Linda Martell: a Black Woman in Country Music in 1969

I was only 5 when Linda Martell’s album Color Me Country was released, but Apply Music recently brought it to my attention. Recorded over the course of 12 hours, one wishes more of the raw energy that must have been present to sustain such a long recording session had been captured on the record. Nonetheless, it is a nearly flawless Country album.

It reached #40 on the Billboard Country Music charts, and three of the singles also charted, one reaching as high as #22. Apparently that wasn’t good enough for Shelby Singleton, with whom she had signed a recording contract, because she never recorded another album. It seems he saw her as a novelty act, releasing the record on, I kid you not, his “Plantation Records” label! He never had her record another album.

However, she did continue singing live. She the first Black woman to play the Grand Ole Opry where she received 3 standing ovations and was invited back about a dozen times. The clip below is from one of her rare television appearances, this one on the Hee Haw show in 1970.

Martell’s granddaughter is working on a documentary about her grandmother, and has launched a campaign on GoFundMe to raise the money to make it happen. I plan to donate as soon as I finish this post. This is a story that needs to be told.

Clearly it was racism in the recording industry that cut Martell’s career short. In the 1920s recording labels and radio began promoting music from the South as either “Hillbilly Music” or “Race Music.” This was not a distinction made by the artists. In fact, often the same songs, especially traditional folk or religious songs, would succeed in both genres, just not by the same artists! The names quickly feel by the wayside, but the division remained under different labels.

Fun fact: The first album recorded by Tina Turner was Tina Turns the Country On! It has never been released.

https://en.wikipedia.org/wiki/Tina_Turns_the_Country_On!

But I digress. Things have changed since then. Charley Pride is no longer the ONLY name that comes to mind when one is asked to name a Black Country star. There’s Rissi Palmer, Darius Rucker, Rhiannon Giddens, Jimmie Allen, Kane Brown, Miko Marks, and others. Though CMT presented Linda Martell the “Equal Play Award” in 20212, the Country Music industry just wasn’t ready for her in 1970. Consequently, her recording career was cut short. I hope that more recordings will be discovered in the making of the documentary and her granddaughter will also release a soundtrack album!

Donate to support the documentary here!

Shortlist Announced for the 15th Cycle of the Aga Khan Award for Architecture

The shortlist for the 15th-cycle of the Aga Khan Award for Architecture (AKAA) was announced today, and is featured on Archnet. The recipients will be announced in the fall.

My association with the AKAA is very limited. As Archnet Content Manager, I assist my colleagues at the Aga Khan Trust for Culture‘s offices in Geneva with getting AKAA information into Archnet and, subsequently, getting bringing attention to the projects though the social media for Archnet and the Aga Khan Documentation Center at MIT. So you may wonder why I am posting about the 2022 shortlist announcement on my personal website.

Quite simply, it is because I am proud to be associated with the AKAA even in my limited capacity, and even more so because I’d like to make more people aware of the projects that award has highlighted since the First AKAA Cycle, 1977-1980.

The Aga Khan Award for Architecture is an internationally recognized award that focuses on regions too often neglected by the juries of most major prizes in the West. I won’t speculate on the cause of this neglect except to say that it certainly isn’t due to a lack of merit in the projects built there. So many projects are nominated each cycle that even many that don’t make the shortlist are worthy of commendation.

More and more, some of the world’s most innovative and exciting structures are being built in Africa and Asia, hardly surprising given these are areas on the front lines of some of the most challenging problems that world currently faces.

Moreover, it is an award that places functionality on the same level as aesthetic criteria. Indeed, to be eligible for nomination, a project has to have been in use for at least a year. Projects that ultimately receive the Aga Khan Award for Architecture are projects already fulfilling their purpose.

Finally, I appreciate that the award honors diverse projects, from grand towers to schools made from locally available materials. In the speech he made at the 2016 ceremony of the Award, His Highness the Aga Khan explained this is an explicit goal of the AKAA. I’ll close this piece with those words.

The Spirit of the Award has been an inclusive one, valuing all manner of buildings and spaces from skyscrapers to mud huts, from residences to work and gathering spaces, from reforestation and financing projects to cemeteries, bridges and parks, from the accomplishments of signature architects to those of anonymous craftsmen.  This pluralistic approach may not echo the usual definition of the word “architecture”, but it is the closest we can get to the central inclusive message we want this Award to convey.

https://www.akdn.org/speech/his-highness-aga-khan/aga-khan-award-architecture-2016-ceremony