck bro!"

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22. LifeOfEmmy
"Man I would go see them in concert in a heartbeat!!"

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Reply
23. Eira Zea
"Yesssssssssssssssssssssssss!!!!!! 😍🥰"

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24. Eddie Jones
"I started following this family on Instagram about six months ago and I can tell you they are amazing musicians and singers. All the kids play multiple instruments. I am rooting for them and Good luck."

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25. Dee Moe
"Earth, Wind & Fire “Family style” I love this wonderful musical family. They could open for any headliner on tour."

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26. Sammy Spaniel
"The dad plays every instrument and taught the kids. He's a musical genius."

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27. Mary Mary
"I miss when everyone dressed like this. So much color and fashion!"

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Reply
28. Cheryl McKinney
"I do!!! I wear natural Afro and I walk around with a huge Afro!!!! But let me tell you, it’s a lot of work with the fro😂😂😂😂😂"

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Reply
 29. Jackie Maldonado
"@Cheryl McKinney  I would kill to have hair like that 😱😍"

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Reply
30. Peggy Smyth
"And the awesome afros."

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31. Nathaniel
"I always knew Zahara was talented. Go middle school bestie 🔥"

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Reply
32. Lowkey BTS
"Zahara says hi, I'm her younger sister Isis 💜💜💜💜"

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33. Dee Moe
"Earth, Wind & Fire “Family style” I love this wonderful musical family. They could open for any headliner on tour."

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34. Michelle Jones
"Yes!!!! That's exactly what I texted to the friend I shared this video with. Sly and the family Stone all day long🎵🎶🎼"

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35. Bill Bowers
"There fantastic ! Love them. Wow they did that song justice"

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36. Lai-Yee C.
"Amazing!  The energy and aura they have is out of this world!  Totally love their style and the vibes they give"

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Visitor comments are welcome. 

Race In Brazil & Brazil's Rising Black Pride Movement (information & videos)

Edited by Azizi Powell

This post provides excerpts from several articles about race in Brazil and Brazil's rising Black pride movement. Four videos on those subjects are also showcased in this post.

The content of this post is presented for cultural and sociological purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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ARTICLES ABOUT RACE AND THE BLACK PRIDE MOVEMENT IN BRAZIL
From http://www.npr.org/sections/codeswitch/2015/08/12/431244962/dark-skinned-or-black-how-afro-brazilians-are-forging-a-collective-identity Dark-Skinned Or Black? How Afro-Brazilians Are Forging A Collective Identity, Updated August 14, 2015
"If you want to get a sense of how complex racial identity is in Brazil, you should meet sisters Francine and Fernanda Gravina. Both have the same mother and father. Francine, 28, is blond with green eyes and white skin. She wouldn't look out of place in Iceland. But Fernanda, 23, has milk chocolate skin with coffee colored eyes and hair. Francine describes herself as white, whereas Fernanda says she's morena, or brown-skinned.

"We'd always get questions like, 'How can you be so dark skinned and she's so fair?'" Fernanda says. In fact, the sisters have German, Italian, African and indigenous ancestry. But in Brazil, Fernanda explains, people describe themselves by color, not race, since nearly everyone here is mixed...

Criolla, an advocacy group for black women, says the goal of [a march by Black women in Rio de Janeiro] is to show that Brazil is a black nation, largely populated black and African Brazilians. "We need to fight racism and not to hide it,"[Jurema Werneck, a demonstrator who works for Criolla] says.

She's been participating in the black pride movement for over 15 years. And it seems to be working, she says, because the number of people self identifying as pardo or preto* surged in the latest census.

And more importantly, lawmakers are beginning to pay more attention to issues of inequality. Brazil now has an affirmative action program for higher education. Before the program launched, only seven percent of Afro-Brazilians went to college. Now it's about 15 percent, and the numbers are growing.

Werneck says the black pride movement is also lobbying to change the next census in 2020 to include the word black. Pardo and preto, she says, are euphemisms. Afro-Brazilians should take a cue from African-Americans, she says, and broadcast to society that they're black and proud.

All of that is to say, collecting demographic information in Brazil has been really tricky. The latest census, taken in 2010, found for the first time that Brazil has the most people of African descent outside Africa. No, this doesn't mean that Afro-Brazilian population suddenly, dramatically increased. Rather, the new figures reflect changing attitudes about race and skin color in Brazil.

Racial mixing came about early in Brazil's history. Brazil imported more enslaved people than anywhere else in the Americas — some four million — and slavery lasted longer there than anywhere else in the region. The white Portuguese colonizers were encouraged to "mingle" with the locals. Plainly speaking, this meant that they raped many African and indigenous women.

The result is a vast mixed-race population, which has been added to over the years with successive migrations from Japan and Europe.

Unlike the U.S., where slavery was followed by legal segregation, Brazil never had a formal system of apartheid, says Rosana Heringer, a sociologist at the Federal University of Rio de Janeiro who studies race and the African diaspora. Still, there is a color hierarchy in Brazil, Heringer says. Consistent data shows that darker Brazilians are poorer, and they're more likely to be killed and live in slums, called favelas.

...the Brazilian Institute of Geography and Statistics …organizes the national census every decade. These days there are five formal color categories in the census: indigenous, yellow, white, pardo (or brown) and preto, or dark-skinned, Petruccelli says. The word black doesn't appear anywhere in the list.

"There is a totally different system here than in the U.S., where one drop of black blood makes you black independent of appearance,"[ Luis Petruccelli, a former lead researcher for 20 years] says. In Brazil, it's about how you'd like to classify yourself, and how others see you. The problem, he says, is that Afro-Brazilians have no sense of collective identity, which makes it difficult to address the very real problem of racism and racial inequality in the country.

But lately, that's starting to change, and the black pride movement in Brazil is growing."
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*From https://en.wikipedia.org/wiki/Afro-Brazilians
"Afro-Brazilians is a term used in the 21st century by some in Brazil to refer to Brazilian people with African ancestry. The term does not have widespread use in Brazil, where social constructs and classifications have been based on appearance. People with noticeable African features and skin color are generally referred to (and they identify) as negro or "preto" ("black"). Many members of another group of people, multiracial Brazilians, or pardos, also have a range of degree of African ancestry.[3][4]

Preto and pardo are among five color categories used by the Brazilian Census, along with branco ("white"), amarelo ("yellow", East Asian) and indígena (Amerindian).[5] In 2010, 7.6% of the Brazilian population, some 15 million people, identified as "preto," while 43% (86 million) identified as "pardo". Pretos tend to be predominantly African in ancestry, while pardos tend to have a lesser percentage of African ancestry. On average pardos are predominantly European, with African or Native American ancestries[6]"...
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My sense is that some Brazilians of African descent would disagree with this definition of "pardo".

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From http://blackwomenofbrazil.co/2016/01/07/african-oriented-market-is-growing-despite-the-economic-crisis/ African-oriented market is growing despite the economic crisis By Maíra Azevedo
The ‘mercado negro’ (black market) has proven to be quite lucrative. No, the statement does not refer to any illicit practice. It is that the sale of products and services for the Afro-oriented community is among the segments that continue to grow despite the crisis.

“There is a redemption of the meaning of being black. One doesn’t wait anymore for standardization, but the appreciation of differences. Blacks, historically excluded, want to be seen. They consume and are entrepreneurs,” says sociologist Felipe Rocha.

Owner of a swimwear brand for 4 years, Cynthia Paixão, 30, says she is keen to put something on the pieces to reaffirm the identity of black women, whether in the cuts, that appreciate shapes, or in ethnic prints...

For the economist George Oliveira, because of racism, blacks are used to creating alternatives for survival. “Services and beauty products for blacks are up,” he attests.

Besides being a businesswoman, Cynthia Paixão carries on her head a crown. She was the Deusa do Ébano (Ebony Goddess) of Ilê Aiyê, in 2014, and says that this greatly influenced her choices.
“When I was rainha (queen) of Ilê, I could broaden my vision. I learned how to position myself on a cruel and judgmental society. I was the first gordinha (chubby) candidate and it broke many barriers. Today, I’m a reference for many women and I am happy to represent all,” says the businesswoman.

Self-esteem
Bracelets, turbans, earrings, necklaces. If you have something that reaffirms the beauty of being negão (big, black man), then it will be one of the most popular objects of Najara Souza’s store, better known as Najara Black. Her brand – N’Black – became a reference for those seeking to buy accessories and clothing attesting to racial pride.”...

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From http://www.theroot.com/articles/culture/2014/06/black_power_in_brazil_means_natural_hair.html
Black Power in Brazil Means Natural Hair By: Dion Rabouin
Posted: June 26 2014

"The pride in blackness that migrated from African Americans in the U.S. brought big Afros and a natural style that has become a movement in Brazil

Black power is big in Brazil.

In the United States, black power is most associated with raised fists, social revolution and political demands. When Americans think “black power,” they generally think about the movement named and popularized in the 1960s by Southern Christian Leadership Conference founder and Black Panther Stokely Carmichael.

The concept of black power spread through the music of James Brown and Curtis Mayfield, the trial of Angela Davis, the speeches of Malcolm X and the food drives hosted by the Panthers. The movement was able to transcend boundaries. The music, culture and pride that were emanating from African Americans also began to gain popularity with young black Brazilians.

But when Brazilians saw African Americans taking pride in their blackness, owning it and wearing it with gusto, what they most identified with about the culture was the hair that many of the men and women wore: Afros.

Today in Brazil, when folks talk about black power, their symbol is their hair—natural hair. For Afro-Brazilians in general but black women especially, to wear an Afro or to wear their hair naturally is to wear black power.

“Many women [who wear] black power are adhering to the culture, others for political attitude, but there are also those who wear it simply because it is stylish and on point,” says Danielle Cipriane."...

A number of other groups have sprouted a challenge to Brazil’s preponderance of straight hair and are advocating for a quarantine on chemicals. One of the best-known is Meninas Black Power, or Afro Girls, a group founded by Elida Aquino to empower young girls to embrace their natural hair. Aquino started Meninas Black Power while she was a student studying nursing and midwifery in Rio de Janeiro. The name is “a mix of femininity and the strength that we extracted from our ancestry,” she says.

“Meninas Black Power was created to bring together Afro-Brazilian women with different backgrounds who understand that naturally curly hair is also a weapon of political positioning,” says Aquino.

Hair as political positioning or protest is nothing new for Brazil’s black population. American black power and black soul came to impact much of the country’s culture in the 1970s and 1980s, despite the existence of a military dictatorship until 1985. In Rio de Janeiro’s historically poor North Zone, young people started throwing parties with protest themes straight from Oakland or Los Angeles in California or Harlem in New York, which led to the importing of black music, literature and style from the U.S."...

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SHOWCASE VIDEOS
These videos are presented in chronological order based on their publishing date on YouTube with the oldest dated video given first.

A number of commenters in some of these videos' discussion thread object to narrators' terminology about "slave ancestors" instead of "African ancestors" or "enslaved African ancestors. I agree with this objection.

Examples #1: The Revival of Brazil's African Culture



Journeyman Pictures, Uploaded on Aug 28, 2007

Black Brazil (2006): It's a religious festival like no other, featuring skimpy bikinis and non-stop drinking and dancing. But for black Brazilians, the festival of Yemanja is as much about spirituality as partying.

For downloads and more information visit http://journeyman.tv/56874/short-film...

"Today the party is for Yemanja, Queen of the Ocean", explains Carlinhos Brown. Candomble, the worship of African Gods, is at the centre of a revival of Afro-Brazilian culture. It aims at recognising the contribution slaves made to modern Brazil and restoring black pride in a city where most black people live in abject poverty...
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Here's information about Yemanya from http://www.thaliatook.com/AMGG/yemaya.php:
"Yemaya is the Yorùbá Orisha or Goddess of the living Ocean, considered the mother of all. She is the source of all the waters, including the rivers of western Africa, especially the River Ogun. Her name is a contraction of Yey Omo Eja, which means "Mother Whose Children are the Fish." As all life is thought to have begun in the sea, all life is held to have begun with Yemaya. She is motherly and strongly protective, and cares deeply for all Her children, comforting them and cleansing them of sorrow. She is said to be able to cure infertility in women, and cowrie shells represent Her wealth. She does not easily lose Her temper, but when angered She can be quite destructive and violent, as the sea in a storm.

Yemaya was brought to the New World with the African diaspora and She is now worshipped in many cultures besides Her original Africa. In Brazilian Candomblé, where She is known as Yemanja or Imanje, She is the Sea Mother who brings fish to the fishermen, and the crescent moon is Her sign. As Yemanja Afodo, also of Brazil, She protects boats travelling on the sea and grants safe passage"...

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Example #2: Brazil's Battle Against An Unofficial Apartheid



Journeyman Pictures, Uploaded on Oct 17, 2007

Black Pride (1996): Watch as people sway to the drumbeats of Carnival, marching on a wave of music through the streets of Brazil.

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Example #3: Brazilian black and mixed-race people discriminated



FRANCE 24 English, Uploaded on Dec 8, 2008

REPORTAGE : Brazil is one of the most racially-mixed countries on the planet: half the population has African origins. Yet black and mixed-race people suffer discrimination. Many are fighting for better recognition of this "invisible majority".

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Example #4: CULTNE - Miss Blackpower Brazil Contest 2014



Cultne Acervo, Published on Dec 19, 2014

Maria Priscila was elected Miss Black Power / 2014 on November 8, 2014, in the Lapa neighborhood in Rio de Janeiro. With inicitaiva Di Black Market, the Cultne Collection recorded the event with images and interviews of Filo Filho and Pedro Oliveira.

Were elected Elaine Serafim, Third Princess Black Power; Jaciene Silva the Second Princess Black Power; and Mary Priscilla as Miss Blackpower 2014. The contest held by the Third Edition of Black Di Market (african - entrepreneurial connection from various parts of Brazil), was designed by Paula jet and Isabel Freitas, Salvador .

The Miss Black Power, says Paula jet, "does not want a single beauty standard - women of all heights, weights and shapes must fit - and neither sees the competition itself , but aims to exalt black using natural hair , breaking the model of a European social standard that does not value the natural traits of black women and force them to transform their hair aesthetics in exchange for acceptance in various social spaces, such as market work. The 1 Miss Black's Brazil is a place of affirmation of identities and strengthening our ethnic and racial diversity. Created as an opportune time for protesting in a different way, bringing an appeal through aesthetics against the abuses we suffer iariamente with racism for being black women and we assume our hair. "

Among the 12 finalists candidates from various parts of Brazil, Maria Priscila, 31, Bahia de Feira de Santana and resident in Rio de Janeiro, teacher and pedagogue, passed by a vote over the Internet, the scrutiny of the emblematic juror, paraded, danced, and had to prove beyond gorgeous black power has knowledge about their African roots in answering the questions of the judges!

So that's it, my people, we now have a Miss Black Power and two princesses, the order MARIA PRISCILA (Feira de Santana / Ba), JACIENE SILVA (Salvador / Ba) and ELAINE SERAFIM (Belo Horizonte / MG ). Who wants to know more about the reign of them by 2015 just follow the page of Mercado di Preta and Movimento e Mídia, on facebook.

Before, with all affection, I note here the participation of our dear Griot, Vanda Ferreira, who blessed all the candidates at the opening of the competition and the jury who donated some of their respective trajectories with much generosity and commitment making this contest one historic and very lovemaking . Our applause to:
1- Alessandra Mattos (Rio de Janeiro - RJ) | Developer Blog Black & Gorda.
2. Asfilófio de Oliveira Filho ( Rio de Janeiro - RJ) | Cultural Producer
3. Cassia Marino (Rio de Janeiro - RJ | Entrepreneur and Owner of Salon Beauties Black Iporinchê
4 . Monica Francisco (Rio de Janeiro - RJ) | Columnist Journal of Brazil and consultant in ASPLANDE NGOs
5. Naymare Azevedo (Natal - RN) | Management in Public Policy and Cultural Production
6. Prof. Dr. Helio Santos (Belo Horizonte - MG) | Author, Intellectual and President of the Baobab Tree Fund
8. Veluma Nunes (Rio de Janeiro - RJ) | Model and Actress .
9. Anna Davies (Rio de Janeiro - RJ) | Journalist

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Descriptions Of The Grandassa Models & Their Fashions

Edited by Azizi Powell

The Grandassa models were a group of African American female models whose afro-centric fashion shows were the first to promote the slogan "Black is Beautiful". Based in New York City, the Grandassa models' fashion shows were held in various cities in the United States from 1962 to 1979.

This is Part 3 of a 3 part series on the Grandassa models. This series is largely composed of excerpts from online articles. I have compiled these excerpts in this post as a means of increasing access to the historical, sociological, and educational information provided in those articles. I have credited all the authors or publications of these hyperlinked excerpts and thank those authors/publications for providing such information about the Grandassa models.

Click http://pancocojams.blogspot.com/2011/12/grandassa-models-birth-of-black-is.html for Part 1 of this series.

Click http://pancocojams.blogspot.com/2011/12/abbey-lincoln-jazz-grandassa-models.html for Part 2 of this series.

This post focuses on descriptions of the Grandassa models and the fashions they wore.

DESCRIPTIONS OF GRANDASSA MODELS - Skin Color & Natural Hair (Afros)
The most commonly found descriptor of Grandassa models is that they were dark complexioned African American females. African American reporter Earl Caldwell wrote
"They were very dark complected. To see the Grandassa models for the first time was stunning... They were so dark their faces had a bluish shimmer. "Blue black," people said. You saw them and your mouth just fell open."

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From http://mije.org/historyproject/caldwell_journals/chapter16 Chapter 16: The Grandassa Models
[Hereafter given in this post as "Caldwell: Grandasa Models"]
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Here are links to two photographs of the Grandassa models:
http://groups.yahoo.com/group/SmaiTawi/message/21000 [This is a colorised version of the photograph found elsewhere online]
and
http://books.google.com/books?id=QrBv5xmgHfMC&pg=PA48&lpg=PA48&dq=grandassa+models&source=bl&ots=IBUimunIq1&sig=880wepk701m_wOuY7q3wIZXdIMk&hl=en&ei=_CDeTqnGLej40gH5rYGIBw&sa=X&oi=book_result&ct=result&resnum=6&ved=0CDsQ6AEwBTgK#v=onepage&q=grandassa%20models&f=false The Grandassa models: Ebony Aug 1970

Also, here's a link to a gallery of relatively contemporary photographs of former Grandassa models:
http://adjmanteb.zenfolio.com/p803331005 Gallery Talk: The Grandassa
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These photographs show that, contrary to the opinion of Earl Caldwell (that are quoted above), the Grandassa models were only dark skinned in comparison to the prevailing norm then (and to a great extent still now) for White female runway models. Back then, and to a somewhat lesser extent now, if African American females were used as runway models, those models' complexion was light brown skin, and their hair was chemically straightened or they wore straight hair wigs.

Which brings up the second most commonly described characteristic of Grandassa models- their afro hair. In his chapter about the Grandassa models, Earl Caldwell wrote "And, in place of the popular processed hairdo involving hot combs, which literally burned hair straight, they wore "naturals," later called Afros, which meant hair groomed and worn naturally." Source: "Caldwell: Grandasa Models"

Every Grandassa models consistently wore their hair naturally (without chemical process or hot comb treatment). The afros that the Grandassa models wore were bush shaped-like the afro that Black activist's Angela Davis had. However, the models' afros were less wide that that of Angela Davis.

Afros were new to African Americans in the 1960s and 1970s. To wear your hair in such a style was daring and liable to provocate teasing, taunting and accusations of militacy from African Americans as well as from White people. Furthermore, in those days afros weren't styled or "texturized". It should also be emphasized that no Grandassa model wore her hair in the natural style known as "dreadlocks". My recollection is that dreadlocks were seldom worn by afrocentric African Americans in the 1960s and 1970s. Also, during their fashion shows, the Grandassa models didn't wear their hair in any other temporary natural styles such as braids or cornrolls. In those days, cornrolls were considered a fashion for young girls. And while women with afros usually braided their hair at night, it was almost unthinkable that we would venture outdoors with our hair in those braids.*

*Somewhat of an aside, I've consistently worn my hair in an afro since 1967, although the length of my afro has become considerable shorter in the passing decades.

In the summer of 1967, I participated in a Grandassa model fashion show during a street fair in New York City, along with a few other members of The Committee For Unified Newark (CFUN). My recollection is that this was an impromptu invitation because some of the models weren't available for that event. I wish I had thought to take photographs of that event, but even if I had, I probably would have lost them given how long ago that was.

Click https://yeyeolade.wordpress.com/2006/12/15/black-is-beautiful-2/
for a historical view of community opinions regarding the Grandassa models' afro hairstyles.

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DESCRIPTIONS OF THE GRANDASSA MODELS' FASHIONS
In the 1960s and 1970s, most African Americans had very little knowledge about or access to traditional African clothing. By "African clothing", I'm referring to and "West African" clothing, in particular clothing from Nigeria, Ghana, Senegal, and Mali and I think that's what most African Americans in those decades meant when we referred to "African clothing".

Thanks to the internet, and in particular thanks to YouTube, it's very easy now for African Americans to view examples of traditional and contemporary African clothing. However, back then, afro-centric women kind of made it up as we went, and considered our clothing to be "African inspired" or "African styled" and not necessarily how Africans in Africa dressed. "African inspired" or "African styled are how the fashions worn by the Grandassa models are usually described.

I wrote "we" in the above statements because from 1969-1969 I was a member of The Committee For Unified Newark (CFUN), the Newark, New Jersey based afro-centric organization which was eventually led by poet, playwright, and activist, Amiri Baraka. Female members of CFUN always wore what we considered to be "African styled". For everyday clothing in warmer weather, women members of that organization wore a t-shirt, or sweatshirt and a wrap around skirt made from a piece of material (not necessarily African fabric. That material was tied with the two ends and never pinned. Alternatively, we would wrap the material around our body and tie it in the back of our neck as a dress. In colder weather, women would wear a long sleeve sweater or turtleneck sweater under the wrap around dress, or as the top of our wrap around skirt. Incidently, we called the tops "bubas" and the skirts "lapas", and thought that these were African terms for those garments. But I've no idea if those are "real" African words, and if so which language they are from.

For dressier occassions, the women in that afro-centric organization usually wore two piece skirt and tops that were ankle length & made from real or "fake" African material, or ankle length dresses that were made from the same types of material. On dressier occasions we also wore head wraps (geles) which might be tied West African fashion, with one or more end pieces hanging out. If we were fortunate, we had one or two real outfits from Africa, usually purchased from New York City, or Washington, D.C. But almost always we made our own African style clothing or had it made by an African American seamstress. Often the fabric that was used for those "African style" garments were "African print", that is fabric with a certain kinds of geometric designs. The photographs which are linked above show this fabric and the female clothing styles that I described with the significant difference that the dresses or skirts weren't ankle length but were all slightly above the knees. This was the most common dress & skirt length in the late 1960s and early 1970s.

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HEADWRAPS (GELES) [Revised on 1/24/2015]
A significant difference between Grandassa models and women who were members of CFUN is that, unlike CFUN women, Grandassa models don't appear to wear any headwraps. I don't recall those models wearing headwraps and they aren't wearing any headwraps (or anything else to cover up their afros) in photographs of those models that I've found.

Click http://pancocojams.blogspot.com/2015/01/african-american-wearing-head-scarves.html for a pancocojams post that provides some historical information of African Americans wearing head scarves and showcases some how-to videos about tying head wraps.

I was fortunate to have many of my African outfits designed and sewn by Bisi Ogunleye, a Yoruba woman who was in the United States with her husband who was a student at the University of Pittsburgh. The fabrics that Bisi used for my winter "buba" (top) and "lapa" (skirt, in this case sewn with a drawstring instead of wrap around) were heavier than the fabric used for warmer weather garments.

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VIDEOS
I regret that I've not been able to find a video of the Grandassa models or any other afro-centric model group in the late 1960s or 1970s. However, here are two videos of an African fashion shows in the United States:

FashionAFRICANA at Carnegie Museums of Pittsburgh



Uploaded by UtopiaFA on Jul 12, 2011

In 2004, FashionAFRICANA - a global celebration of design, dance and music - paid tribute to the Lost Boys of Sudan at the Carnegie Museums of Pittsburgh.

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MISS AFRICA USA FASHION PARADE



Uploaded by Missafricausa on Jan 28, 2010
Miss Africa USA Fashion Parade featuring designs by Estella Couture.

Artist: Dr. Victor & The Rasta Rebels - "Tsoang Tsoang Tsoang"
-snip-
In my opinion, Africa USA pageant which began in Georgia in 2005 may be the most well known inheritor of the legacy of the Grandassa models. It's therefore somewhat ironic that African Americans are ineligible to enter that pageant. As per the About Us page on Africa USA's website: "The pageant is open to delegates from all 53 countries that make up the continent of Africa, the motherland...Pageant delegates are simply ordinary women of African descent, who face the challenges of growing up in two different cultures, the American and the African".
For more information on Africa USA, click http://www.missafricaunitedstates.com/

ADDENDUM
In my opinion, a post about African American fashion shows in the 1960s and 1970s wouldn't be complete without mention of the Ebony Fashion Fair. Those touring Black fashion shows were sponsored from 1958-2010 by Johnson Publications, home of the long running Black oriented magazines Ebony and Jet. Unfortunately, budgetary concerns were the primary reason for the demise of the Ebony Fashion Fair.

Unlike the Grandassa fashion shows, Ebony Fashion Fair was known for its extravagent, glamorous, daring women's fashions, mostly from famous European designers. Whereas initially most of the Ebony Fashion Fair models were light brown skinned, in later years, its models were varying complexions. Yet, it's interesting that according to an article in Ebony magazine, one of the most popular Ebony Fashion Fair model was considered to be "dark skinned" (of course, given my previous comments, it's uncertain what that particular descriptor really means).

From http://www.ebonyfashionfair.com/assembled/history.html
"Terri Springer was the undisputed "star" of Ebony Fashion Fair from 1959-1964. Today many people still recall the grace and beauty of the regal, mocha-colored model. The daring and beautiful Springer hit the runway like she owned it with explosive drama and elegance. And during a day and age when women with dark skin weren't eager to wear bright colors, Springer wore bright colors as if they were made exclusively for her."
-snip-
Here's another comment about Terri Springer that I happened upon (Coincidentally, the writer is from a city that is very near Pittsburgh, Pennsylvania where I live).
From http://books.google.com/books?id=Ot4DAAAAMBAJ&pg=PA14&lpg=PA14&dq=terri+springer+model&source=bl&ots=6jwEdnuwJ5&sig=lNRtTHGEWf8ggXPzcZkGYVFcipo&hl=en&ei=-13fTprZPMTr0gHii6zCBw&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDoQ6AEwAg#v=onepage&q=terri%20springer%20model&f=false
"Ebony - Dec 1964

Letter to editor: ...Why not articles on your Negro models? Terri Springer is a favorite of mine because she is a dark girl who has made it in a field formerly reserved only for whites. She is an inspiration to our dark girls who have been made to feel that their color is a disadvantage. (There are still some color conscious Negroes around even though sometimes they are reluctant to admit it. In addition to her, there are other models that your readers don’t even know exist because they are now modeling for top fashion houses etc. How about it?"
-Sally Carter, New Kensington, Pa"

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