The Michael Jackson biopic “Michael” opened April 24 to sold-out theaters and a global box office surge topping $200 million, as audiences across the country and overseas transformed screenings into full-throated celebrations of the King of Pop.

Lionsgate confirmed the film’s worldwide total based on early ticket sales and projections through the opening weekend, a figure that places the film among the strongest debuts for a non-sequel in recent years.

“If you give audiences what they want, they will come,” Lionsgate Motion Picture Group chair Adam Fogelson said in crediting audiences for the turnout.

From New York to Los Angeles and across international markets, theaters were filled with fans wearing fedoras, sequined jackets, and single gloves. Michael Jackson look-alikes posed for photos in lobbies while crowds inside auditoriums sang along, danced in aisles, and shouted at the screen.

What unfolded inside theaters matched reports from industry observers who described screenings as closer to live events than traditional moviegoing.

The numbers followed the energy. The film generated about $40 million domestically on opening day and is projected to finish the weekend between $90 million and $100 million in the United States and Canada.

Overseas markets added more than $111 million, pushing the global total beyond $200 million and delivering the biggest opening of the year for a live-action film.

Audience response has been decisive. Moviegoers handed the film an A- CinemaScore grade, while audience ratings climbed into the mid-to-high 90% range on Rotten Tomatoes. Critics moved in the opposite direction, with reviews falling below 40% positive.

That divide did little to slow ticket sales. The film, directed by Antoine Fuqua and starring Jaafar Jackson in his first major role, brings together a cast that includes Colman Domingo, Nia Long, and Miles Teller.

Domingo’s portrayal of Joseph Jackson sparked strong reactions inside theaters, with audiences loudly responding to his character’s treatment of a young Michael. Jaafar Jackson’s performance drew cheers throughout, with viewers applauding signature dance moves and musical recreations.

Backed by a production budget near $200 million and an extensive marketing campaign that exceeded $50 million in North America alone, the film was designed to tap into nostalgia tied to Jackson’s music and global reach.

Promotional efforts included outreach to Historically Black Colleges and Universities and a focus on younger audiences discovering Jackson’s story for the first time.

Early data shows that strategy is paying off. Black moviegoers led opening-weekend attendance at 38%, followed by Latino and Hispanic audiences at 26% and White audiences at 24%, with women making up a majority of ticket buyers.

The film has already triggered renewed interest in Jackson’s music catalog, with streaming numbers rising and ticket sales increasing for the Broadway production “MJ,” which continues to tour nationally.

“MJ has a lot of fans, of course the movie does well in the box office,” social media user Liverpool Fan wrote on X, formerly known as Twitter. “The movie is a celebration of MJ’s early years and his talent, I see nothing wrong with that. If you want a documentary, there’s already plenty out there.”

Stacy M. Brown is a senior writer for The Washington Informer and the senior national correspondent for the Black Press of America.

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The event marked a significant moment in both Sánchez’s illustrious career and the ongoing celebration of the Schomburg Center’s centennial anniversary.

The evening unfolded with a series of deeply personal reflections, intimate readings, and evocative performances that held the audience spellbound. Ms. Sanchez, a 90-year-old poet laureate and one of the last living icons of the 1960s Black Arts Movement, has long been revered for her groundbreaking poetry and tireless activism.

The event, held June 12 titled “Wordssmith: A Def Poetry Reunion,” brought together luminaries of the spoken word scene and highlighted Ms. Sanchez’s profound influence on generations of poets and activists. From riveting performances to heartfelt panel discussions, the tribute was a testament to her enduring legacy.

The evening featured a panel discussion that included Danny Simmons, co-creator of Def Poetry Jam; Abiodun Oyewole, founding member of The Last Poets; and poet Jessica Care-Moore.

The evening was moderated by Tammi Lawson, curator of the Art and Artifacts Division at the Schomburg Center. Together, they reflected on the cultural power of Ms. Sanchez’s work and the broader role of poetry in driving social change.

Danny Simmons, brother of record executive and businessman Russell Simmons and Joseph “Run” Simmons of the legendary rap group Run-DMC, recounted his early introduction to spoken word poetry.

Inspired by The Last Poets, it ultimately led to the creation of Def Poetry Jam alongside figures like Jessica Care-Moore and Bruce George. Mr. Simmons shared with the audience how Sanchez’s powerful words and activism shaped the evolution of spoken word poetry into a platform that transcends race, class, and geography.

Abiodun Oyewole shared personal stories woven with recollections of Dr. Martin Luther King Jr.’s influence and the profound impact of the civil rights movement on his work.

He painted a vivid picture of how poetry became a communal force during a time of deep racial strife, transitioning from individual expression to a collective tool for activism and unity.

“David Nelson and my brothers in The Last Poets symbolized that unity. It was poetry, Sonia’s poetry, that reminded us all of the power in coming together,” Oyewole reflected.

Tammi Lawson brought an additional layer of depth to the evening as she detailed Sanchez’s rich history with the Schomburg Center. “Sonia first walked through the doors of this iconic institution as a teenager, introduced to Black literary history by Mrs. Jean Blackwell Hudson,”

she shared. Ms. Lawson emphasized how Sonia Sanchez’s connection to the center continues to inspire countless visitors and artists.

The tribute wasn’t just a series of discussions; it was also a deeply artistic affair. A string quartet performed, weaving melodies that underscored the themes of unity and resilience present in Sanchez’s poetry.

Various poets took to the stage to perform their own pieces, creating a beautiful patchwork of spoken word and music. These performances highlighted Sanchez’s influence, demonstrating how her legacy endures in the voices of today’s poets.

Her works, steeped in the historical struggles and triumphs of Black America, continue to resonate powerfully in modern conversations around race, justice, and equality.

Sonia Sanchez’s role in the Black Arts Movement cemented her as a pillar of both poetry and social activism. Her unflinching voice captured the essence of a generation grappling with civil rights injustices, and her dedication has continued to inspire writers, musicians, and activists to this day.

Although unable to attend in person due to health challenges, the spirit of Sonia Sanchez, who turned 90 last September, made for an evening filled with reflection, poetry, and music all the more meaningful.

Dr. Brenda M. Greene, professor and executive director emeritus of the Center for Black Literature at Medgar Evers College, CUNY, honored Sonia Sanchez as a true “visionary,” “activist,” and “teacher.

She wrote as a part of the tribute: “… you embody it all. You are our woman warrior, a fearless spirit … . Yours is no small voice; you catch the fire with every word and every action. … Sister Sonia Sanchez!”

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This production celebrates the enduring legacy of Bronzeville’s vibrant history and will be presented at the Apollo Theater in New York City on May 25 at 253 W. 125th Street, New York, NY 10027.

This production is a poignant and captivating journey that follows a father guiding his wayward teenage son on an enlightening path through their ancestral roots.

This soulful musical resonates with themes of redemption, faith, legacy, and the courage of a community, emphasizing the crucial role of history in preserving identity and heritage.

It poignantly reflects on the Great Migration from the South to Chicago, showcasing the resilience and brilliance of Black history and culture.

Sister Margaret Mahdi is the founder and director of the Chicago-based Mahdi Theatre Company. “The motivation behind this musical was born from a need to reshape the negative narratives surrounding Black teens,” said producer and director Sister Margaret Mahdi.

“Our history is rich with individuals who paved the way, and it’s our responsibility as artists to carry that torch forward. In the wake of events like George Floyd’s tragedy and the ongoing migration issues today, ‘Bronzeville, The Musical’ represents a crucial point in starting these vital discussions,” she said. For more information, visit www.mahditheatre.com.

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Margaret Mahdi, founder and director of Mahdi Theatre Company, is set to present her production of “Bronzeville: The Musical” at the famed Apollo Theater in New York City on November 16 and 17. Tickets are still available!

“Bronzeville: The Musical” is a “poignant and captivating journey that follows a father guiding his wayward teenage son on an enlightening path through their ancestral roots. This soulful musical resonates with themes of redemption, faith, legacy, and the courage of a community.

Emphasizing the crucial role of history in preserving identity and heritage,” states a media release by Mahdi Theatre Company. The saga also explores “the Great Migration from the South to Chicago, showcasing the resilience and brilliance of Black history and culture.”

To support Mahdi Theatre Company and for additional information email, margaretmahdi19@ gmail.com.

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[Intro: The Honorable Minister Louis Farrakhan] “So out of the mercy of Allah, And the law, written in our nature, We call an individual into existence, And when that individual come(s),

I make no apologies for what I’m about to say …”

[Verse: Big Daddy Kane] “Rough, rugged and real, you’re on standstill, To obey okay so let the man build, Words of rapture that you have to capture …”

When Mr. Magic’s Rap Attack on WBLS (107.5 FM) sounded the trumpet over the airwaves like this in the 1980s it caught millions of people’s attention, especially since this particular Big Daddy Kane song “Young, Gifted and Black” started with fiery words from a speech excerpt by Minister Farrakhan.

WASHINGTON, D.C.—Cold Chillin’ Records and its Juice Crew All-Stars are world-renowned in hip-hop culture. The Juice Crew All-Stars consisted of Big Daddy Kane, Kool G Rap, the late Biz Markie, Roxanne Shante, Master Ace, Marley Marl, MC Shan and Craig G. Its members would engage in rap battles with other hip-hop artists from their rivals at the time, Boogie Down Productions. BDP consisted of KRS-1, the late DJ Scott LaRock and D Nice.

So, when MC Shan released “The Bridge” in the 1980’s, KRS-1 responded with “The Bridge Is Over.” These epic rap battles helped to make hip-hop as glorious as it is today as the art form continues to celebrate its 50th anniversary. 

Tyrone “Fly Ty” Williams is the co-founder of Cold Chillin’ Records and co-founder of Mr. Magic’s Rap Attack, along with John “Mr. Magic” Rivas, which used to air on WBLS in New York and helped bring rap music to the masses.

This writer was blessed to sit down and interview Cold Chillin’ co-founder Tyrone ‘Fly Ty’ Williams at the Howard University Homecoming Bison Honors Awards Dinner and Royal Blue Gala, held October 21. ‘Fly Ty’ is an alumnus of Howard University, an HBCU, and received an award at this year’s gathering.  During our interview, he talked about some of his experiences in hip-hop. Below are edited excerpts from portions of that interview.   

Shahid M. Allah (SMA): You say something very significant. You said 1971 was your first exposure to the culture. … Now, I know you are a hip-hop pioneer. You hear the stories out there that ’73 wasn’t the beginning …

Tyrone ‘Fly Ty’ Williams (FTW): Hip-hop, my first taste of it, I was 14 in 1971, when they started having parties outside in the park. That was something we (had) never seen before! But, all of a sudden technology … because they started making turntables separate from the whole hi-fi. Once they separated it, kids are ingenious. That was my first taste to anything close to hip-hop, jams in the park!  … I remember Albany Projects, we had parties in our community center, too! Hip-hop is a culture that was started by young people in the city of New York, not any particular borough. Just the city of New York. Anybody I can name in Brooklyn, somebody in Harlem can name somebody else. It spread like wildfire! It didn’t take long for everybody to be doing it! 

SMA: Speak a little bit about … for the brothers who would aspire to be in hip-hop, but their funds are a little short. Could you speak to that?

FTW: I wanna say that when I got in hip-hop money wasn’t even a part of my attitude, you know. Me and Mr. Magic … the only reason we thought of money was to get the $50 to pay for airtime. Money is a tool. It’s gonna come. Listen, life has never been easy. Langston Hughes wrote a poem, “Mother To Son.” Basically, it says, “Life for me ain’t been no crystal stair …” Life is hard … So, I worked for years, sometimes I shed tears. I said my prayers. Been through hard times, even worked part-time in a Key Food store, sweeping floors ‘til dawn. See, … I was sort of a porter, taking the next man’s order for lousy quarters! Or my manpower for four bucks an hour. Work so hard I fell asleep in the shower! Shoes was scuffed when the road gets rough! So, I rocked it ‘cause my pockets wasn’t stuffed enough! The road ain’t yellow! And, there ain’t no witches! My name is Fly Ty! And, that’s the road to riches!”

SMH: So, you mentioned an affiliation with Def Jam. When was that started?

FTW: That was in 1984 when WBLS told us to stop playing rap. There’s a significant period from August of 1984 to February of ’85. There’s a slowdown in everything in rap wherein the stations were trying not to let us play it. The fans are just trying to find where we are. During that period of time there was no money being made by me, Russell (Simmons) or Andre (Harrell). Russell was a promoter, alright … Andre was an account executive. He was also in a rap group called Jekyll and Hyde. So, there was no money during that time. But when February came everything exploded. The Roxanne phase blew up in America. It (rap) was everywhere all at once! And Roxanne Shante … she was officially the Roxanne.  And that opened up doors for all other rap arenas again. Run DMC, Whodini, the Fat Boys, all of them.

SMA: When did you meet Mr. Magic?

FTW: I knew “Magic” from junior high school. We used to call him “Speedy.” He played basketball and he was quick, so, he got the name “Speedy.” So, I knew him since I was 12. He was a year older than me.

SMA: What’s the name of your youth organization that you talked about at tonight’s awards dinner?

FTW: Brooklyn United. We used to be called Brooklyn Steppers Marching Band. If you google “Brooklyn United” it’ll give you the website and everything. [Instagram/IG: @bkunitedmb; Facebook: Brooklyn United Music and Arts Program].

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Michael Render, known by his stage name Killer Mike, is a rap artist, activist and businessman.

Killer Mike was recently interviewed by Nation of Islam Student Minister Willie Muhammad of Mosque No. 46 in New Orleans about his new release “Michael,” his upbringing, the evolution of hip hop, and other topics. The interview was facilitated by Brother Don Enoch Muhammad. The Final Call presents a few select excerpts from that July 3, 2023, interview which have been edited for clarity.

Willie Muhammad (WM): “Michael” is a highly personal and introspective album for you. Can you discuss the significance of naming the album after yourself and the connection between your personal experiences and the themes explored in the project?

Killer Mike (KM): Well, Michael, like the album, is multilayered. So, Michael is the second of the Michaels, whose father is the first Michael. His daughter is the third Michael, and he has another son named Mikal. And we are named in honor of the Archangel Michael, whose name means “he who is like God.”

I’ve always thought highly of the name because I was a very curious child. And as Black children, you know, like we were taught by the Most Honorable Elijah Muhammad, we didn’t know who we were.

So that’s why we have the “X,” you know? You don’t know who you are, you just knew the name you were given. As a child kind of searching for who I was, and wanting to know that I looked up my first name. Once I saw what my first name meant … I just felt honored. To not only be named for an angel, but what that angel represented—God—meant a lot to me. So, I’ve always been very proud of the name.

And what I realized is that this nine-year-old kid invents a rap persona, even though he didn’t get named “Killer Mike,” ‘till years later. The rap swagger and persona that people know “Killer Mike” for is the invention of a nine-year-old child who just wants to be a … MC. And I wanted people before I left this earth, to understand that I was just a man. And I was a man who was raised in a fiercely proud Black neighborhood in Atlanta.

It was that neighborhood that housed everything from Black Protestant Christians to Catholics, to Al-Islam, to the Nation of Islam to Black Hebrews. Every type of Black person you could imagine was there. And all those Black people poured into me and us children to tell us to be the very best we could absolutely be. We were Earth’s Original people, and God loves us. And it was all-encompassing of our greatness. So, I’ve never felt second class.

WM: Let’s take a moment to talk about one of the many profoundly impactful songs on this album. It’s track number two, “Shed Tears.” I have not heard anything like this before in my years of listening to hip hop music. What I mean by that is the song appears to be ending and you come back on rapping with such great passion in a verse that is filled with self-examination, self-analysis and accountability. Why did you choose to do so?

KM: You know, “Message to the Black Man” is a book that really affected me as a child. You know, reading an autobiography (on) Malcolm X. Hearing the Minister and I’m talking about a 45–50-year-old Minister Farrakhan speaking. I start to learn that being a man is being willing to accept the burden you’ll never even be acknowledged for having carried.

Because you accept the lead of a household, you accept the caretaking … of your mother and sisters. You accept taking care of your wife and children. Many times, it’s thankless, it’s not even seen. It’s not something that’s honored. In many of times, it’ll put you in a position before you become the man who you’re supposed to be. You go through a lot of trials and tribulations, learning how to be that man.

And sometimes maybe that’s being closed off in a room. Whether it’s a moment to pray, or whether it’s a moment to just sit and meditate as a man, it overcomes you and you weep. And, and you don’t weep out a weakness. You weep to let go of whatever burdens or whatever struggle because you know, on the other side of that door, I got a woman dependent on me. I got children dependent on me. I have coworkers or a team dependent on me.

And you get so used to being the rock—that man, you’ve oftentimes forgotten to release. So, for me, I just realized that I wasn’t alone in the bathroom talking to myself some mornings. When you looking in that mirror and have to say, you know: (reciting lyrics to the song), “It was me, I’m the reason that I fell … That was hell, locked in self-guilt like jail.

Lord, I cried, almost died, empty inside. The devil whispers in your ear, you contemplate suicide. I tell you I know, promise, honest, been there before. And its pride before the fall, it’s how it usually go. Lookin’ at me, I was struttin’, proud as can be. Couldn’t tell me nothin’, I was hushin’ people, keeping it ‘G’ … .”

Come on man! All of us been too full of ourselves … All of us have failed and bust our behinds and had to get back up and say “I’m sorry.” And all of us have had a brother like at the end of the record on “High and Holy,” when I say, “Man, you messed up, brother. That’s okay. You know, ain’t none of us perfect man. Have you ever been made to suffer when you didn’t deserve it? You effed up? That’s okay, brother. Ain’t nobody perfect.”

As men and when we give each other grace man, when we give ourselves grace it’s amazing what you can grow to. When you give yourself grace. I have learned so much watching the men in the Nation of Islam. And I don’t mean on a grand scale like you see on TV. You know, we saw Minister Farrakhan, Minister Van, we saw Brother Don Enoch (Muhammad), fine examples. Tony Muhammad (now known as Abdul Malik Sayyid Muhammad), just fine examples.

And that’s all I wanted brothers to know, man, we united in this, brother. You’re not in that bathroom by yourself crying, I’m on the other side of town, letting my tears go, washing my face with cold water going out telling my woman I am going to find that bill money and I did.

WM: One of the tracks on your album, “Something for Junkies,” features a sample of Minister Farrakhan. What led you to include this sample, and how do you feel it enhances the overall message of the song?

KM: That speech is a speech that was hard to find, and I happened upon it. I remember hearing it as a young man at the time when (we) still would buy videotapes, or you got DVDs to see him. In this Western culture, we are really fond of shaming people … and seeing people who we consider our enemies fall. And we laugh, and we point (it) out.

I just thought the Minister was so humane and warning us against that. Because pride and ego will lead you to slaughter. And when he talks, oftentimes people try to catch something that’s illicit or something that’s sensational. But they don’t catch the wisdom of what this man who we are blessed to have in our presence says.

And when he says that when you laugh at anybody, your enemy, or your friend, you’re setting yourself up for your own demise when you do that. Because as sure as you laugh at somebody else, somebody is waiting to laugh at you. Somebody is waiting to point at your failure and point it out. Somebody is waiting to shame you, to blame you, to put out your pictures, to talk about your misgivings.

And oftentimes when using the downfall of other people for our own pleasure, we don’t understand that that whipping post gonna be there for us next. So why are you laughing at somebody else on the whipping post and there’s a whipping post set up for you?

I just thought that was such wisdom in that and especially (in) how we handle addicts in our community. The end of the first verse I say, “Pay a fair wage and do not treat your people like slaves.” Think about how many times a brother might have needed his barbershop swept instead of sweeping it himself or paying the man sweeping a fair price, he gives two dollars. He’s doing no different than a slave master did. 

And what I was warning against or what the Minister was warning against and what I had to make sure people understood is that man, God doesn’t favor that. And I wanted them to hear it from him because that’s who I heard it from. So, I wasn’t going to find nobody else to say it. I wasn’t going to try to figure out a different way.

I wanted the Minister to say it, because he’s who taught me that, he’s who’s taught so many me and my age. So many wise lessons that they were robbed out of because the drug war took their father, you know, to addiction or to jail. Took their grandfather, took their uncles, and I just thought, what better time to present the Minister saying (that) while he’s still alive, and still very influential.

What better time than on this album, that’s so deeply personal to me, as is Mosque No. 15 in Atlanta, and Van Muhammad was to me, and Minister (Abdul) Sharrieff Muhammad (to) be an example. What better time than right now to show the wisdom that I’ve learned from the Minister, and I’m honored to have him featured on that record.

WM: Thank you brother and may Allah continue to bless you with success.

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Songs like “Ready or Not Here I Come (Can’t Hide from Love),” “Didn’t I (Blow Your Mind This Time),” and “La-La (Means I Love You)” will continue to resonate with fans for generations to come. Mr. Hart-Muhammad, affectionately called “Poogie,” was remembered by friends, family and admirers during a Janazah (Islamic funeral and prayer service) in Philadelphia, where he was raised.

As a young man, Mr. Hart-Muhammad was nurtured and impacted by the Teachings of the Most Honorable Elijah Muhammad and became a registered Muslim in the Nation of Islam. Mr. Hart-Muhammad was drawn to the Nation of Islam’s message of unity and self-reliance for Black people.  He was also inspired by the Honorable Minister Louis Farrakhan’s call to take pride in Black heritage and culture.

These influences can be heard in the soulful and spiritual quality of Mr. Hart-Muhammad’s music. His compositions are powerful works that reflect his deep commitment to his beliefs.  Media accounts of Mr. Hart-Muhammad’s life rarely mention these influences or how they motivated him to create such moving and impactful music.

The Delfonics were formed around 1965. According to Billboard and the Delfonics website, in 1972, the Delfonics had 12 top 20 hits on the Billboard R&B/Soul Singles Chart, including one that reached the number four position, making them an impressive musical act all around the world at that time. The group toured Europe and Japan.

The song “La-La (Means I Love You)” was first released in the local Philadelphia music market in 1968. After national distribution with Amy-Mala-Bell Records, the single sold over one million copies and reached number four on Billboard’s Hot 100 chart.

In 2013, the National Rhythm and Blues Music Society honored William and his brother Wilbert Hart with a Lifetime Achievement Award. The group’s music has been featured in films like the 1997 Quentin Tarantino movie “Jackie Brown,” and “Crooklyn,” directed by Spike Lee. Most recently the group’s music could be heard on HBO’s “Euphoria” starring Zendaya. The Delfonics were also known for their Grammy Award-winning song “Didn’t I (Blow Your Mind This Time)?”

“The Delfonics are considered by many to be the forefathers of what we now know as ‘the Philly Sound,’” said Philadelphia musicologist and critic James Dickerson.  “They introduced an innovative falsetto voice, which became popular among other Black artists, such as the Spinners and Stylistics. They were able to use their voices more creatively than traditional singers.  Their message was filled with love and unity—staying together despite all odds,” he said.

“The Delfonics were a revolutionary force in music and culture as they introduced a new sound to the world, one that would become iconic.  The tenor voice was king before they came along and changed everything with their falsetto-filled music!” Mr. Dickerson noted.

The songwriting and producing duo Kenny Gamble (Luqman Abdul Haqq) and Leon Huff are the architects of the popular “Philly Sound.” Mr. Gamble reflected on his relationship with Mr. Hart-Muhammad.  “He was my friend … he was my brother and a very talented individual. We all started out in the music industry in the early 60s.

William and I learned how to play the guitar together and we spent many nights in my home creating some great music. The music that he created will be around forever. I pray that the good Lord blesses him and his family because not only was he a great singer and a performer, he was also a very spiritual man. Rest in power my friend,” said Mr. Gamble in an official press release from Pamela Hart-Muhammad, wife of Mr. Hart-Muhammad. 

Final Call newspaper photographer Haroon Rajaee who knew William Hart-Muhammad, fondly remembered what the balladeer brought to the stage.  “It was the style of dress replete with capes and tails. They were different,” he said.

“When Brother William visited Chicago, he and the group would hit the streets selling their albums. They would take pictures with people while signing records. We were able to go along selling the Muhammad Speaks newspaper,” Mr. Rajaee reflected, speaking of the renowned Nation of Islam publication.

His spirituality, discipline and dedication to Islam was the pillar and foundation to his musical expression and demonstration.

“Brother William enjoyed teaching young people about the music industry, but he was a purist when it came to keeping music clean. In addition to interacting with people on the street, he also interacted with children. Buying them ice cream was his favorite activity,” added Mr. Rajaee.

During an exclusive interview with The Final Call, his wife, Pamela Hart-Muhammad, explained, “William loved the teachings of the Honorable Elijah Muhammad, his family, and Minister Louis Farrakhan.”

According to his wife, William was introduced to the Teachings at the age of 13 and immediately felt an attraction. After he acquired a suit that was too big at the age of 18, she explained he went to Temple (as they were known at that time) No. 12, located in West Philadelphia.  “He dedicated his life to his people and his family,” she said.

“When I’m not here,” he said, ‘keep what your beliefs are.’  He would tell his children, his sons, and his grandchildren, ‘there is no letting go of these Teachings.’  The Most Honorable Elijah Muhammad and his teachings are our life savers,” she said

Mr. Hart-Muhammad was a multi-talented individual, his wife said. Not only was he a singer and songwriter, but he was also a gifted artist.  His work hangs in the October Gallery and are featured in their groundbreaking book “Connecting People With Art: African American Art.”  He was a master chess player.  He played drums, guitar, piano, and mandolin as a musician.  He was a true renaissance man who excelled at everything he put his mind to. Ms. Hart-Muhammad described her husband of over 50 years as a kind and gentle soul who always had time for others.

The words in every song he wrote were inspired by Islam, she explained.  “Brother William said you will never find degrading words about women.  My songs will always represent love. BMI has a catalog of 300 songs he wrote,” shared Ms. Hart-Muhammad.

“Throughout his life, my husband was a man of integrity.  He was offered $20 thousand dollars to sing the National Anthem during one of Muhammad Ali’s fights but declined.”

As the Delaware Valley Regional Representative for Minister Farrakhan and the Nation of Islam Student Minister Rodney Muhammad told The Final Call, “We lost a great soldier, and brother, an extraordinary member of the Fruit of Islam.  It was Ma Rainey who said it best about the Blues. They see it coming out of us, but they don’t know where it came from.”

“Once Brother William told me that when Minister Jeremiah Shabazz returned from Chicago, after seeing the Honorable Elijah Muhammad, he told Minister Jeremiah to tell Brother William to hang onto his masters.  Brother William said he followed those instructions.  Until this day, he still receives checks for work he did in the 1960s.”

He said he is grateful to Allah (God) to have known Brother William Hart-Muhammad.

“So much has been said about him. He showed the entertainment world that if you stand on what you believe and embrace it, you will not suffer a demise in your career and that you don’t have to compromise when it comes to your gifts and talents.  He was a known Nation of Islam member in the entertainment industry.” According to Student Min. Rodney Muhammad, he never kept it a secret and Allah rewarded him for that.

Anthony Muhammad, the Delaware Valley Regional Student Captain, expressed similar sentiments, calling him an “inspiration.”  “Brother William was a loving man,” he said.  “He loved unity and always looked out for those in need.  Bringing people together was something he loved,” said Student Capt. Anthony Muhammad.

Upon returning to the Nation of Islam in 1996, Mr. Hart-Muhammad brought a martial arts program with him and over the years, hosted brotherhood gatherings with the men of the Nation of Islam at his home, reflected Student Capt. Anthony Muhammad.  “His encouragement and inspiration he provided enabled me to purchase a new home,” he added.

Mr. Hart-Muhammad was a genuine diamond in the way he reflected his many talents.

“Poogie (his nickname) was a fisher of men,” says Dr. Salaam Love, a member of the Delfonics for 41 years. He was a master teacher.  “His knowledge of Islam is what immediately stands out for me,” said Dr. Love.

“William was always teaching us when we were traveling. Teaching Islam was always in his nature. The Delfonics sowed the seeds for the Five Stair Steps, Kool & the Gang, and eventually, Jermaine Jackson’s conversion to Islam,” he added.

“Music with a clean sound was his thing.  That was his specialty.”  Dr. Salaam explained that Tom Bell, an arranger and producer, came up with the idea of orchestrating the music to give balance and support to R&B. Without White people’s knowledge, this innovation allowed the Delfonics to crossover into the pop genre. “Tom used that orchestrated music to pull the White folks in because he knew it snuck up on them. His R&B was then able to slide on top of the classical (and pop) music, and that was the key,” Dr. Salaam said.

Abdul Wahid (Wilbert Hart) Muhammad is a co-founding member of The Delfonics, sibling of William and also an active member of the Nation of Islam. He reflected on the group’s early years.

“We would headline many of the Muslim bazaars in various cities.  At Mosque No. 7’s annual bazaar in 1974, we played Randall’s Island, attended by 100,000 people who came out to hear Minister Farrakhan.  We were happy to help in any way we could,” he told The Final Call.

“The people should know that my brother was Muslim, a devout Muslim, and a devout follower of the Honorable Elijah Muhammad and Minister Louis Farrakhan.  A beautiful wife, three sons, and a loving family surrounded him.”

Music production, storylines, and his brother’s incredible lyrics made their music so special,” shared Abdul Wahid Muhammad. “The storylines were outstanding.  It was something that everyone could relate to. That made it special, in my opinion. We used the Philadelphia Orchestra, the best musicians in the world, and Sigma Sound Studio, the best studio in the world,” he added.

In a past interview with The Final Call, Mr. Hart-Muhammad discussed what is arguably his most famous song, “La-La Means I Love You.”  He said the song is highly spiritual and that he had subliminally slipped in the name of Allah (God). The “La- La” in the lyrics is code for Allah, and the song’s true meaning is that Allah loves you. 

Mr. Hart-Muhammad said that he believed music is a powerful tool for spreading messages of peace and love and hoped his songs would inspire people to come together and make the world a better place. 

Mr. Hart-Muhammad also discussed how the Honorable Elijah Muhammad inspired him to write the song.  He said his messages of unity and love resonated with him deeply, and he wanted to convey those same sentiments in his music.  Ultimately, Mr. Hart-Muhammad believed his music could help spread a message of peace, love, and understanding worldwide.

The Khadijah Alderman Funeral Home was filled to capacity with grieving family and friends who had come to pay their respects to Mr. Hart-Muhammad on July 19. Student Minister Omar Karim officiated the service. 

Al Hadi, Yusuf Ali, and William Romance, three of Mr. Hart-Muhammad’s sons, wore psychedelic, hand-painted, and decorated show jackets reminiscent of works of art designed by their father. The brothers presented memories of their father that elicited both laughter and tears from attendees. It was clear that Mr. Hart-Muhammad was loved and respected by many, and his July 14 passing has left a massive void in the lives of those who knew him.

Minister Farrakhan called Mr. Hart-Muhammad’s wife, for which she was grateful. “We still talk about how you and Brother William hosted Mother Khadijah and me at your house in Philadelphia,” she said the Minister shared.

“Yesterday, I had the honor of speaking with Minister Louis Farrakhan.  He told me that the legacy of my husband, William, would be passed on to his sons and grandchildren.  He said that his talents must be preserved. 

He also said his art, music, and brilliance would live through his sons and grandchildren. I am so grateful to Minister Farrakhan for his guidance and wisdom.  My husband was a great man; I know his legacy will live on through our family,” she said.

Mr. Hart-Muhammad was a beloved husband, father, grandfather, brother, and friend.  He was preceded in death by his son Khalid Mubarak and daughter Trinita.  He is survived by his wife of 53 years, Pamela Hart-Muhammad, and his children Al Hadi, Yusuf Ali, and William Romance.  Mr. Muhammad is also survived by his siblings: Wilson, Barbara, Wilbert, and Iretha, as well as a host of grandchildren, nieces, nephews, and cousins.

The post Remembering Brother William: A look into the heart and soul of a musical giant and faithful Believer appeared first on Final Call News.

Red carpets are filled with a parade of celebrities showing off the latest designs, often scantily clad, but one fashion game changer of the night at the 64th Annual Grammy Awards ceremony was not a celebrity recording artist, writer or composer, but two elegantly, modestly dressed, regal Black women who are citizens in the Nation of Islam. 

Although it didn’t make for the Grammys news cycle, there was an overwhelming response received, both Karen Muhammad (wife of Medinah Entertainment co-owner Sean Muhammad) and Nusaybah Muhammad (guest of Medinah Entertainment) to their attire.

“When Sis. Nusaybah and my wife came, dressed like we know we are to dress, those two, were affecting worlds from their two different seating areas. Many, in particular, White people, were walking up to my wife, telling how nice she looked and one French-speaking brother said, “you look ‘glamo.’ ”

The two made a huge impact. “Sister Nusaybah was the belle of the ball,” said Don Enoch Muhammad who accompanied her to the event, also a guest of Medinah Entertainment. “When I met her at the elevator bank, I had my phone on video recording and brother, I’m telling you when she came off that elevator … It was nothing but, ‘oohs and aahs,’ and that continued every three feet,” said Don Enoch Muhammad. 

“I mean, we were late getting to the MGM where the Grammys were because of the people constantly stopping Sister Nusaybah; telling her how beautiful she was and wanting to take pictures with her. White women, Black women and everyone in between. Little children were pulling on their mothers and pointing at her. They thought she was some kind of living doll, some kind of Disney fantasy come to life. You know, this was Las Vegas. They were video recording her.”

Incidentally, “Nusaybah” is a feminine Arabic name that means noble, beautiful, intelligent and generous. Sis. Nusaybah Muhammad has a reputation inside the Nation of Islam for being just that. To see her get the kind of response she got from complete strangers let the two attendees know they were witnessing something special.

Several women told Sister Nusaybah that she was the best dressed and the best-looking woman at the Grammys. Though she maintained her discipline and composure, it was rather overwhelming to Sis. Nusaybah, she explained.

“At a certain point, I realized that it was no longer about me and that it was about representation of a woman who is going through the reformation process that Master Fard Muhammad came to give to us. Because he said he can sit on top of the world and say the most beautiful Nation is right here in the wilderness of North America. And that’s what I felt like in that moment,” Sis. Nusaybah Muhammad said.

“This is a bigger representation of the power of Allah to show a woman who is coming into an event that is known for women’s fashion and women usually don’t have on too many clothes and to see these two women who are modestly dressed,” she said. 

“To be celebrated, recognized and just done over with. I then started to walk just a little more regal because I knew at that point, it was bigger than us. It was about representation of the Islamic woman. And to look over and see another elegantly dressed MGT (short for Muslim Girls in Training) bold enough to dress in our modest way was so beautiful. It was rewarding to see us comfortable being ourselves,” said Nusaybah Muhammad referring to Karen Muhammad.

“There was a young sister probably in her early 20s with nearly nothing on. A little ‘band aid’ on as a dress. She comes up to Nusaybah putting her little top up and telling Nusaybah, ‘you are beautiful,’ ” said Don Enoch Muhammad as he held back tears. “That means that God is in the DNA of Black people. I don’t care what they have been reduced to, that the presence of God pulls on their nature. We just gotta show up,” he added.

“In essence, you lose nothing that God specifically came for to give us as a people that which we should have naturally had all along, right? You lose nothing when you commit yourself to what God has come to give us as our cultural expression,” added Sis. Nusaybah who emphatically thanked Mother Khadijah Farrakhan, wife of the Honorable Minister Louis Farrakhan, for being an example that she could emulate.  

“Mother Farrakhan is the standard of beauty, the standard of grace, and high civilization and culture. She started me on that trend of understanding the importance of the ministry of fashion especially in a world that says a woman is only judged by her figure, by her hair, the size of her behind and her breasts. And to come into our Nation and see really one of the most beautiful women in the world to me and the way that she has traditionally dressed throughout the years, over decades of me seeing that, in that moment, I felt I was channeling my inner Mother Farrakhan, especially as I wore one of her traditional signatures, which was her, as I call it, Mother Farrakhan crown.”

The Grammys were held at the MGM Grand Garden Arena in Las Vegas on earlier this year.

The post A standout among the stars appeared first on Final Call News.

At the 2022 Grammys held in Las Vegas earlier this year, D’Mile received the award for his contribution to Leave The Door Open by Silk Sonic, which he co-wrote and co-produced with Bruno Mars. The prior year, D’Mile received a Grammy for Song Of The Year for his work on what some describe as the modern “movement” song, I Can’t Breathe performed by H.E.R.

Although they shun the limelight, Medinah Entertainment, a company owned by Sean and Colin Muhammad who manage D’Mile are thankful to be part of D’Mile’s journey. 

“Allah (God) chose our young brother to make that type of history. He has an amazing talent and we are thankful to be able to help guide him from the background,” said Sean Muhammad, co-owner of Medinah Entertainment.  “It’s about a man’s life. A family’s life and a young man who has a gift from God that is being allowed to use his gift from God to move people forward in his way.”

In the 64-year history of the Grammys, only 10 songwriters have won Song Of The Year Grammy twice. But D’Mile is the only songwriter to win in two consecutive years. D’Mile, 37, also won an Academy Award for Best Original Song for co-writing the song Fight for You from the film Judas and the Black Messiah. 

Medinah Entertainment became D’Mile’s manager through a chance encounter at a music store when Colin Muhammad heard a young man playing the keyboard in a music store. He admired the man’s playing and asked him where he learned to play. The young man gave him the number to his teacher who happened to be Dernst Emile. Colin Muhammad became a student of Mr. Emile and as their relationship grew, Mr. Emile introduced Colin to his then 15-year-old son, D’Mile. Initially, the father, who’s had some bad experiences in the music industry, did not want this son involved in the industry.

Seeing the character of Colin Muhammad and because of his admiration of the Nation of Islam and the Honorable Minister Louis Farrakhan, explained Sean Muhammad, he told Colin: “I’m going to put my son’s life in your hands.” 

The two men took that responsibility very seriously. “Our job had always been to help to raise a boy to a man. First and foremost, more than music, it’s the mission because that’s just at the core of who we are anyway. It’s principles. It’s the way of life and that’s what we live in general,” he added. The two have been in D’Mile’s life for 22 years now, 19 of them as manager.

Medinah has made noise in the industry by connecting musical artists, producers, and engineers with the right people at the right time.

“Our thing was to get him in the studio with the artist versus sending tracks out to different labels,” he said.

—Toure Muhammad, Contributing Writer

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“He was a Quiet Storm artist.  I played his records during my old-school formats. His records are real love songs. The songs that have words that mean something.  You know them when you’re in love. You really know that you’re in love with somebody because every song means something.  The song starts meaning something very important to you.  That’s D.J. Rogers music,” said Mr. Delai.

D.J. Rogers hit the Billboard Hot 100 in 1975 with Say You Love Me, from his sophomore album It’s Good to Be Alive.  That song was covered by Natalie Cole in 1999.

“I was a complete fan of that song,” record industry executive Don Enoch Muhammad told The Final Call.  “I didn’t know what love was as an 11 year old but I had my mother buy me the album.”
Years later, Don Enoch Muhammad went to work for Motown Records and the label signed D.J. Rogers Jr.  “He and I became friends.  The first thing I said to him is that I’m an incredible fan of your father,” he recalled.

“More time passed, I was at Minister (Louis) Farrakhan’s National House receiving his guests and in walks D.J. Rogers,” he said referring to the Nation of Islam minister.  “I immediately knew who he was and after the welcome procedure, I introduced myself.  I told him that I had been a fan of his since childhood.  I told him I worked at Motown Records, we recently signed his son and we were friends.”

D.J. Rogers career began with his debut album for RCA Records, It’s Good to be Alive, released in 1975.  It rose to number 36 on the R & B charts.  Between 1975 and 1978 he released three more albums, but none gave him the success that his talent reflected.

He was a gifted and talented singer, song writer and multi-instrumentalist whose gifts were greater than his rewards.  D.J.’s major hit was Say You Love Me, his next hit was Love Brought Me Back which also reached the Billboard 100 in 1978. His last release was in 1979 called Trust Me.  

“He had a tremendous voice,” Luqman  Abdul Haqq formerly known as Kenny Gamble of Gamble and Huff Music told The Final Call.  “He was a unique artist.  He was a full artist, a writer, a singer and a performer.  I used to think he was a DJ because he had DJ in front of his name.  It will be a long time before there will be another D.J. Rogers,” he added. “He had an identifiable voice.  When you heard it, you knew it was him.”

On another occasion when D.J. Rogers visited his friend, Min.  Farrakhan, music enthusiast and Student Minister Jamil Muhammad was there. “There were a group of musicians and power hitters in the music industry at the Minister’s home. I was blessed to be there that night, so you know I was in heaven. When I saw D.J. Rogers standing in the waiting area, I kind of eased up behind him and gently sang in his ear, ‘One Tuesday evening alone, it brought me back,’ and he spun around on his heels, surprised to hear somebody sing one of his songs so many years later,” Jamil Muhammad told The Final Call.

“He turned around and looked at me. He said, ‘Man, what are you doing?’ I hugged him and we smiled. I said, ‘Mr. D.J. Rogers, thank you for music that gives life, that brings people up out of darkness.’ He hugged me again. He said, ‘Brother, thank you. That means so much.’”

Jamil Muhammad has fond memories of that dinner event. “I clearly remember D.J. Rogers saying, ‘Brother Minister, you have the gift of music, use it as a weapon against ignorance and hate.’ He said, ‘Use your weapon Brother Minister. Use it and help destroy hate and ignorance.’  D.J. Rogers was very much a believer in both music and the integrity and value of Minister Farrakhan. I love him for that if nothing else,” added Jamil Muhammad.

“I’m hurt that he won’t be producing anything new, but his existing repertoire is rich in the spirit, the energy and the power of Black music to lift, to create life where there was death and light where there was darkness.” 

That may have been the first time D.J. Rogers told the Minister to use his music as a weapon but not the last. “D.J. Rogers visited the Minister at the Farm and with him is Charles Veale, the Minister’s violin teacher.  The Minister is playing the violin,” reflected Don Enoch Muhammad.

“D.J. Rogers interrupts the Minister and says, ‘Excuse me, Brother Minister.  I have something to say; I don’t want you to put me out of your home once I say it.’ Of course, the Minister said that he wouldn’t do that.  D.J. Rogers says to the Minister; ‘David was a shepherd.  He was a warrior. He was a prophet.  He was a king and he was a musician.  God has given you a weapon  that you are not using,’” reflected Don Enoch Muhammad.

Those words impacted Minister Farrakhan, the analogy of being likened to David. “The first time the Minister was a dinner guest of the Most Honorable Elijah Muhammad he told the Minister very quietly, ‘You remind me of David’.  When D.J. Rogers says that he is like David, it resonated with the Minister. D.J. Rodgers was instrumental in getting the Minister to pick up his violin and play again,” said Don Enoch Muhammad.   “He also encouraged him to record the music project, Let’s Change the World.”

Minister Farrakhan followed that advice and worked for 14 years to create music with Grammy Award-winning legends like Chaka Khan, Stevie Wonder, Stephanie Mills, as well as Hip-Hop luminaries Rick Ross, Snoop Dogg, and Common.  The project was released in 2018.

D.J. Rogers entered the music scene when there were many great artists.  While Say You Love Me is his most recognizable hit, D.J. often wondered if the labels were promoting his music properly to help him achieve success.

“Record labels have ‘what have you done for me lately’ attitude,” radio veteran Bob Law told The Final Call.  “They didn’t believe in an artist unless their music was happening.  They didn’t make the music happen.  Record labels don’t promote music as if they believe in the artist.  D.J. came when artists had to excel or fail.  Stevie Wonder and Donnie Hathaway, The Temptations and The Four Tops, The Spinners and The O’Jays, all were doing quite well,” said Mr. Law.

“However, some couldn’t sustain themselves.  Record labels didn’t even consider what they did in music.  They called it product. Record labels and promoters have always been criticized for having a tin ear.  They couldn’t hear a song and say, ‘that’s a great song’.  They hear a song and say, ‘let’s see how it does,’” he added.

“I only remember D.J. having one hit, Say You Love Me.  The next time I saw him he was preaching the funeral of Nick Ashford.”

The relationship between Minister Farrakhan and D.J. Rogers goes back to the late 1970s.

“I believe they met at an Operation PUSH event,” said Don Enoch Muhammad.  “During the transition after the departure of the Honorable Elijah Muhammad, the Minister was in New York with his cousin Al-Yasha Anderson and her husband Louis Small.  Whenever they would leave for the day, they would put on a D.J. Rogers album. One record in particular became a favorite of the Minister, No Need to Say Goodbye,” said Don Enoch Muhammad.
“That song really moves the Minister.  It makes him happy, and a few moments later, he is crying.  That’s because during that time, around 1977, there was the pain and the emotion of the transition in the Nation of Islam.  D.J. Rogers was very important to the Minister from then up to his death.  His music was a comfort to the Minister during a very painful time.”

DeWayne Julius “D.J.” Rogers was born May 9, 1948, in Los Angeles. At presstime no funeral or memorial arrangements had been announced.

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