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November 6, 1982
The Royal Court—Shown above (left to right) is first attendant, Cassandra Hopkins, Miss Morris
Brown College, Myra Brown, and second attendant, Linda Fountain.
by Ronald D. Fudge
COMING HOME: Story Of A
Queen, concepted from the hit
broadway and movie musicial
The Wiz, and the theme for this
year’s coronation scored high -
ratings amont those held in the
Atlanta University Center.
A “Wiz” of a coronation it was
for students, faculty, staff, alum
ni, and friends as they witnessed
the royal crowning of the Miss
Morris Brown College court for
1982 - 83 on Thursday, November
4.
Miss Morris Brown College,
Miss Myra BroWn, a native of
Albany, Georgia, and her two
attendants, Miss Cassandra
Hopkins, of Donalsonville,
Georgia, first attendant, and Miss
Linda Fountain, of Bainbridge,
Georgia, second attendant, were
caught up in a wicked storm but
survived it to be crowned as the
new royal court into the “Land
Of Queens," - Morris Brown
College.
While in the land, they en
countered the evils of the wick
ed queen who tried desperately
to stop the entire coronation,
but who later lost control of her
powers and was killed when the
house in which the court
traveled through the storm in
landed atop of her.
Today, the court rides joyfully
through the “Land of Queens”
in jubilant celebration of a brand
new day.
The wicked queen is dead and
there is no one to stop Myra,
Cassie, and Linda from
celebrating a most thanksgiving
event.
All three young ladies are
members of soroities on campus.
Miss Morris Brown, Myra, is an
Alpha Kap|. i Alpha, Cassandra,
first attendant, is a member of
Delta Sigma Theta, and so is
second attendant, Linda.
Myra feels that the image of
the Miss Morris Brown College
court must incorporate visible
involvement with the student
body. She also feels that the
image she must portray should
be one of confidence, and
dedication to academics.
In asking the second, atten
dant, Linda, how she felt about
cont. on pg. 7
Gil Scott Heron To Perform Homecoming Concert.
Gil Scott Heron To Perform
Homecoming Concert
Perhaps the most intriguing
question about Gil Scott-Heron
is how he manages to keep his
work “ahead of the times."
Starting with the biting impact of
“The Revolution Will Not Be
Televised” — a song-poem still
considered a classic of Black
(Down To) Earth poetry —
straight through to his newest
Arista album, Moving Target, Gil
Scott-Heron, with songs and
poems, has chronicled the up
heavals of the times, both per
sonal and political, and always
stayed ahead.
Moving Target is perhaps Gil’s
finest effort. As he writes in the
LP’s liner notes, “Moving target
is, naturally, another play on
words, but this time it is extreme
ly accurate in describing the
main play here: our music. Over
the past eighteen months, The
Amnesia Express (a.k.a. Midnight
Bnad) has travelled through four
countries and gained exposure
in many others, exposing itself as
one of the world's most unique
units. This LP is about evolution.
With the release of Real Eyes
(1980), we presented a new
sound and combination for our
music. Reflections (1980) was a
second step, a stablizer. Moving
Target illustrates a firm mastery
over the diverse elements that
mean Midnight music. We
believe that the diverse
backgrounds and experiences of
our people demand a presenta
tion where reggae, salsa, poetry,
blues and just plain funk come
together with innovation.”
For those who ahve followed
Gil through Winter in America —
where “H20-Gate Blues
(Watergate Blues)” and the
original version of “The Bottle”
were released — through
“Johannesburg,” a call for
solidarity behind the people of
Azania (South Africa), preceding
their disturbances there by a
year; through “South Carolina”
and “We Almost Lost Detroit,”
two early statements about the
dangers of nuclear power that
preceded his involvement with
MUSE at Madison Square Gar
den (documented in the movie
and on the LP No Nukes);
through “Angel Dsut,” and ariti-
• PCP statement that gained chart
action while his anti-PCP adver
tising spot earned a prestigious
award; through “B Movie,” an
electric ind ictment of ou r Actor -
President, these latest
developments of Gil Scott -
Heron as an artist will come as
further evidence of his enor
mous significance in the musical
and social community.
The album includes “Fast
Lane” (“Crash landings always
got hte Captain to blame”),
'“Washington D.C,” an unspar
ing view of our nation’s capitol,
“No Exit” (the title comes from
the play by Jean-Paul Sartre), the
self-explanatory “Blue Collar,”
“Explanations,” “Ready Or
Not,” the LP’s excursion into
Jamaican rhythms, and the
climatic “Black History/ The
World,” a combination poem -
song that has the devastating
impacOthat marks all of Scott -
Heron’s best work. Moving
Target is Gil at his most diverse,
and most definitive.
“I’m especially proud of my
last three albums, Real Eyes,
Reflections and Moving Target,”
Gil says, “as LPs that gave me a
chance to do different things, yet
cont. on pg. 2