THE PROTOTYPE: BETTY DAVIS LIT THE SPARK THAT IGNITED TODAY’S MUSIC INFERNO (Originally Published in iRockJazz)
Brooklyn, NY. Saturday, October 6, 2012. It’s 8:45pm just outside the doors of the Iris and B. Gerald Cantor Auditorium, located on the third floor of the Brooklyn Museum. Many people congregated there to witness a celebration of rare and innovative music. The auditorium was located on the third floor and in order to reach it, the concertgoers had to walk through an exhibit called Egypt Reborn: Art for Eternity, a long term gallery installation that presented priceless African relics. The walls are adorned with gold and reminders of an ancient time when the pharaohs and inhabitants of the North African country were the envy of the globe, thanks to their innovative architecture, imagery and regality.
Each and every one of those who gazed upon the gallery had no choice but to feel fascination and inspiration from these tombs that encased kings. The women were immortalized in these alabaster carvings and sculptures that presented them as both nurtures and rulers. Finally, when the eager souls filled the hall’s 415 seats, they were ready to bask in another priceless African artifact the music of one Betty Davis.
Conceived by Brooklyn singer Nucomme Davis-Walker, “Betty’s Story” was a multimedia tribute to the under-championed singer/songwriter who had used funk to empower and liberate her listeners and herself. “Betty’s Story” was a feast to the senses, which featured an aural narration of her career, video collages of news clippings and album covers, a raucous five-piece band and alluring exotic dance, provided by the Brown Girls Burlesque troupe.
In between the spoken dialogue was the true legend as the robust, confident Nucomme, who decisively and convincingly belted out songs from Davis’ catalog, like the defiant “Nasty Gal” and the driving hedonism of “If I’m in Luck I Might Get Picked Up”. The crowd took it all in, rocking their heads, clinching their fists and biting their lips as the curdling bass injected its way into their veins, the burlesque dancers occupied their eyes and Nucomme’s voice dominated their minds.
In the end, however, it was their souls that got the ultimate workout, which of course was their rationale behind attending the event in the first place. Davis’ assertive, unfiltered artistry had a lingering effect on each of them, prior to their decisions to enter the Brooklyn Museum. All the while, projected above the performers were images of Betty at several stages of her career, as an exuberant young model that made the road easier for Black beauties like Iman, Naomi Campbell and Tyra Banks, and as a rough singing sexual dynamo who paved the way for artists like Millie Jackson, Rick James and Prince.
No matter in what incarnation, there she was, high above the stage, her flawless fair skin, her shining pouty lips, with that proud and natural afro, like she was carved from a piece of jade. When you look into her eyes, you see a trailblazer, but behind them was just an artist who only wanted her music to be heard; an artist who used her sexual energy on stage and wax to fulfill her need to simply write songs.
When it comes to the influence that Betty Davis bestowed on music, her individual work is always an afterthought when held up against her lasting impression on former husband, legendary trumpeter Miles Davis. Fact about it, whenever her name is mentioned in print, it’s immediately followed by “ex-wife of Miles Davis”.
Read the full article at iRockJazz.com: http://irockjazz.com/2012/12/the-prototype-betty-davis-lit-the-spark-that-ignited-todays-music-inferno-pt-i/