logo
Tennessee State University names James Sexton as interim band director

Tennessee State University names James Sexton as interim band director

Yahoo06-05-2025
Tennessee State University has named James Sexton as its new interim band director.
The historically Black, public university in Nashville announced the move in a May 6 news release. Sexton's new role is a promotion from his longtime position as assistant director of the Grammy-winning Aristocrat of Bands. Sexton said he counts it an honor to take on leadership of the marching band.
"I am committed to upholding its proud traditions while enhancing the dynamic performances that define the AOB," Sexton said in the release.
James Sexton leads the Aristocrat of Bands during the Tennessee State University Homecoming parade on Saturday, Oct. 14, 2023 in Nashville, Tenn.
The university also named Dwight Pope as its new director of cheer and dance, where he will oversee the Sophisticated Ladies dance team.
"His extensive experience will be invaluable in guiding the continued success and elevation of TSU's dance program while continuing to elevate the cheer team," the release said.
The news comes after TSU interim President Dwayne Tucker removed previous band director Reggie McDonald from his position in January. Tucker said the school launched an investigation into McDonald's travel requestions and advances and his compliance with TSU policies and procedures. McDonald, who worked for TSU for 23 years, was ultimately fired from his role as band director but remains on administrative leave with full pay pending completion of due process for tenured faculty.
The news of Sexton and Pope's appointments was met with excitement by university leaders.
"Both the Aristocrat of Bands and TSU Sophisticated Ladies boasts a long and distinguished history of performances," Vice President for Student Affairs Bridgett Golman said in the release. "They are each a significant source of pride for Tennessee State University and the broader Nashville community."
A search for a permanent band director is underway. More information on the Aristocrat of Bands can be found at TNstate.edu/music/aristocrats.
Rachel Wegner covers education and children's issues for The Tennessean. Got a story you think she should hear? Reach her via email at RAwegner@tennessean.com. You can also find her on Twitter or Bluesky under the handle RachelAnnWegner.
This story has been updated to add a photo.
This article originally appeared on Nashville Tennessean: Tennessee State University: James Sexton named interim band director
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Diddy Found Guilty On Two Counts & Acquitted Of Most Serious Charges. What's Next?
Diddy Found Guilty On Two Counts & Acquitted Of Most Serious Charges. What's Next?

Refinery29

timean hour ago

  • Refinery29

Diddy Found Guilty On Two Counts & Acquitted Of Most Serious Charges. What's Next?

Sean 'Diddy' Combs could walk out of jail as early as today after being found guilty on two of the five charges he faced in his federal case, skirting the allegations tied to racketeering and sex trafficking. Just before 10:30 a.m. Wednesday and after three days of deliberation, a jury of eight men and four women found Combs guilty of violating the Mann Act, a federal law that prohibits the transportation of individuals across state lines for the purpose of prostitution. The two counts stemmed from his former relationships with Cassandra 'Cassie' Ventura and an anonymous woman who went by 'Jane.' The verdict is already being criticised by advocates and observers as a setback for the dozens of women who came forward, sharing deeply personal accounts in pursuit of accountability. While the jury did not convict on the most serious charges, many see the partial verdict as a signal that power and proximity to fame can still sway outcomes, especially when the accused holds cultural influence. For some survivors, it raises hard questions about how the system treats allegations of abuse, and whether justice is equally accessible to those who speak out, like Ventura, Mia — a former employee who was identified by a pseudonym — and 'Jane.' Ventura's lawyer, Douglas H. Wigdor, shared a statement with Variety in response to the verdict. "Although the jury did not find Combs guilty of sex trafficking Cassie beyond a reasonable doubt, she paved the way for a jury to find him guilty of transportation to engage in prostitution,' Wigdor said. 'By coming forward with her experience, Cassie has left an indelible mark on both the entertainment industry and the fight for justice. We must repeat — with no reservation — that we believe and support our client who showed exemplary courage throughout this trial. She displayed unquestionable strength and brought attention to the realities of powerful men in our orbit and the misconduct that has persisted for decades without repercussion." On Tuesday, the jury submitted a verdict in which they were undecided on the racketeering count, which accused him of running a criminal enterprise powered by fear, violence and control, resulting in a hung jury, prompting the judge to send jurors back for further deliberation. Upon hearing the verdict, Combs' defence attorney, Marc Agnifilo, petitioned the U.S. District Judge Arun Subramanian to release Combs, noting that his present family members could sign a bond. Prosecutors objected to the hip-hop mogul walking free, arguing that he still faces up to 20 years in prison and could be a flight risk. The judge is expected to rule on the matter soon. ' The verdict is already being criticised by advocates and observers as a setback for the dozens of women who came forward, sharing deeply personal accounts in pursuit of accountability. ' When the trial began, the three-time Grammy winner pleaded not guilty to five charges: one count of racketeering conspiracy, two counts of sex trafficking and two counts of transportation to engage in prostitution. From the beginning, prosecution argued that Combs, 55, was the centre of a criminal enterprise in which he allegedly 'used power, violence and fear to get what he wanted,' including coercing women into sex, often under the influence of drugs, and maintaining control through manipulation and assault. But the defence lawyers convinced the jury otherwise. They leaned heavily on Combs' text messages with Cassie and Jane to prove that he was engaged in a consensual swinger lifestyle that involved drug usage and domestic abuse. During the trial, the defence never called a single witness. Combs did not take the stand to testify. Ahead of closing arguments, he told the judge that he was doing an 'excellent job.' Combs has been held at the Metropolitan Detention Center in Brooklyn since being arrested on Sept. 16, 2024, by U.S. Homeland Security investigators in Manhattan. For seven weeks, the jury listened to 34 witness testimonies, including ex-girlfriends, sex workers, former employees and others. Especially damning remarks came from Ventura, who testified she experienced drug-fueled sex marathons with multiple sex workers, physical abuse and manipulation during her nearly 11-year on and off relationship with the Bad Boy Records founder. Her testimony was followed by extended surveillance footage from a 2016 hotel showing Combs dragging and kicking Ventura in the hallway of the InterContinental Hotel. The video was critical evidence prosecution used to attempt to show that Combs did not allow Ventura to leave without his consent. Jurors were also shown footage of the drug-induced sex parties known throughout the trial as 'freak offs' — the name witnesses used for drug-induced sex parties allegedly organised by Combs. ' For some survivors, it raises hard questions about how the system treats allegations of abuse, and whether justice is equally accessible to those who speak out, like Ventura, Mia, and 'Jane' courageously did. ' Two other women who said they were sexually assaulted by Combs also took the stand: Mia said she was subject to hostile work environments and violence; 'Jane,' an unnamed woman who dated Combs from 2021 to 2024, also recounted violence and a pattern of unwanted sex involving male prostitutes that she tried to end. Former employee Capricorn Clark testified that Combs once kidnapped her and plotted to kill Scott 'Kid Cudi' Mescudi, who also took the stand to recount Combs breaking into his home and possibly being involved with setting his car on fire. Ahead of closing arguments, the prosecution dropped several charges, including attempted kidnapping, attempted arson, and aiding and abetting sex trafficking. They sent a letter to the judge stating they would not ask jurors to consider attempted kidnapping, attempted arson and aiding and abetting sex trafficking while deliberating in an effort to 'streamline' the jury instructions. Combs' family, including his children, were present while the foreperson read the verdict. Others, including Kanye West, attended during the duration of the trial in support as well. Though defence is likely to appeal the charges, Combs' troubles don't end with this trial. Along with a major blow to his career as a musician and entrepreneur, he's facing a significant number of civil suits with allegations ranging from sexual assault, drugging and sex trafficking. The latest was filed June 30 — while deliberations in his federal trial was underway — and obtained by USA Today in which an Orange County man accused Combs of drugging and raping him.

Column: Author's new creative outlet is writing songs, made into music via AI
Column: Author's new creative outlet is writing songs, made into music via AI

Chicago Tribune

timean hour ago

  • Chicago Tribune

Column: Author's new creative outlet is writing songs, made into music via AI

Roll over Stephen Sondheim, tell Chuck Berry the news: Champ Clark has gone into the music business. There is little that surprises me about this creative man, who has had a career that has included writing for People magazine for decades; acting on local stages; writing a one-man play about Marlon Brando's ill-fated son Christian that was performed at the Edinburgh Festival Fringe; writing in 2005 'Shuffling to Ignominy,' the first biography of Black film actor Lincoln Perry, known by the stage name as Stepin Fetchit; delivering singing telegrams and on and on. Most recently, he has been writing novels, creating four fine books with a protagonist named Drake Haynes, a slightly jaded former news reporter now writing an advice column and solving crimes. Clark reminded me that he has some musical background, that he was again taking accordion lessons and that he has seven of the instruments. He also has banjos and says, 'If I add bagpipes, I'd have a trifecta of the most hated musical instruments.' He admits to being 'a terrible musician, a terrible singer. But I am a decent songwriter.' He started writing songs, he says, 'About a dozen years ago when I fell into an unrequited love, which is a great impetus for songwriting. I've since written about 100 songs, though none won over the object of my affection.' His musical career recently came back to life and the reason is artificial intelligence. 'That was almost by accident,' he says. 'I had 15 friends, most from Chicago, help me out on my new album, performing the first 15 tracks recorded live, and then I ran out of friends and went to AI and started using that. 'It is a little scary, I will admit that, but I have decided to embrace it. I give my lyrics and just select the kind of feeling I want, what kind of style, what instruments,' he says. 'Do I want country? Broadway? Rock? And then in an hour or so, I will be delivered basically what I heard in my head.' We talked about the questions surrounding artificial intelligence, and about creating music in a way that takes musicians out of the creative process (except in the way live musicians' work gets sampled and copied by AI websites). He tells me that there are a number of source sites he has used. 'Some have free trials and even when they do charge, it's only a few dollars and you can keep going, revising until you get the sound you want,' he says. 'Is it cheating? Are the results too slick and not human enough? Is it ethical? Who knows? These are the things currently being debated about all uses of AI. What I do know is that AI is not going anywhere. It's here to stay. So we might as well get used to it and learn how to properly and ethically use it. 'I believe I'm doing this with my songs. All the words and music are mine. They don't get changed. It's the performance of these that is AI, but carefully and thoroughly and creatively controlled by myself.' 'I've learned since completing the album that some folks object to the whole idea of the use of AI in music … and elsewhere. I get this. But for me, it's been a godsend. Now I can put down my words and basic melody on paper and, through careful thought and discernment, produce something that reflects what I have in my head … even at three in the morning.' On his latest album, 'Chicory,' there are 35 songs and I was especially taken with 'Last Night (Back in Chicago)' because it arises from his affection for the city in which he spent many of his formative years. He has lived in Santa Monica, California, for three decades, but was 16 when he moved to our area from the suburbs of New York City in the summer of 1969 with his parents and three sisters. The family settled in Kenilworth, that fashionable suburb befitting his father's position as the new chief of Time magazine's Chicago bureau. His father was also named Champ. It's a family name, passed down with variations from his great-grandfather, James Beauchamp Clark, who was speaker of the United States House of Representatives from 1911 to 1919, and his grandfather, Bennett Champ Clark, who was a U.S. senator from Missouri. After a couple of relatively uneventful years at New Trier High School, he spent a semester at Ripon College in Wisconsin before coming home and working as a dishwasher, Christmas tree salesman and bookstore clerk. He studied dance. He taught an after-school program and developed a filmmaking program for kids. He was an artist-in-residence at the Art Institute and also made a living as a house cleaner, artist model, waiter and bartender. He worked for a summer with Cirque du Soleil around the same time he started working in the offices of the People magazine bureau here. He then began to act on the stages of various local companies and was for seven years an ensemble member of Center Theater. He got some good reviews and some not-so-good reviews. He fell in love with a woman. They got married and, after a couple of years, decided to move to California so he could try to make it as an actor. He became a father instead and worked as a reporter and writer for People magazine's Los Angeles bureau. He and his wife divorced and, since being laid off by People a decade ago, he has been freelancing, exploring whatever creative urge strikes. His daughter just got married. His music, he knows, is unlikely to make him rich. 'The songs are meant, of course, to entertain listeners,' he says. 'But maybe they might attract recording artists, and maybe one of them will want to record a song of mine. Making tapes and sending them to artists I admire would be a much harder road.'

At the Peabody Essex Museum, tracking the American Experiment through more than two centuries of art
At the Peabody Essex Museum, tracking the American Experiment through more than two centuries of art

Boston Globe

timean hour ago

  • Boston Globe

At the Peabody Essex Museum, tracking the American Experiment through more than two centuries of art

SALEM — 'Making History,' the immodest title of a somewhat more modest exhibition newly opened at the Peabody Essex Museum, promises much and delivers some of it. Gleaned from the considerable collection of the Pennsylvania Academy of Fine Arts are 86 works by American artists across eras and generations, some wildly famous and many not at all so. What's more American than make or break? Past the marquee names — Winslow Homer, Alice Neel, Georgia O'Keeffe, Andrew Wyeth, Stuart Davis — a theme emerges; or should I say, is driven home? 'Making America' isn't subtle and can feel simplistic in its corrective effort to wedge neglected branches of American art history into a canon that's still too narrow. Even so, it's a worthy cause, especially this weekend, as America looks at itself and tries to decide if it likes what it sees. 'Making History' is a reminder that the American Experiment is a forever-unfinished work in progress, and offers a broader base to build on. PAFA, in Philadephia, has its own story to tell, too. Established in 1805, it was one of the first academies to admit women and Black artists. 'Making art is a process of making history,' a block of text on the wall proclaims; in national mythmaking, artists matter. 'Making History,' with fewer than 100 pieces, can't offer much more than a skim of a complex and fractious national narrative still being fought over — and maybe never more than right now — but it's a meaningful one. Advertisement Horace Pippin, 'John Brown Going to His Hanging,' 1942. Pennsylvania Academy of the Fine Arts, Philadelphia In the first gallery, competing visions of an uneasy country rub up against each other: Benjamin West's 'Penn's Treaty with the Indians,' 1771–72, a shining vision of revisionist history — colonists kneeling before their Indigenous hosts in gratitude and respect — shares space with Horace Pippin's 'John Brown Going to His Hanging,' 1942, and Alice Neel's 'Investigation of Poverty at the Russell Sage Foundation,' 1933. Advertisement Myth, meet reality: West's beatific scene was painted a century after the British colonist William Penn's Alice Neel, 'Investigation of Poverty at the Russell Sage Foundation,' 1933. Pennsylvania Academy of the Fine Arts, Philadelphia. © The Estate of Alice Neel, Courtesy of The Estate of Alice Neel and David Zwirner The painting's golden glow further tarnishes against its gallery mates. Neel's, a dun and gloomy scene of Depression-era suffering — the woman at the frame's center, Neel wrote, was living in an overturned car in New York with her seven children — is an unflinching document of urban poverty. Pippin's, dense, claustrophobic and bleak, depicts the final moments of the firebrand abolitionist John Brown, who tried to mount an anti-enslavement revolt in 1859. Pippin, who was Black, was also self-taught, making his inclusion in the esteemed Academy collection all the more poignant. Painters like West have long been pillars of the canon; for generations, they held it up on their own. Recent years have seen a broader, more enlightened view begin to inflect its standard fare. Examples are many and close at hand, from the Advertisement Charles Willson Peale, 'The Artist in His Museum,' 1822. Pennsylvania Academy of the Fine Arts, Philadelphia That display is just downstairs, and withers 'Making History' a little by comparison; fuller and more deliberate, the stories it unpacks are a model of what a museum collection should look like in this fractious moment. 'Making History,' as a traveling show, feels more general and rootless, because it is. And though it can feel like supplementary reading, there's a richness not to be ignored. Mid-exhibition, it labors a little; Charles Willson Peale's 'The Artist in His Museum,' 1822, a self-portrait of the PAFA founder literally raising a curtain on the many wonders of the collection he's assembled, is a gesture of self-aggrandizing pride. It lifts the veil, if you'll pardon the pun, on early museum-making as a practice of pilfering, rounding up exotic bits from far-flung cultures deemed as primitive as a gesture of dominance and ownership — critical for a young nation's sense of itself. I would have liked to see that explored — indeed, the exhibition is begging for it — but Peale's self-portrait is paired with a 1977 self-portait by Joan Brown, same-scaled and similarly self-declarative, which makes another very valid point about the exclusion of women from the American canon. Barkley L. Hendricks, 'J. S. B. III,' 1968; and Gilbert Stuart, 'George Washington (The Lansdowne Portrait),' 1796. Pennsylvania Academy of the Fine Arts, Philadelphia But the show comes to life in other matchups: Gilbert Stuart's iconic 'George Washington (The Lansdowne Portrait),' 1796, sharing space with portraits by contemporary Black painters James Brantley and Barkley Hendricks. There are so many ways to go with this — Washington, paragon of freedom, crafting a nation of freedom denied to both men's ancestors, for one — but let's stick with the pictures. Stuart's portrait has the sheen of stiff aristocratic hagiography — Thomas Gainsborough and the British Royals, say — with the ornamentation of Republican Rome, the classical democratic ideal. Brantley paints himself in shadow — 'Brother James,' 1968 — wrapped in a grimy American flag; he had just returned from the war in Vietnam, waged in the name of a freedom far from ideal. Hendricks, meanwhile, is just cool, cool, cool — his 'J. S. B. III,' 1968, has a relaxed and confident swagger, an avatar for the frank depictions of self-possessed Black subjects to which he devoted his painting life. The counterpoint he makes with Washington is just as powerful as Brantley's: He meets fusty myth with the indomitable joy of his own now. Advertisement The show is never quite so socially powerful and vibrant as it is right here — its apex, come too soon. From there, we follow what's essentially a long denouement, through old favorites and themes of quotidian American life and on to the landscape — inseparable, city or countryside, from the nation's self-imagining. Myth pervades here, too — Homer's beloved 'Fox Hunt,' 1893, with its red fox struggling through snow to evade hungry crows, an allegory of the elemental cycle of life and death — and nudges up against the anxiety of modern progress. Nearby, Childe Hassam's 'The Hovel and the Skyscraper,' 1904, captures rapid, inexorable change: From his apartment window on the Upper West Side, construction scaffolding frames a riding stable in the near distance — soon, you can guess, not to be. Advertisement I would have loved to linger long and more deeply on this theme, bound up as it is in every aspect of American history and art. There's a continuum hinted at, but unexplored: From the Hudson River School with More friction means more truth, not to mention a better story. 'Making History' hints at frictions, but mostly defers. Its deference is largely in favor of beauty, I'll give it that. I'll never turn down a chance to see the soft focus of an Arthur Dove landscape, more feeling than fact, and his 'Naples Yellow Morning,' 1935, loose and dreamy, is pure pleasure. But pleasure is far too easy, and especially right now. History is being rewritten as we speak. Don't look away. MAKING HISTORY: 200 YEARS OF AMERICAN ART FROM THE PENNSYLVANIA ACADEMY OF THE FINE ARTS At Peabody Essex Museum, 161 Essex St., Salem. Through Sept. 21. 978-745-9500, Murray Whyte can be reached at

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store