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Fox News
13 hours ago
- Entertainment
- Fox News
Ed Sullivan, an unsung civil rights champion
When I think of Ed Sullivan, what flashes first to my mind is Feb. 9, 1964, as I sat watching with my parents on a large black-and-white TV – as we all did in those days – and he gave a wave to introduce the Beatles. I even scribbled it down in my journal, with a small sketch of a long-haired dude singing "I Wanna Hold Your Hand." But it turns out that the host – who drew as many as 50 million viewers on Sunday nights, which will never be repeated – did something far, far more important than launch John, Paul, George and Ringo in America. The Daily News columnist was a civil rights leader, and an aggressive one at that. This was no secret to those who closely followed Sullivan, and especially in the Black community. But a new Netflix documentary, "Sunday Best," filled with riveting archival footage, makes clear how many backstage battles Sullivan had to fight, including with his own network, and how CBS acted shamefully. Even the sainted Edward R. Murrow praised Sullivan in an interview for his celebrity show. Black Americans in those years rarely appeared on television, except in small, buffoonish roles, leaving aside Amos 'n Andy in blackface. That didn't change until 1965, when a pre-scandal Bill Cosby co-starred in "I Spy." CBS suits were right that Sullivan could lose viewers in the South, which was then a hotbed of racism. The KKK marched openly. It was a Ku Klux Klan organizer who wrote George Wallace's infamous line, "Segregation now, segregation tomorrow, segregation forever!" Sure, we know all about Rosa Parks, who wouldn't give up her seat on the bus, the use of firehoses against Black protesters, the brutal beatings on Bloody Sunday in Selma. But seeing it from this perspective is a heart-stopping reminder of how much stark bigotry stained the country. Sullivan, who grew up poor in Harlem when it was largely Italian and Jewish, was covering a football game as sports editor of the New York Evening Graphic in 1929. It was NYU versus the University of Georgia, to be played in New York. And the Georgians had a demand. "I was sickened to read NYU's agreement to bench a Negro player for the entire game…If a New York university allows the Mason Dixon Line to be erected in the center of its playing field," Sullivan wrote, "then that university should disband its football season for all time." So after launching his show in 1948, at the dawn of television, what was Sullivan's great sin? He put Black entertainers on the air. We're talking Harry Belafonte, Nat King Cole, James Brown, Gladys Knight, Bill "Bojangles" Robinson, Diana Ross, Bo Diddley, a child prodigy named Stevie Wonder – the superstars of their era. Behind the scenes, CBS's conduct was pathetic. Executives urged Sullivan not to shake hands with the Black entertainers, not to put his arm around them, to keep his distance. He basically ignored them. He took heat from Ford Lincoln dealers for kissing Pearl Bailey on the cheek. The host was a powerful guy. He had been on the cover of Time in 1955. After Sullivan announced an upcoming appearance by Belafonte, CBS canceled him because of his pro-Communist views. Sullivan met with the left-wing activist and got him put back on. As the biggest star on television, he could get away with such defiance. As noted, Diahann Carroll, who appeared on the show nine times, said: "For those of us who were actors, he introduced us to each other. I don't think he understood what he was doing as exceptional, he was simply doing what was in his heart." Sullivan also took on one of the most racist politicians in our post-Civil War history, Herman Talmadge, the governor of Georgia. "We intend to maintain segregation one way or another," Talmadge declared. In pushing an advertising boycott, Talmadge said: "I know that I shall not contribute money by purchasing a product from any man who is contributing to the integration and degradation and the mongrelization of the white race." Sullivan responded in his column – there's a screenshot – that "the statements of Gov Talmadge that Negro performers should be barred from TV shows on which White performers appear is both stupid and vicious." Talmadge was later elected to the Senate and was embraced by the Washington establishment. It was said that he modified his views on race. What he actually did was try to politically escape the shameful conduct that the Democratic Party could no longer defend. He had company: Strom Thurmond was a staunch segregationist who filibustered the 1957 Civil Rights Act for more than 24 hours; he too later "modified" his views. In the late 1950s, at a meeting of CBS affiliates, several managers of Southern stations complained that the host was booking too many Black performers. An angry Sullivan said the stations were under no obligation to carry his show. No one canceled. CBS canceled Sullivan's show in 1971 because his ratings were declining and his audience was skewing older. On that last show, the guest was Gladys Knight and the Pips. He was so angry that he either refused to do a farewell show or was barred by CBS for doing so, depending on the account. It was the longest-running program on television. Look, Sullivan's career was framed in the best possible light. The producer is Margo Precht Speciale, his granddaughter. So we should take that into account before nominating him for sainthood. But it's fair to say the truth was hidden in plain sight. Ed Sullivan was a genuine civil rights hero. And that was news to me. A little aside: The year after the Beatles debut, a friend's parents took us to what is now the Ed Sullivan Theater to see a top-rated rock group, Freddie and the Dreamers, perform their hit "I'm Telling You Now," complete with a weird stiff-legged dance. Hey, I didn't mind sitting through all the variety acts for that.
Time Magazine
21-07-2025
- Entertainment
- Time Magazine
The True Story Behind the 'Sunday Best'
On July 21, Netflix debuted Sunday Best, a documentary about The Ed Sullivan Show—the longest-running variety show in U.S. broadcast history—and how it featured Black American performers at a time when discrimination was still rampant in the U.S. in the 1950s and 1960s. Though the U.S. Supreme Court ruled segregated schools unconstitutional in 1954, and the Civil Rights Act was passed in 1964, the documentary highlights how racism never really went away. The Ed Sullivan Show, which aired from 1948 to 1971 and boasted between 35 and 50 million viewers each Sunday night, was one of the first mainstream stages to showcase Black talent—as the artists wanted to be seen. Viewers will see snippets of past performances on the show by Harry Belafonte, Stevie Wonder, Nat King Cole, Nina Simone, James Brown, The Jackson 5, and The Supremes. In the documentary, entertainment greats like Belafonte and Smokey Robinson talk about the influence of Sullivan's show, and through a recreation of Ed Sullivan's voice, Sunday Best features Sullivan's comments on racial issues over the years, verbatim from his letters, articles, and columns. 'He was a door opener, especially for Black artists,' says Otis Williams, lead singer of The Temptations. 'This man opened up his door and let artists come on his show to express and be seen.' Here's a look at how the doc dives into Sullivan's modern (for his time) worldview, featuring the Black entertainers who talk about how much it meant to be on his Sunday night show. A progressive streak Sunday Best argues that one of the reasons that Sullivan was so open-minded was because he grew up poor in Harlem, at a time when it had a sizable Irish and Jewish population. The Irish had a history of facing discrimination, so Sullivan was more attuned to the mistreatment of Black people in America. As a high schooler in Port Chester, N.Y., Sullivan played baseball and regularly encountered teams with Black players, so he believed in integration from an early age. As Sullivan explains in a TV interview, 'When we played baseball [at] Port Chester High School, there were Negroes in the league, and some fellas actually said they would not play against a Negro. I always resented them very deeply because the Irish had gone through that when they first came…My parents knew these things were wrong, and they were not just broad-minded, but sensible.' In fact, during his first career as a journalist, he slammed New York University's decision to bench a Black player during a game against the University of Georgia in a column he wrote as sports editor for the New York Evening Graphic. 'I was sickened to read NYU's agreement to bench a negro player for the entire game,' he wrote in 1929. 'What a shameful state of affairs this is…If a New York City university allows the Mason-Dixon line to be erected in the center of its playing field, then that university should disband its football [team] for all time.' And he didn't hold back when he started hosting a variety TV show in 1948—renamed The Ed Sullivan Show in 1955. 'We've been called upon to search our hearts and souls of hatred, cleanse them of a natural hate and fear for our neighbors…Bigotry and intolerance, racial or religious hate and discrimination are spiritual acts of treason.' He also called upon Americans to 'join in this great crusade for our brotherhood' for a 'united America is the sole remaining hope for our shattered world.' Door opener In Sunday Best, singer Dionne Warwick says Sullivan 'wanted his audience to understand that there was a lot of talent out there that needed exposure.' Belafonte, who appeared on the Ed Sullivan show 10 times, says Sullivan 'pushed the envelope as far as the envelope could be pushed.' He says CBS network executives almost stopped him from first performing on the show in 1953 because of his left-wing politics, and Sullivan called him to tell him he might have to cancel the appearance. But Sullivan was the one who convinced the network to let the show go on. 'He gave me a chance to talk to him about acts considered rebellious,' Belafonte explains. 'Those who weren't happy about giving us the platform with us about politics…Ed took the position, 'let's test it, and see where it would go.'' Ed Sullivan still had Nat King Cole on the show in May 1956, a month after the entertainer was attacked in Birmingham, Alabama. He had the child prodigy Stevie Wonder on in 1964 when he was only 13 years old. Members of the Jackson 5 talked about how their 1969 appearance helped launch them to a new level of fame. 'To Motown, The Ed Sullivan Show was the ultimate,' Berry Gordy, Motown Records founder, says in the doc. 'If it was a hot act, Ed Sullivan had them. It was American culture.' And though Sullivan died in 1974 at the age of 73, music can still bring people together. As Robinson puts it, 'Music is the international language. It's the barrier breaker.'
Boston Globe
18-07-2025
- Entertainment
- Boston Globe
Ed Sullivan emerges as a civil rights pioneer in ‘Sunday Best'
It's a lively pop history lesson, and a bittersweet one. Jenkins, a stellar journalist and filmmaker, erudite, comically barbed pop culture and race riff 'ego trip's Big Book of Racism,' he described himself to me as 'a big, scary Black man.' His other documentaries include the hip-hop fashion study 'Fresh Dressed' and 'Louis Armstrong's Black & Blues,' which, like 'Sunday Best,' looks at an establishment figure whose actions were more progressive than they may have seemed during his lifetime. Armstrong is among the artists we see performing on 'The Ed Sullivan Show' and its predecessor, 'Toast of the Town.' So are (deep breath) Ike and Tina Turner, Nat King Cole, Nina Simone, Gladys Knight and the Pips, James Brown, Jackie Wilson, Ella Fitzgerald … you get the picture. Sullivan famously had Elvis (in 1956 and 1957), and the Beatles, in 1964 and 1965. But he also had all of the above, and many more. Advertisement Every Sunday night on CBS from 1948 to 1971 Sullivan booked and championed artists he admired, regardless of color. This was a big deal, especially in the '40s and the '50s, but even into the '60s, when 'The Ed Sullivan Show' was sharing airspace with news footage of fire hoses and police dogs assailing civil rights protesters. As the doc explains, Sullivan got heat from CBS and from his major sponsor, Lincoln-Mercury, for his color-blind booking. Lincoln-Mercury dropped him in 1962; the company never came out and pinned the decision on Southern viewers' objection to Sullivan's booking, but that clearly played a part. Segregationists railed against Sullivan, who had the temerity to challenge notions of white supremacy. The doc also traces Sullivan's early life, beginning with his childhood in Harlem (then largely Irish and Jewish), where he developed a healthy distrust of racism. 'Sunday Best' leans into performance footage, which is a very good thing. Try not to get chills watching a 13-year-old Stevie Wonder blazing through the harmonica parts of 'Fingertips,' or the Jackson 5, with a pipsqueak Michael Jackson up front, jamming through 'The Love You Save.' Jenkins makes the wise choice to let many of the songs keep playing over footage that diverges from performance. For instance, the music from an early James Brown appearance keeps playing as we follow the story of how a young Sullivan, as a New York sports columnist, laid into New York University for benching a star Black player for a home game against the University of Georgia. 'What a shameful state of affairs,' we hear Sullivan say as the text of his column appears on the screen. Advertisement How, you might ask, do we hear him say this? This brings us to the oddest feature of 'Sunday Best,' and it takes a little getting used to. As onscreen text tells us at the beginning of the doc, 'Ed Sullivan's voice has been recreated in select portions of this film. His words have been taken verbatim from thousands of columns, articles and letters he wrote throughout his life.' It's a strange sensation, hearing a voice we know only from its public utterances speaking in more intimate tones, and how you respond probably depends on your feelings about the age of no-limits AI. The whole thing has a bit of a bringing-out-the-dead vibe. It bothered me at first, but before long I accepted it as part of the film's general landscape. It's an intriguing way to go right to the source, and it cuts down on the wall-to-wall talking head factor that drives so many documentaries. 'Sunday Best' can get dangerously close to anointing its subject as Saint Ed. The film has a single-minded argument to make, and it's not terribly interested in painting a warts-and-all portrait. But it makes that argument well, and with a head-nodding beat. The Motown connection is a sort of capstone for the whole enterprise; as we hear testimonials from Robinson and Motown founder Berry Gordy, still alive and kicking at 95, we realize that the label was tailor-made for Sullivan's mission of presenting Black artists to as many people as possible. It seems some civil rights trailblazers come in unlikely packages. Advertisement SUNDAY BEST Directed by Sacha Jenkins. On Netflix starting Monday. 90 minutes.
IOL News
01-07-2025
- Entertainment
- IOL News
Bongiwe Madela's musical odyssey: from church choir to chart-topping star
Bongiwe Madela is not just another artist in the gospel genre; she is a pioneering voice that appeals to both traditional gospel aficionados and a younger generation. Image: Supplied In a remarkable era for gospel music, female artists in South Africa are leaving an indelible mark that echoes far beyond the church walls. Their powerful ballads and uplifting worship anthems are not merely filling airwaves; they are shaping the contemporary soundscape of faith-based music as never before. These talented women are breaking barriers, leading worship, headlining tours and creating a renewed sense of connection for audiences across the nation. One shining star in this vibrant scene is Bongiwe Madela, a gifted singer and songwriter hailing from Katlehong, Gauteng. Madela's journey began with a Music Performance degree, where she cultivated her musical talents as a backing vocalist for several prominent South African artists, including Dr Tumi and Collen Maluleke. Her skills ultimately found a larger platform when she joined Joyous Celebration, an internationally acclaimed gospel group, three years ago. Her transition from supporting roles to a leading figure has been marked by determination and a lifelong dream of creating her own music. 'It has always been a dream of mine to create my own music and I've always had the gift of songwriting,' she recalled. 'It was just a matter of time.' Madela's rise in the industry was further marked by her powerful representation of Africa on BET's "Sunday Best" in 2019. She shared the stage with luminaries like VaShawn Mitchell, Kirk Franklin and Kelly Price, showcasing her talent to an international audience. Since then, her discography has expanded, with multiple songs now available on various digital platforms, capturing the hearts of listeners with her unique sound and meaningful lyrics. A significant milestone in her career came in June 2024, when Madela held her first live concert at the House of Treasures Ministries in Johannesburg. The concert was not just a performance but an authentic expression of faith that translated into a subsequent release of songs recorded during the event. One standout track, 'Konke Kimi', was launched as a single on September 20, further solidifying her position as a formidable artist. Bongiwe Madela is not just another artist in the gospel genre; she is a pioneering voice that appeals to both traditional gospel aficionados and a younger generation. Image: 98eight In a conversation with "Independent Media Lifestyle", Madela reflected on her inspirations, citing gospel legends like Rebecca Malope and Ntokozo Mbambo as significant influences. 'The amazing women who've made a great impact in the South African gospel music industry have moulded me into the musician I am today,' she asserted passionately. With an impressive streaming record across digital platforms, Madela is not just another artist in the gospel genre; she is a pioneering voice that appeals to both traditional gospel aficionados and a younger generation seeking a deeper spiritual connection through music. Her latest EP, 'The Walk', has been met with acclaim, and her live performances exude both skill and anointing, making her one of the most exciting new talents to emerge in recent years. 'The Walk' is an extension of her previous work, 'The Wait', which explored themes of faith and patience. 'This one is about walking with the Lord,' she explained, indicative of her deep spiritual reflection and commitment to her faith. Madela's recent singles, including 'Konke Kimi' and 'Umelusi', have set the stage for this new project. When asked about the inspiration behind her latest works, she revealed, 'My walk with Christ. Choosing to follow Him and surrendering to His will.' As her influence grows, Madela has earned a nomination for Best Newcomer at the 2025 INGOMA Awards (Independent National Gospel Music Awards), an honour that took her by surprise and filled her with excitement. 'It means growth,' she said, reflecting on what winning would signify, especially as a burgeoning woman in the industry. 'It would mean all things are possible if you believe and put in the work.' The industry is indeed evolving, though Madela noted that this transformation is not solely about advancing women in the music industry. 'The industry is changing totally and opening for everyone,' she clarified. As she continues to carve her niche, she expressed a desire for collaboration, mentioning her dream to work with Ntokozo Mbambo, an artist she admires deeply. Looking ahead, Madela aspires for her music to reach global audiences, determined to establish herself as a worldwide gospel artist. 'For 2025, I hope to grow more as a child of God and deepen my knowledge of Him,' she shared, grounded yet ambitious. Her journey is one of unwavering faith, passion and an impactful legacy that will inspire future generations in the Gospel music sphere. ∎ 'The Walk' EP is a confident, well-balanced journey through worship and reflection. Standouts like 'Busa' and 'Ngisebenzise' bring dynamic and emotional peaks, while 'uMusa' and 'Thando' showcase vulnerability and grace. The production is clean and consistent, though a couple of tracks could benefit from deeper musical layering. Rating: 4/5
Wales Online
03-06-2025
- Business
- Wales Online
A sandwich shop with self-service crisp station that'll get you excited about lunch opens in Cardiff this week
A sandwich shop with self-service crisp station that'll get you excited about lunch opens in Cardiff this week Looking for a new lunch spot in Cardiff? This is just the spot Square + Fair is open in Cardiff now Cardiff is bursting at the seams with places to eat for lunch, from the amazing Cardiff market to the new Sri Lankan food stall Ceylan M8 on Penarth Road to the sandwich shop Fresh, which has queues winding out the door. Now, there is a new option to pick, and it is bang opposite Fresh in the Royal Arcade. Square + Fair is a new sandwich shop and offers up chunky focaccia sandwiches with fillings such as The Notorious PIG (pulled sticky cola pork), What the Cluck (shredded roast chicken with truffle cream cheese) and Sunday Best (roast Welsh beef with a gravy dipping tub).. Opening for the first time on Tuesday, June 3 not only do Square + Fair serve big sandwiches, they also offer a crisp option you may have not come across before. The cafe is home to a crisp station where you serve yourself plain crisps, add in the flavouring of your choice which includes options like chip shop curry, doner kebab, and southern fried chicken, shake, and away you go. WalesOnline reporter Stephanie Colderick, visits the newly opened sandwich shop, Square and Fair, Royal Arcade, Cardiff. Pic by Rob Browne Inside the new lunch spot is a sleek and modern aesthetic, perfect for any Instagram pics, with funky art on the walls, exposed brickwork, and fake plants hanging from the ceiling. The self-servic crisp station, which is sure to be popular (Image: WalesOnline/Rob Browne ) Article continues below Neon signs reading "crisp me up before you go go" decorate the walls and the top of the menu says "Yes, Cardiff! You Alrigh' or Wha'" adding a cheeky and cheerful feel to the place. There is mixture of table and bench seating, with stools to perch on by the window where you can happily watch the coming and goings of the Royal Arcade. For our first look I also popped down to try the sandwiches and bagged up a portion of crisps. We went down on opening morning, where there were already some customers waiting, to try out this new lunch spot. For £5.80 I had the Morning Square focaccia, a packet of crisps for £1.20, a homemade fruity water for £2.50 and a salted caramel brownie for £3.90. The sandwich was incredibly well stuffed (Image: WalesOnline/Rob Browne ) The Morning Square had overnight maple cured bacon, egg, spinach, tomato relish and also comes with cheese and it was massive and I felt fairy price for its size and quality also. The sandwich was crammed with breakfasty filling, packed and bulging out of the box I was given it in. The tomato relish was clearly handmade, this was no cheap ketchup, the bacon was thick and well cooked and the egg was light and airy, with an omelette like texture. Adding a nice hint of green and freshness was the spinach, making the sandwich feel healthier with the egg too, and it was the perfect way to start my morning. Inside it is sleek and modern (Image: WalesOnline/Rob Browne ) It was so big I actually gave the other half to my friend, after easily devouring the first half, already feeling full. The crisps are a really cool concept and it was a lot of fun getting to pick the flavour I wanted and shake them around the bag. There is new lunch option in Cardiff which shouldn't be missed (Image: WalesOnline/Rob Browne ) I opted for chip shop curry flavour and although slightly dubious, they are delicious. With a bit of kick, these crisps do taste just like curry sauce you get from Chippy Lane, mixing well with the potato taste of the crisps and are incredibly moreish. The coating did spread evenly over the crisps after a good shake and I will certainly be going back for more. I couldn't resist a sweet treat (Image: WalesOnline/Rob Browne ) The salted caramel brownie did not disappoint, it melted in the mouth, was perfectly gooey yet still held its shape, had a crunchy biscuit layer in the middle that added a nice texture and taste and a good hit of salted caramel. 10/10. Article continues below Washed down with the homemade fruity water that had orange, lime, strawberry, cucumber and blueberries in making for a refreshing yet not overpowering drink that feels healthy and good for you, this is the perfect new lunch spot. Square + Fair is now open in the Royal Arcade.
