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Our newsletter hand-delivers the best bits to your inbox. Sign up to unlock our digital magazines and also receive the latest news, events, offers and partner promotions. In an era before the internet, July 20, , at the Troubadour in L. It chimed with events from two weeks earlier: the police shootings of African-American citizens Alton Sterling and Philando Castile, incidents that galvanized the movement Black Lives Matter.
A straight-shooting New Yorker, she threw her hands at her piano while standing upright. Her hair towered Cleopatra-style, her face was bare—revealing every bead of sweat—and she beamed and performed with carnal sensuality like her life depended upon it. You have to stand to play this type of music.
In the middle of getting into more heady descriptions, Keys pauses, graciously. But can you give me five minutes? I need to run in and get my son out of his class. Because the year-old is, in short, busy as hell. It makes sense that organizing a time to speak with her proved nearly impossible.
Fifteen minutes after leaving the phone off the hook, her eldest son, Egypt, is in the car sounding gleeful. I want to know more about that song that blew me away in L. The theme is about freeing yourself from chains. I pose that the sonic similarities are a wink at the journey Keys has endured to get to where she is now. She gathers her thoughts. It sends me out the window every time I sing it. If we just look at each other and celebrate that, we can meet each other where we are.
How dope is that? Big topics, indeed. All of us are battling wars: sexism, ageism, racism. The intolerance is not acceptable. The way to propel our country forward is not by building walls. Anyone that thinks that is out of their mind. Photograph: Zoltan Tombor.
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