jec.ember lb
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Page 4, Portland Observer, December
1b 1987
4
THE
■
ENTERTflINM EKLSEEN
Free Performance
"M y Fair Lady"
Act
O-
One
\X
by Kendel Bryan Covington
Nathaniel Phillips:
The Rocky Road
to Success
V
Tony Bryant (L) plays a street vendor in the Physically Handicapped
A ctors & M usical Entertainers production o f "M y Fair Lady.
Re
hearsing w ith Bryant are Lee Anne Proehl (C) as Eliza and Greg Holt-
zinger w h o plays Freddie.
Photo by Richard J Brown
On Sunday, December 20, 1987, at 2:00 p.m., there will be a free per
formance of "M y Fair Lady" performed by Physically Handicapped Actors
& Musical Entertainers (P.H.A.M.E.) at the Berg Swann Auditorium at The
Portland Art Museum, 1219 S.W. Park.
P.H.A.M.E. is a group of Portland entertainers who have been getting
together for the past four years to present a show at Christmas. Most of
them are residents of Marshall Street, Boundary and Hollywood House
homes for the mentally handicapped
The cast has been rehearsing since October to bring together the well
loved story of Eliza Doolittle's transformation from street urchin to lady,
under the special care of Professor Higgins.
In many ways, the people of this cast represent a similar transformation.
From mentally handicapped and unable to do many things, to being stars
of a show, on a big stage, entertaining an audience. The improbable has
been made possible!
The support for this event has been excellent. Portland Opera has sup
plied the costumes and many individuals have helped encourage and tutor
the cast. All of them would agree, the results have been worth every minute.
Please show your support by attending this very special, one performance
only, production of "M y Fair Lady". Further information can be obtained
from Carol Stady of First Interstate Bank at 225-3347 or Helen Z. Cronin of
Standard Insurance Company at 248-2766. The event is FREE and open to
the public.
"Living The Dream:
a Tribute to Dr. Martin Luther King, Jr."
to Air in January 1988
A two-hour gospel special, "Living The Dream: A tribute to Dr.
Martin Luther King, J r.," will be taped in front of a black-tie audience in
December for airing in syndication Monday, January 18. The special, featur
ing television, music and film stars, is a co-production of Tribune/Central
City Productions and Tribune Entertainment Company.
The show is produced in conjunction with The Martin Luther King Center
CHICAGO —
for Non-Violent Social Change in Atlanta.
Phylicia Rashad of "The Cosby Show" and Robert Guillaume of "Soap"
and "Benson" are co-hosts with guest narrators Oprah Winfrey, Marilyn
McCoo, Ted Lange, LeVar Burton, Brock Peters and Marla Gibbs. The even
ing will include performances by Aretha Franklin, Andrae Crouch, Denace
Williams, James Cleveland, Al Green, The Winans and Tramaine Hawkins.
"This joyous black-tie Gospel Music celebration has been a dream of
mine," said Don Jackson, president of Tribune/Central City Productions
and producer of the special. "Great performances by Gospel Music legends
will be interspersed with narrative highlights of Dr. King's life.
On Sunday, December 20, the special will be taped in front of a black-tie
auidience in The Aquarius Theatre on Sunset Boulevard in Los Angeles.
Taped to time, the special will air on January 18 in syndication, including
WPIX-TV in New York; KTLA TV in Los Angeles; WGN-TV in Chicago;
KTVU-TV in Atlanta; WGNO-TV in New Orleans; and KWGN-TV in Denver.
The special is already cleared in 120 markets with 82 percent U.S. DMA
coverage and 95 percent coverage of U.S. Black households.
Finally it had come. Time and
time and time again, I'd tried to con
nect with Nathaniel for a quiet, per
sonal, one-to-one interview to find
out what really moves a man who
has seen and done so much but
says so little.
Nathaniel is an Oregon native and
grew up on 9th and Wygant, right
here in Northeast Portland. He has
toured and played with such greats
as Narada Michael Walden, Mem
bers of Toto, George Benson,
Wayne
Henderson,
Crusaders,
Gazabo Barberi, and, of course.
Pleasure, and the list goes on.
What struck me funny was the
fact that I had to ask him about the
c
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ffi
ABOUT TOWN
. . . .
.
626 S.W. Park, 224-5552
Brasserie M ontm arte...........................................
Fri.-Sat., Dennis Springer Quintet
Cale V iv o ............................................................ 555 S.W. Oak SI , 228-8486
Thurs.-Sat., Tom Grant Band
Dandelion P u b ...............................................21 N W 23rd Place' 223 0099
Thurs., Curtis Salgado and The Stillettos
Hobbit........................... ................. ............S.E 39th & Holgate. 771-0742
Fri.-Sat., Mel Brown Quintet
l R S Paradise...............................................3530 N Vancouver. 288 1196
Thurs.-Sat., Benny Wilson & Friends
Key Largo...................................................................... 31 N.W. 1st. 223-9919
Fri.-Sat., Crazy 8's
Mary's Place........................................................ 5700 N.E. Union, 281-1176
Fri.-Sat., The Staple Bros.
O C allahan's...................................................11650 S W Canyon' 626 2223
Mon., Cool R
„
.
c
1204 S.E. Clay, 235 7831
Thurs., Dick Blake Trio
Rem o's................................................................ 1425 N.W. Glisan, 221-1150
Fri -Sat., Big Bangg Band; Sun., Ron Steen
Royal Esquire.....................................................1708 N E Alberta' 287 5145
Fri.-Sat., D.J. Dr. R ockw/ Morris Makjam
Sa(ty.s
.......................................................fo o to f S.E. Marion, 239 8900
Fri.-Sat., Linn
Tina Turns Out Portland
by Kendal B. Covington
Monday night the lady of soul from Nut Bush, Tennessee, strutted and
danced her heart out in front of 6,500 people.
Tina opened the show by asking the audience, "H i. Are you ready for
me? I'm ready for you," and proceeded to mezmerize the audience with
h6r Tbelieie^heTeason that this tour is slated to be her last is because she
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who's-who that he's played with. Most times some musicians (whom we
won't mention) are full of stories and tales about things they've accom
plished that are usually just stories and tales. Nathaniel Phillips was definite
ly from a different mold, and now I finally had a chance to find out why.
I must admit that there was a twinge of nervousness as we began, being
that I talk so much and Nate talks so little. I'm a prankster and like to joke
around and Nate seems so serious. I finally resigned myself to the fact that
we were both men, two Black men, living in the same days and times, and so
we began. . . .
It seems that little Nate Phillips was a daydreamer, like most musicians
are and used to sneak and steal his brother Greg's records from h.s room so
he and his cronies, Doug Lewis and Bruce Carter, could pretend like they
were James Brown and The Flames or Archie Bell and The Drells. Broom
handles, or anything that could be held, served for mike stands, and they
stepped and screeched to their hearts content.
One day someone mentioned instruments, and not too much later, Nate
had his first guitar (compliments of his parents. Net worth, $35.00). After
a while, everyone had instruments and banged on them until somehow,
someway, they started to make music and ceased to make noise.
Nathaniel stuck with it and continued to rob his older brother s record
supply (there were no Black radio stations), and ended up playing bass with
two less strings to deal with and a real funky feel.
He and Marlon McClain, along with Bruce Carter, ended up forming
their first group called The Franchise. The first gig was at a local church
where they performed the only three songs they knew for most of the even
ing. The group went through various changes in name and members, but
the bottom line was all involved were hungry for just the chance to play and
the desire to be better musicians.
"W e used to load our stuff (instruments) into shopping carts and push
it back and forth to each other's houses and sometimes over to Irving Park
to play," states Nathaniel. "Playing at the park gave us the chance to gain
a following and to test out our songs. As soon as we thought we were ready,
we headed downtown, knocking on door after door, and no one, but no one,
would let us in."
"I've never forgotten that feeling of knowing we were as good as, or
even better than, anyone else and being denied the opportunity. We finally
gave up and came back to the neighborhood and got our first big break
at the old Upstairs Downstairs Lounge."
"W e became regulars and became known by many recording artists
during out stay there. These associations became our way into the recording
industry where things become different as night and day.
I’ll stop l.ere. There'll be more next week.
* * *
31 NW FIRST
K
__
FAMthVliMeflii
★ ★ ★ » *
has finally realized her aspiration:
to sing Rock 'n' Roll music. Her
raspy Dut melodic voice contrasted
— like bread to butter — to the blar
ing sound of rock guitars.
She seemed to gravitate to
ward her keyboard player, whose
voice complimented her sound and
style.
Her light show was fantastic
and her sound was tolerable — even
good in one of the worst places for
sound in the city of Portland. The
theatrics came into play when she
performed the theme to Mad Max
Under the Thunder Dome." At this
time I was able to fully realize the
actress that Tina Turner has be
come. Even though theatrics are in
cluded at one time or another in
most shows, there was no compari
son to that brief moment that Tina
Turner brought drama to the stage.
The platform rose above the
audience, at least 30 feet or more,
as she starred into the light that re
presented heaven itself — as the
smoke rose all around her.
Tina Turner is a phemonenon.
I moved closer to see if her legs
were for real! Not only should they
be insured by Lloyds of London,
they should be reproduced in wax
and placed in every major museum
in the United States. Truly a work
of art!
The crowd became sparked during her performance of "W hat's Love
Got to Do With It". She asked the females in the audience to repeat those
words after her — there was a good response. When she asked the fellows
to follow suit, the response was weak. At this time she stated that the ladies
would give the guys a second chance, as usual.
Tina Turner has been in the music industry for years and well deserves
the success she is now enjoying.
I have seen a number of female Rock 'n' Roll singers and this female of
over 50 — this mother of grown children — this Black woman — does it til
it can't be done any better — anywhere, anytime!
See ya on the silver screen, Tina — and soon, I hope.
If It's Hot, It's A t
ONE
STOP
ROGER
22
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