✊ Black History Month ✊
- Thread starter OfTheCross
- Start date
:escosalute: to everything in this thread
Born November 30, 1919
Manhattan, NY, USA
Died February 19, 2013 (aged 93)
Guttenberg, NJ, USA
Changing the Face of Medicine | Dr. Jane Cooke Wright
YEAR
1967
ACHIEVEMENT
Dr. Jane Wright became professor of surgery, head of the cancer chemotherapy department, and associate dean at New York Medical College, and the highest ranked African American woman at a nationally recognized medical institution.
Dr. Jane Wright analyzed a wide range of anti-cancer agents, explored the relationship between patient and tissue culture response, and developed new techniques for administering cancer chemotherapy. By 1967, she was the highest ranking African American woman in a United States medical institution.
Born in New York City in 1919, Jane Cooke Wright was the first of two daughters born to Corrine (Cooke) and Louis Tompkins Wright. Her father was one of the first African American graduates of Harvard Medical School, and he set a high standard for his daughters. Dr. Louis Wright was the first African American doctor appointed to a staff position at a municipal hospital in New York City and, in 1929, became the city's first African American police surgeon. He also established the Cancer Research Center at Harlem Hospital.
Jane Wright graduated with honors from New York Medical College in 1945. She interned at Bellevue Hospital from 1945 to 1946, serving nine months as an assistant resident in internal medicine. While completing a residency at Harlem Hospital from 1947 to 1948, she married David Jones, Jr., a Harvard Law School graduate. After a six-month leave for the birth of her first child in 1948, she returned to complete her training at Harlem Hospital as chief resident.
In January 1949, Dr. Wright was hired as a staff physician with the New York City Public Schools, and continued as a visiting physician at Harlem Hospital. After six months she left the school position to join her father, director of the Cancer Research Foundation at Harlem Hospital.
Chemotherapy was still mostly experimental at that time. At Harlem Hospital her father had already re-directed the focus of foundation research to investigating anti-cancer chemicals. Dr. Louis Wright worked in the lab and Dr. Jane Wright would perform the patient trials. In 1949, the two began testing a new chemical on human leukemias and cancers of the lymphatic system. Several patients who participated in the trials had some remission. Following Dr. Louis Wright's death in 1952, Dr. Jane Wright was appointed head of the Cancer Research Foundation, at the age of 33.
In 1955, Dr. Wright became an associate professor of surgical research at New York University and director of cancer chemotherapy research at New York University Medical Center and its affiliated Bellevue and University hospitals. In 1964, President Lyndon B. Johnson appointed Dr. Wright to the President's Commission on Heart Disease, Cancer, and Stroke. Based on the Commission's report, a national network of treatment centers was established for these diseases. In 1967, she was named professor of surgery, head of the Cancer Chemotherapy Department, and associate dean at New York Medical College, her alma mater. At a time when African American women physicians numbered only a few hundred in the entire United States, Dr. Wright was the highest ranked African American woman at a nationally recognized medical institution.
While pursuing private research at the New York Medical College, she implemented a new comprehensive program to study stroke, heart disease, and cancer, and created another program to instruct doctors in chemotherapy. In 1971, Dr. Jane Wright became the first woman president of the New York Cancer Society. After a long and fruitful career of cancer research, Dr. Wright retired in 1987. During her forty-year career, Dr. Wright published many research papers on cancer chemotherapy and led delegations of cancer researchers to Africa, China, Eastern Europe, and the Soviet Union.
gah dammmmmmmm
The first black mayor of any city in the history of the United States was in Springfield, OH
Black Excellence in the state of Ohio
Robert Clayton Henry (July 16, 1921 – September 8, 1981) was mayor of Springfield, Ohio from 1966 to 1968. He was the firstAfrican-American mayor of an American city of any size, though this achievement is frequently overshadowed by fellow African American mayor Carl B. Stokes, who was elected mayor of Cleveland in 1967.[1]
Click to expand...
@Illeye buckmatic @Buckeye Fever @smitty22 @JP_USAF @MustafaSTLClick to expand...
Black Excellence in the state of Ohio
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The first black mayor of any city in the history United States was in Springfield, OH
@Illeye buckmatic @Buckeye Fever @smitty22 @JP_USAF @MustafaSTL
Black Excellence in the state of Ohio
The first black mayor of any city in the history United States was in Springfield, OH
@Illeye buckmatic @Buckeye Fever @smitty22 @JP_USAF @MustafaSTL
Black Excellence in the state of Ohio
Guy Incognito
Homer? Who is Homer?
It's about time they replaced c00n MLK with Brotha Malcolm
If you guys have NBA TV I suggest KAJ doc "On the shoulder's of giants" is on now.
man this was a dope documentary i just watched on michael jackson
Michael Jackson's Journey From Motown to Off the Wall on Showtime
Michael Jackson's Journey From Motown to Off the Wall on Showtime
ALonelyDad
Veteran
Not sure if posted, but pretty cool
Lucky_Lefty
Dreams Are Colder Than Death...
That's why whenever I foolishly decide to argue with folks about our plight, I always, ALWAYS quote Stokley Carmichael...."Our grandfathers had to run, run, run. My generation's out of breath. We ain't running no more".
NEVER forget. NEVER forgive. And NEVER let the pains of our forefathers be for not
MikeyC
The Coli Royal Rumble Champion 2019
MOORISH VANGUARD CONCERT (70's Singing group)
Most are familiar with the plethora of artists that were either brought up under the wing of the late great James Brown, or were featured artists on one of his many label imprints. Hits were created, songs flopped, pay was docked for missed notes and improper attire… all under the strict discernment of the godfather. For every Bobby Byrd, Lyn Collins, and Marva Whitney, theres your lesser known AAAB, Dee Felice Trio and, the focus of today’s post, Moorish Vanguard Concert.
Several years ago, a local record dealer was kind enough to share a binder of press photos and flyers from the Philadelphia area that he has been compiling since the early 70s. While I remember being blown away by just about every photo in the binder, only one was burned into my memory. The press photo featured roughly 6 or 7 members, wearing all white, and donning turbans. At the bottom of the photo: MOORISH VANGUARD CONCERT in big bold letters. He told me they released one 45 on Polydor, and that it was produced by James Brown. Anything Philly related grabs my attention, but a Philly group produced by JB?! I threw it on the radar and kept it moving. Years later, I would learn the story behind the band from the lead singer herself, Barbara Bey.
Hailing from Philadelphia, the members of Moorish Vanguard Concert were comprised of members from another notable Philadelphia funk outfit produced by Jimmy Bishop, The Interpretations (Bell/Jubilee) a.k.a. Brass Rail (Buddah). After The Interpretations disbanded, a few members converted to Islam, specifically the Moorish Science Temple Of America sect, and at the advice of their manager, spent the winter of 1976 in Aiken, SC helping fellow Moorish Americans open new temples, while playing as many gigs as possible throughout the south.
They eventually put enough money together to pay for studio time at International Recording Studios in Augusta, GA where they recorded their original song "The Sunset Of Your Love". Charles Shafer, the manager of the studio, was impressed with what he heard during the session, and asked the band to hold tight while he made a phone call to his partner. At the time, the band was unaware that the studio they were recording in was owned by James Brown until he walked into the studio twenty minutes later. Charles had hyped up the band and JB wanted to hear it for himself. He said he saw potential in the group, and that he’d take them "to the top & over the top!" At this point, Brown had been six years into his Polydor deal and was confident that he could sign the group given his pull with the label. While they found JB’s comments flattering, they had their own plans to release the single privately. Most members of the band were seasoned musicians who had experienced success with their music in the past, and were intent on focusing on their group’s message.
Shortly after leaving the studio, the band heard a familiar horn riff blasting out of their car radio. An unmixed version of the song they had just recorded was being broadcast on a JB owned radio station… before they even returned home! The initial excitement of being on the radio quickly faded as the band realized that a copy of their session was bounced to tape and played over the air without their permission. While what JB did was certainly questionable, the band dismissed it as a one off occurrence and continued to tour throughout the south.
Soon after, they sent the tapes from the Augusta session to be pressed in Nashville, and had their first single "The Sunset Of Your Love" on Country Eastern Music in hand. Armed with the newly pressed goods, the band headed back north for a gig at Club Harlem in Atlantic City, NJ during the summer of 1977. While at the show, a long time friend told them he heard their new single on the radio. This was no longer a "one off" occurrence. It’s easy to explain how JB could take a copy of the tape from the studio he owned, and play it on a radio station which he also owned, but how did it reach the northern states? It didn’t take long to discover that JB claimed to have produced the record and handed the tapes over to Polydor, who then pressed and distributed the single without any agreement from the band in place.
After a drawn out court case (Moorish Vanguard Concert v. James brown; James Brown Enterprises; S&B Publishing Company; Charles Shafer; International Recording Studios, Inc. Polydor Corporation), the band was mildly compensated for copyright infringement, and the remaining copies of the Polydor 45 were supposedly pulled. Polydor was required to pay the band $1 for every record pressed, totaling a mere $5,700. This explains the rarity of the Polydor issues, even though the Country Eastern Music issue is still far tougher to track down.
Written by Tony Jones and Barbara Bey, "The Sunset Of Your Love", or as it is incorrectly titled on the Polydor issues "Sitting In The Sunshine Of Your Love", is an uptempo horn driven cut that highlights the female lead’s vocal abilities, over a catchy, frantic horn arrangement. Walking the line between disco and funk, the band keeps things moving with a driving bass line thats nicely complemented by Sonny Bey’s subtle drum work. Jason Bey, the band’s guitarist, occasionally breaks from the groove, displays some of his chops, and falls right back in line. The white label promo Polydor issue contains a mono and stereo version on each side, while the red label Polydor and Country Eastern Music issues feature the instrumental on the B-side.
The court case against James Brown ultimately led to the break up of the band, but all members remained active in the music scene as either session musicians, or went on to form new bands of their own. Barbara Bey joined up with Vince and Denise Montana’s group Goody Goody as a backup vocalist shortly after Moorish Vanguard’s demise, and later landed a long term gig singing for the Mark Rose Orchestra, often singing in Yiddish. Tony Jones would go on to perform live shows with Sister Sledge, Norman Connors, Jean Carne, and served as Nina Simone’s band leader during her later years. Lewis "Sonny" Bey went on to play drums on Frankie Smith’s ode to SEPTA, and popular Philly classic "Double Dutch Bus". Melvin El remained very active in music, going on to found the group Chops, as well as finding work as a session player for Fat Larry’s Band, Mutiny, McFadden & Whitehead, and even Afrika Bambaataa (played trombone on "Frantic Situation"). Frank Bey (Barbara’s brother) founded his own group, Frank Bey & The Swing City Blues Band, and is still active to this day. Jason Bey was tragically murdered in Arizona in December 2012.
Most are familiar with the plethora of artists that were either brought up under the wing of the late great James Brown, or were featured artists on one of his many label imprints. Hits were created, songs flopped, pay was docked for missed notes and improper attire… all under the strict discernment of the godfather. For every Bobby Byrd, Lyn Collins, and Marva Whitney, theres your lesser known AAAB, Dee Felice Trio and, the focus of today’s post, Moorish Vanguard Concert.
Several years ago, a local record dealer was kind enough to share a binder of press photos and flyers from the Philadelphia area that he has been compiling since the early 70s. While I remember being blown away by just about every photo in the binder, only one was burned into my memory. The press photo featured roughly 6 or 7 members, wearing all white, and donning turbans. At the bottom of the photo: MOORISH VANGUARD CONCERT in big bold letters. He told me they released one 45 on Polydor, and that it was produced by James Brown. Anything Philly related grabs my attention, but a Philly group produced by JB?! I threw it on the radar and kept it moving. Years later, I would learn the story behind the band from the lead singer herself, Barbara Bey.
Hailing from Philadelphia, the members of Moorish Vanguard Concert were comprised of members from another notable Philadelphia funk outfit produced by Jimmy Bishop, The Interpretations (Bell/Jubilee) a.k.a. Brass Rail (Buddah). After The Interpretations disbanded, a few members converted to Islam, specifically the Moorish Science Temple Of America sect, and at the advice of their manager, spent the winter of 1976 in Aiken, SC helping fellow Moorish Americans open new temples, while playing as many gigs as possible throughout the south.
They eventually put enough money together to pay for studio time at International Recording Studios in Augusta, GA where they recorded their original song "The Sunset Of Your Love". Charles Shafer, the manager of the studio, was impressed with what he heard during the session, and asked the band to hold tight while he made a phone call to his partner. At the time, the band was unaware that the studio they were recording in was owned by James Brown until he walked into the studio twenty minutes later. Charles had hyped up the band and JB wanted to hear it for himself. He said he saw potential in the group, and that he’d take them "to the top & over the top!" At this point, Brown had been six years into his Polydor deal and was confident that he could sign the group given his pull with the label. While they found JB’s comments flattering, they had their own plans to release the single privately. Most members of the band were seasoned musicians who had experienced success with their music in the past, and were intent on focusing on their group’s message.
Shortly after leaving the studio, the band heard a familiar horn riff blasting out of their car radio. An unmixed version of the song they had just recorded was being broadcast on a JB owned radio station… before they even returned home! The initial excitement of being on the radio quickly faded as the band realized that a copy of their session was bounced to tape and played over the air without their permission. While what JB did was certainly questionable, the band dismissed it as a one off occurrence and continued to tour throughout the south.
Soon after, they sent the tapes from the Augusta session to be pressed in Nashville, and had their first single "The Sunset Of Your Love" on Country Eastern Music in hand. Armed with the newly pressed goods, the band headed back north for a gig at Club Harlem in Atlantic City, NJ during the summer of 1977. While at the show, a long time friend told them he heard their new single on the radio. This was no longer a "one off" occurrence. It’s easy to explain how JB could take a copy of the tape from the studio he owned, and play it on a radio station which he also owned, but how did it reach the northern states? It didn’t take long to discover that JB claimed to have produced the record and handed the tapes over to Polydor, who then pressed and distributed the single without any agreement from the band in place.
After a drawn out court case (Moorish Vanguard Concert v. James brown; James Brown Enterprises; S&B Publishing Company; Charles Shafer; International Recording Studios, Inc. Polydor Corporation), the band was mildly compensated for copyright infringement, and the remaining copies of the Polydor 45 were supposedly pulled. Polydor was required to pay the band $1 for every record pressed, totaling a mere $5,700. This explains the rarity of the Polydor issues, even though the Country Eastern Music issue is still far tougher to track down.
Written by Tony Jones and Barbara Bey, "The Sunset Of Your Love", or as it is incorrectly titled on the Polydor issues "Sitting In The Sunshine Of Your Love", is an uptempo horn driven cut that highlights the female lead’s vocal abilities, over a catchy, frantic horn arrangement. Walking the line between disco and funk, the band keeps things moving with a driving bass line thats nicely complemented by Sonny Bey’s subtle drum work. Jason Bey, the band’s guitarist, occasionally breaks from the groove, displays some of his chops, and falls right back in line. The white label promo Polydor issue contains a mono and stereo version on each side, while the red label Polydor and Country Eastern Music issues feature the instrumental on the B-side.
The court case against James Brown ultimately led to the break up of the band, but all members remained active in the music scene as either session musicians, or went on to form new bands of their own. Barbara Bey joined up with Vince and Denise Montana’s group Goody Goody as a backup vocalist shortly after Moorish Vanguard’s demise, and later landed a long term gig singing for the Mark Rose Orchestra, often singing in Yiddish. Tony Jones would go on to perform live shows with Sister Sledge, Norman Connors, Jean Carne, and served as Nina Simone’s band leader during her later years. Lewis "Sonny" Bey went on to play drums on Frankie Smith’s ode to SEPTA, and popular Philly classic "Double Dutch Bus". Melvin El remained very active in music, going on to found the group Chops, as well as finding work as a session player for Fat Larry’s Band, Mutiny, McFadden & Whitehead, and even Afrika Bambaataa (played trombone on "Frantic Situation"). Frank Bey (Barbara’s brother) founded his own group, Frank Bey & The Swing City Blues Band, and is still active to this day. Jason Bey was tragically murdered in Arizona in December 2012.