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Chicago-based ghetto house pioneer DJ Deeon has died. An update posted to the artist’s Facebook page on Tuesday (July 18) by an administrator states that “I am sorry to announce the legendary Artist, Producer, DJ, Label owner, and my friend Deeon ‘DJ Deeon’ Boyd gained his wings today. The family thanks you for your support […]
Music executive and Country Music Hall of Fame member Jerry Owen Bradley died Monday (July 17) in Mt. Juliet, Tennessee. He was 83.
Born in Nashville on Jan. 30, 1940, Bradley was part of the illustrious Bradley family, who played an indelible role in creating and shaping Nashville’s music industry and Music Row area.
Bradley’s father was music producer Owen Bradley while his uncle was studio musician Harold Bradley, who together shaped Nashville’s Music Row as a music business town and architected the “Nashville Sound.” Bradley’s wife of 42 years, Connie Bradley, died in 2021 at age 75; she had served as the head of ASCAP Nashville for more than three decades. Bradley’s sister, Patsy Bradley, previously served as assistant vp at BMI.
Jerry Bradley got his start in the music industry through Forrest Hills Music, a publishing company he launched with his uncle Harold. He soon began engineering and producing records at the Bradley’s Barn studio, which he and his father owned in Mt. Juliet; Bradley’s clients as an engineer included Loretta Lynn, Roy Clark, Gordon Lightfoot, The Who and more.
Given that his father Owen had produced enduring, legendary hits for artists including Patsy Cline, Kitty Wells, Conway Twitty and Brenda Lee while transforming Decca/MCA Records in Nashville into a dominant operation, Jerry sought to make his own way in the industry. He approached Chet Atkins for a job at RCA, where he served as staff producer from 1970 to 1973. Atkins later handpicked Bradley to succeed him as vp of Nashville operations — a role he held from 1973 to 1983.
While at RCA, Bradley worked with artists and on albums that shaped the fabric of country music. Inspired by the success of albums including Nelson’s groundbreaking 1975 set Red Headed Stranger, Bradley began developing a compilation project using the “Outlaw” moniker that included music from Waylon Jennings, Willie Nelson, Jessi Colter and Tompall Glaser.
“We’d been working on Waylon. He was selling about 250,000 albums, which at that time, was fairly good,” Bradley said during an interview with the Country Music Hall of Fame in 2012. “But Willie had Red Headed Stranger and he was selling a million on Columbia. Jessi had ‘I’m Not Lisa.’ Waylon, we just couldn’t get him over the hill and I had [a] Time Life set of books on the old west and we looked at it and all these things were happening. Hazel Smith, who was working for Tompall, she used the word ‘Outlaw’ first and [when] you would talk about the Outlaws, that’s what she was talking about. I got wind of it, and I picked up this old Time Life Western thing and it had a picture of an old wanted poster on it and I thought, ‘Man, that would make a good album cover for the Outlaws.’”
In addition to coming up with the album’s eventual title, Wanted! The Outlaws, Bradley was influential in its marketing, including by modeling its vintage-style cover after that Old West “wanted” poster. Spurred by the Jennings/Nelson duet “Good Hearted Woman,” Wanted! The Outlaws became the first platinum-selling country album certified by the Recording Industry Association of America and furthered the notion of country music as a major commercial force.
At RCA, Bradley also signed hitmakers including Alabama, Ronnie Milsap, Steve Wariner, Earl Thomas Conlee and Gary Stewart. Additionally, he produced No. 1 singles and albums for RCA artist Charley Pride, including the album Charley Pride Sings Heart Songs, as well as hits for Dave and Sugar, Dottie West and Jimmy Dean.
After Bradley left RCA in 1983, the Gaylord Corporation (which had acquired Opryland) bought the Acuff-Rose music publishing company and named Bradley vp of Opryland USA and GM of the Opryland Music Group, which owned the Acuff-Rose publishing catalogs. During his tenure, Bradley brought in new staffers and song pluggers as well as hit writers and artists including Dean Dillon, Casey Beathard and Kenny Chesney, whom Bradley brought to Acuff-Rose in 1992.
“Jerry Bradley signed me to Acuff-Rose when I was a kid. He had a profound and unmeasurable impact on my life,” said Chesney in a statement. “But not just in my life…he helped change the lives of so many people that had a song in their heart. Jerry’s impact on our creative community will be felt for years.”
“Jerry never once called himself a ‘mentor’ but every day since the summer of 1988, when he hired me at Acuff-Rose, he has mentored me,” said Universal Music Publishing Group Nashville CEO Troy Tomlinson in a statement. “I will deeply miss him and the place he has occupied in my life and in my heart.”
During his more than five decades in music, Bradley served as president of the Country Music Association (1974-1975) and became a charter alumnus of Leadership Music; he also served on the Fan Fair committee from 1970 to 2000, during which time the festival grew into CMA Fest. For 20 of those years, Bradley served as either chairman or co-chairman of the committee. During his last year on the committee, the event moved to Adelphia Coliseum (now known as Nissan Stadium), home to the Tennessee Titans in Nashville.
“Today we lost a Country Music Hall of Famer and business icon who was instrumental in the careers of dozens of artists,” Country Music Association CEO Sarah Trahern said in a statement. “Jerry loved Country Music just as much as he lived it. His reputation preceded him and personally, I remember several times in my career being nervous to get Jerry’s blessing on a project or program. However, I quickly realized his bark was not as bad as I’d imagined. Jerry’s deep passion for our business will be greatly missed. My deepest condolences go out to his friends and family during this difficult time.”
Bradley was inducted into the Country Music Hall of Fame in 2019, making him the third Bradley to be bestowed with that honor after his father Owen and his uncle Harold.
During his induction speech, Bradley told the audience, “This business has given me a wonderful life. I’m grateful for the people I’ve met, the songs I’ve heard and the part I played.”
Today, two more generations of Bradleys work on Nashville’s Music Row, including Bradley’s son, Clay Bradley (vp at BMI Nashville), grandson John Bradley (creative director at Eclipse Music Group) and granddaughter Lillian Grace Bradley (social media marketing manager at Easy Eye Sound).
Bradley was predeceased by his parents, Owen Bradley and Katherine Bradley; his uncles Harold Bradley, Charlie Bradley and Bobby Bradley; his aunt Ruby Strange; his wife Connie Bradley, and the mother of his two children, Gwynn Hastings Kellam. He is survived by his sister Patsy Bradley; his children Leigh Jankiv (Rob LeBlanc) and Clay Bradley (Sara); his grandchildren Josh Jankiv (Ashley), Eli Jankiv, Emma Jankiv (Matt Acott) John Bradley and Lillian Grace Bradley; and five great-grandchildren.
A celebration of life will be held at Cedar Creek Yacht Club in Mt. Juliet on Sept. 10 at 4 p.m.
Actress and singer Jane Birkin, who made France her home and charmed the country with her English grace, natural style and social activism, has died at age 76.
The London-born star and fashion icon was known for her musical and romantic relationship with French singer Serge Gainsbourg. Their songs notably included the steamy “Je t’aime moi non plus” (“I Love You, Me Neither”). Birkin’s ethereal, British-accented singing voice interlaced with his gruff baritone in the 1969 duet that helped make her famous and was forbidden in Italy after being denounced in the Vatican newspaper.
The style Birkin displayed in the 1960s and early 1970s — long hair with bangs, jeans paired with white tops, knit mini dresses and basket bags — still epitomizes the height of French chic for many women around the world.
Birkin was also synonymous with a Hermes bag that bore her name. Created by the Paris fashion house in 1984 in her honor, the Birkin bag became one of the world’s most exclusive luxury items, with a stratospheric price tag and years-long waiting list to buy it.
In her adopted France, Birkin was also celebrated for her political activism and campaigning for Amnesty International, Myanmar’s pro-democracy movement, the fight against AIDS and other causes.
“You can always do something,” Birkin said in 2001, drumming up support for an Amnesty campaign against torture. “You can say, ‘I am not OK with that.’”
She joined five monks on a march through the Cannes Film Festival in 2008 to demand that Myanmar let foreign aid workers into the country to help cyclone victims.
In 2022, she joined other screen and music stars in France in chopping off locks of their hair in support of protesters in Iran. Charlotte Gainsbourg, Birkin’s daughter with Gainsbourg and also an actor in her own right, cut off a snippet of her mother’s hair for the “HairForFreedom” campaign as Iran was engulfed by anti-government protests.
French President Emmanuel Macron hailed Birkin as a “complete artist,” noting that her soft voice went hand-in-hand with her “ardent” activism.
“Jane Birkin was a French icon because she was the incarnation of freedom, sang the most beautiful words of our language,” he tweeted.
French media reported that Birkin was found dead at her Paris home. The French Culture Ministry tweeted that Birkin died Sunday (July 16). It hailed her as a “timeless Francophone icon.”
Culture Minister Rima Abdul Malak called Birkin “the most French British person” and “the emblem for a whole epoch who never went out of fashion.”
Birkin’s early movie credits included Blow-Up in 1966, credited with helping introduce French audiences to her “Swinging Sixties” style and beauty.
Birkin and Gainsbourg met two years later. She remained his muse even after the couple separated in 1980.
She also had a daughter, Kate, with James Bond composer John Barry. Kate Barry died in 2013 at age 46. Birkin had her third daughter, singer and model Lou Doillon, with French director Jacques Doillon.
Birkin suffered from health issues in recent years that kept her from performing and her public appearances became sparse.
French broadcaster BFMTV said Birkin suffered a mild stroke in 2021, forcing her to cancel shows that year. She canceled her shows again in March due to a broken shoulder blade.
A return to performing was put off in May, with the singer saying she needed a bit more time and promising her fans she would see them again come the fall.
Peter Nero, a Grammy-winning pianist who interpreted pop songs through classical and jazz forms and served as the Philly Pops’ conductor for more than three decades, has died. Nero was 89.
Nero died Thursday (July 6) at Home Care Assisted Living Facility in Eustis, Fla., according to his daughter, Beverly Nero, The Philadelphia Inquirer reported. Services will be private.
Nero colored his renditions of pop songs — from Cole Porter and George Gershwin to the Beatles and Bob Dylan — with classical, swing, Broadway, blues and jazz melodies. He often called his sound “undefinable” and was not offended when others called it “middle of the road.” (He once told a newspaper, “Middle of the road and doing great business.”)
Recruited by Philadelphia concert promoter Moe Septee, Nero started the Philly Pops orchestra in 1979, the year Arthur Fiedler died. Fiedler is credited with virtually inventing the modern version of the pops orchestra in Boston, and Nero hoped to rival it in popularity.
“I’d like to beat the pants off them,” Nero said at the time.
Nero’s orchestra wasn’t as prominent as Boston’s, but it did tout routine sellouts in Philadelphia, no doubt helped by Nero’s lively playing style and warm stage presence.
In his work as both performer and conductor, Nero returned frequently to Broadway tunes, Hollywood themes and Gershwin, the subject of the Philly Pops’ first concert. But he also dipped into Motown’s catalog and farther afield to bands such as Procol Harum and an album devoted to disco and ’70s love songs.
In 1975, he lamented to The Washington Post: “I find it impossible to use a lot of the new material that’s coming out. There is some rock material in my repertoire … but a lot of rock groups are selling a sound, not music. You take the tune apart and there’s nothing there to work with.”
He led the Philly Pops until 2013, exiting his leadership role when the orchestra said it could no longer afford him.
By his own admission, Nero struggled early in his career — under the name Bernie Nerow — during stints in New York and Las Vegas. But he found his stride in his late 20s playing in New York’s club circuit.
He was signed to RCA by Stan Greeson, who saw a potential star and had him change his name to Peter Nero. A steady stream of early 1960s club shows led to regular radio and TV appearances and two dozen RCA albums over the span of a decade.
Nero earned Grammy Awards in 1961 for best new artist and in 1962 for best performance by an orchestra or instrumentalist for his record “The Colorful Peter Nero.”
A 1963 album, Hail the Conquering Nero, peaked at No. 5 on the Billboard pop album chart. It included versions of “My Bonnie Lies Over the Ocean” and “Mack the Knife.”
He also charted with a version of “Theme from ‘The Summer of ’42,’” a song written by Michel Legrand for the 1971 movie. Nero’s version hit No. 21 on the Billboard pop singles chart.
Nero also wrote the score for the 1963 Jane Fonda film Sunday in New York and made an appearance in the movie.
Born Bernard Nierow in 1934, Nero was raised in Brooklyn. He started taking piano lessons at age 7 and, by age 11, he was said to have been able to play Haydn’s Piano Concerto in D Major from memory. He later won a scholarship to take classes at Juilliard, won several talent contests and graduated from Brooklyn College.
When headlining, Nero disliked having a set list and would pick songs on the spot. The idea of mixing styles and genres carried over to the Philly Pops.
“My programs for the Philly Pops may open with ‘Die Meistersinger,’ then ‘Chariots of Fire,’ then Enesco’s Rumanian Rhapsodies, then a television theme,” Nero told The New York Times in 1982. “I keep going back and forth, and the audience bought it from the beginning.”
LOS ANGELES (AP) — Alan Arkin, the wry character actor who demonstrated his versatility in everything from farcical comedy to chilling drama as he received four Academy Award nominations and won an Oscar in 2007 for Little Miss Sunshine, has died. He was 89.
His sons Adam, Matthew and Anthony confirmed their father’s death through the actor’s publicist on Friday. “Our father was a uniquely talented force of nature, both as an artist and a man,” they said in a statement.
A member of Chicago’s famed Second City comedy troupe, Arkin was an immediate success in movies with the Cold War spoof The Russians Are Coming, The Russians Are Coming and peaked late in life with his win as best supporting actor for the surprise 2006 hit Little Miss Sunshine. More than 40 years separated his first Oscar nomination, for The Russians are Coming, from his nomination for playing a conniving Hollywood producer in the Oscar-winning Argo.
In recent years he starred opposite Michael Douglas in the Netflix comedy series The Kominsky Method, a role that earned him two Emmy nominations.
“When I was a young actor people wanted to know if I wanted to be a serious actor or a funny one,” Michael McKean tweeted Friday. ‘I’d answer ‘Which kind is Alan Arkin?’ and that shut them up.”
Arkin once joked to The Associated Press that the beauty of being a character actor was not having to take his clothes off for a role. He wasn’t a sex symbol or superstar, but was rarely out of work, appearing in more than 100 TV and feature films. His trademarks were likability, relatability and complete immersion in his roles, no matter how unusual, whether playing a Russian submarine officer in The Russians Are Coming who struggles to communicate with the equally jittery Americans, or standing out as the foul-mouthed, drug-addicted grandfather in Little Miss Sunshine.
“Alan’s never had an identifiable screen personality because he just disappears into his characters,” director Norman Jewison of The Russians Are Coming once observed. “His accents are impeccable, and he’s even able to change his looks. … He’s always been underestimated, partly because he’s never been in service of his own success.”
While still with Second City, Arkin was chosen by Carl Reiner to play the young protagonist in the 1963 Broadway play Enter Laughing, based on Reiner’s semi-autobiographical novel.
He attracted strong reviews and the notice of Jewison, who was preparing to direct a 1966 comedy about a Russian sub that creates a panic when it ventures too close to a small New England town. In Arkin’s next major film, he proved he could also play a villain, however reluctantly. Arkin starred in Wait Until Dark as a vicious drug dealer who holds a blind woman (Audrey Hepburn) captive in her own apartment, believing a drug shipment is hidden there.
He recalled in a 1998 interview how difficult it was to terrorize Hepburn’s character.
“Just awful,” he said. “She was an exquisite lady, so being mean to her was hard.”
Arkin’s rise continued in 1968 with The Heart Is a Lonely Hunter, in which he played a sensitive man who could not hear or speak. He starred as the bumbling French detective in Inspector Clouseau that same year, but the film would become overlooked in favor of Peter Sellers’ Clouseau in the Pink Panther movies.
Arkin’s career as a character actor continued to blossom when Mike Nichols, a fellow Second City alumnus, cast him in the starring role as Yossarian, the victim of wartime red tape in 1970’s Catch-22, based on Joseph Heller’s million-selling novel. Through the years, Arkin turned up in such favorites as Edward Scissorhands, playing Johnny Depp’s neighbor; and in the film version of David Mamet’s Glengarry Glen Ross as a dogged real estate salesman. He and Reiner played brothers, one successful (Reiner), one struggling (Arkin), in the 1998 film The Slums of Beverly Hills.
“I used to think that my stuff had a lot of variety. But I realized that for the first twenty years or so, most of the characters I played were outsiders, strangers to their environment, foreigners in one way or another,” he told The Associated Press in 2007.
“As I started to get more and more comfortable with myself, that started to shift. I got one of the nicest compliments I’ve ever gotten from someone a few days ago. They said that they thought my characters were very often the heart, the moral center of a film. I didn’t particularly understand it, but I liked it; it made me happy.”
Other recent credits included Going in Style, a 2017 remake featuring fellow Oscar winners Michael Caine and Morgan Freeman, and The Kominsky Method. He played a Hollywood talent agent and friend of Douglas’ character, a once-promising actor who ran an acting school after his career sputtered.
He also was the voice of Wild Knuckles in the 2022 animated film Minions: The Rise of Gru.
Arkin also directed the film version of Jules Feiffer’s 1971 dark comedy Little Murders and Neil Simon’s 1972 play about bickering old vaudeville partners, The Sunshine Boys. On television, Arkin appeared in the short-lived series Fay and Harry and played a night court judge in Sidney Lumet’s drama series 100 Centre Street on A&E. He also wrote several books for children.
Born in New York City’s borough of Brooklyn, he and his family, which included two younger brothers, moved to Los Angeles when he was 11. His parents found jobs as teachers, but were fired during the post-World War II Red Scare because they were Communists.
“We were dirt poor so I couldn’t afford to go to the movies often,” he told the AP in 1998. “But I went whenever I could and focused in on movies, as they were more important than anything in my life.”
He studied acting at Los Angeles City College; California State University, Los Angeles; and Bennington College in Vermont, where he earned a scholarship to the formerly all-girls school.
He married a fellow student, Jeremy Yaffe, and they had two sons, Adam and Matthew.
After he and Yaffe divorced in 1961, Arkin married actress-writer Barbara Dana, and they had a son, Anthony. All three sons became actors: Adam starred in the TV series “Chicago Hope.”
“It was certainly nothing that I pushed them into,” Arkin said in 1998. “It made absolutely no difference to me what they did, as long as it allowed them to grow.”
Arkin began his entertainment career as an organizer and singer with The Tarriers, a group that briefly rode the folk musical revival wave of the late 1950s. Later, he turned to stage acting, off-Broadway and always in dramatic roles.
At Second City, he worked with Nichols, Elaine May, Jerry Stiller, Anne Meara and others in creating intellectual, high-speed impromptu riffs the fads and follies of the day.
“I never knew that I could be funny until I joined Second City,” he said.
Bluegrass musician Bobby Osborne, who helped popularize the song “Rocky Top,” died early Tuesday, according to a statement from the college where he worked. He was 91. Explore Explore See latest videos, charts and news See latest videos, charts and news Osborne and his brother Sonny made up The Osborne Brothers, and their version of […]
Varnell Harris Johnson, who held senior executive roles at Capitol-EMI, Blue Note, Jive, Island, Elektra Records and more throughout his career in music and who was president of the Living Legends Foundation, has died. He was 76.
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Johnson — or “VJ,” as his peers knew him — passed away on Wednesday (June 21) at 6 p.m. ET of congestive heart failure, Billboard has learned.
Johnson has been credited for recruiting several Black executives, including many women, into key music industry positions. He had an ear for talent and had a hand in bringing Tina Turner over to Capitol Records as a solo artist, and brought the Isley Brothers with him from Elektra to Island. With his knowledge of how influential gospel music was to the community, he helped establish the gospel-focused Verity Records.
“This is a major loss,” says David C. Linton, friend of Johnson and chairman of the Living Legends Foundation. “At the time he broke into the industry, he was able to work in every aspect of the business. Varnell was one of the first Black executives to have total autonomy within the label system. He not only signed some great artists, but he also hired other Black executives and molded so many of our careers. He had a lot of ‘firsts’ in his career. He was always caring, he promoted women, and you could always call him for advice – he was that great link.”
Living Legends Foundation vice president Jacqueline Rhinehart, a marketing professional, remembers him as “the quintessential record man. He was a straight shooter and someone who was great at maintaining relationships at all levels of the industry … He never lost his role as an influencer — it wasn’t reliant on what job he held at what label.”
“He was a people person, a good person to know,” Ray Harris, a veteran record promotion executive and a founding member of the Living Legends Foundation, says. “And I have such a deep appreciation for him because he got on board with the Living Legends Foundation right from the beginning. The organization grew substantially thanks to his participation and leadership. He was always a voice of common sense, wisdom, and calm, and we’re going to miss that voice.”
Johnson was born in Philadelphia. He played football and basketball at Simon Gratz High School and graduated at 16. He then enlisted in the Army at 17, serving as a combat medic in the Vietnam War. Following an honorable discharge, he went to Temple University and graduated with a marketing and advertising degree. Harold Childs, a Philadelphia neighbor, influenced Johnson to get into the music business.
His career in music started as a gofer at A&L Record Distributors before becoming general manager for Philly Groove Records. His was then hired as a marketing/promotion director at GMC, which led to him landing at EMI/United Artists’ newly formed R&B division in Los Angeles in 1979.
Johnson moved to parent company Capitol Records as vice president of A&R, working with artists including René & Angela, A Taste of Honey, Maze featuring Frankie Beverly, George Clinton, Freddie Jackson, Natalie Cole, Peabo Bryson, Roberta Flack, Tina Turner and Ashford & Simpson. His next gig, as vice president of promotion and marketing at Capitol’s Manhattan/Blue Note Records division, brought him back to the East Coast. There, he worked with Dianne Reeves, Bobby McFerrin, Phyllis Hyman, The O’Jays and Shirley Jones.
Johnson was hired as vice president of marketing and promotion at Jive Records in 1992. He worked with R. Kelly, A Tribe Called Quest, KRS One and Aaliyah at Jive. Next, he made his mark at Elektra Records, where he served as vice president and worked with Keith Sweat, Kut Klose and Ron Isley, and then was offered the position of senior vice president and general manager for Island Records’ Black music division; the Isley Brothers followed him, joining a roster with Dru Hill, Karen Clark Sheard and Kelly Price.
Johnson went on to run Junes Entertainment Inc., his own consulting firm, and most recently resided in New Jersey. He is survived by his wife Darlene, son Varnell, (nicknamed “June”) and daughter Tracey.
Funeral arrangements will be announced at a later date.
Teresa Taylor, a former drummer for Texas psychedelic noise merchants Butthole Surfers died of complications from lung disease on Monday at age 60. The group announced the news in a post in which they wrote, “Teresa Taylor passed away peacefully this weekend after a long battle with lung disease. She will live in our hearts forever. RIP, dear friend.”
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The news was also confirmed by Taylor’s partner, Cheryl Curtice, who wrote, “Teresa passed away clean and sober, peacefully in her sleep, this weekend. She was so brave, even in the face of her horrible disease. We were all fortunate to have her beautiful, strong spirit in our lives. She will be forever missed. We will have a memorial service sometime in the future. I love you, beloved Teresa.”
Taylor was also well known for appearing on the poster for director Richard Linklater’s breakthrough 1990 film Slacker, in which she was famously depicted standing with her hands in her front pockets, staring into the distance while wearing a baseball hat and sunglasses. She also appeared in the film, playing a character named “Pap Smear Pusher” who enthusiastically tries to sell a jar she claims contains Madonna’s pap smear.
The percussionist — who also went by the stage name Teresa Nervosa — was born in Arlington, TX in 1962 and met future bandmate and fellow Surfers drummer King Coffey when they both played in a high school marching band. She later joined the San Antonio-bred punk band fronted by Gibby Haynes with the name not safe for mainstream TV and radio whose sonic attack blasted fans with waves of chaotic noise, disturbing surgery videos and strobe lights.
Taylor played drums alongside Coffey from 1983-1985 and then again from 1986-1989, taking a leave after suffering from seizures she said were caused by a brain aneurysm; she underwent brain surgery in 1993 and came back for a brief period to play live with the Surfers in 2009. For a band known for confounding audiences with their pummeling, sometimes disorienting visual and audio assault, the sight of the two percussionists playing their respective stand-up kits next to each other became a vital part of their stagecraft, as did their long-running fib that they were actually siblings and not just bandmates.
She joined the band in the studio for a run of their beloved early albums, including 1984 full-length debut, Psychic… Powerless… Another Man’s Sac, as well as 1986’s Rembrandt Pussyhorse, 1987’s Locust Abortion Technician and 1988’s Hairway to Steven, among others.
In Nov. 2021, Taylor revealed that she had been diagnosed with end-stage lung disease in a Facebook post.
See the Surfers’ and Curtice’s posts, and Taylor’s Slacker scene, below.
Big Pokey has died, a representative for the Houston rapper confirms to Billboard. He was 45.
A mainstay on the local hip-hop scene in Houston, Big Pokey — whose real name is Milton Powell — collapsed on stage Saturday night (June 17) during a performance at Pour 09 Bar in Beaumont, Texas, according to local news stations. He was rushed to the hospital, where he passed away. His cause of death is pending.
An “in loving memory of” statement shared on Big Pokey’s official Instagram account Sunday night reads: “It is with deep sadness that we share the news of the passing of our beloved Milton ‘Big Pokey’ Powell. Big Pokey passed away on June 18, 2023. He was well-loved by his family, his friends, and his loyal fans. In the coming days, we will release information about his celebration of life and how the public can pay their respects. We ask that you respect his family and their privacy during this difficult time. Big Pokey will forever be ‘The Hardest Pit in the Litter.’”
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Pour 09 Bar wrote in an update on Facebook, “We would like everyone to send their prayers to Big Pokey and his family. Out of respect for those involved we will not be commenting on the incident to allow his family and friends ample time to mourn and make a statement when they are ready. This is a tragedy that no one expected and only our prayers go out to his family and friends.”
Big Pokey dropped six full-length studio albums throughout his career, beginning with Hardest Pit in the Litter in 1999. His most recent album, Sensei, was released in 2021.
In 2005, the rapper joined Paul Wall on the single “Sittin’ Sidewayz,” which charted on the Billboard Hot 100.
“The City of Houston and I extend our prayers and condolences to our own Screwed Up Click legendary rapper #BigPokey family and friends,” Sylvester Turner, mayor of the city of Houston, tweeted on Sunday, referring to local hip-hop collective Screwed Up Click. “Though many called him ‘low key,’ his presence was larger than life in helping to catapult our hip hop scene nationally. We are grateful.”
Bun B, also based out of Houston and part of Screwed Up Click, paid tribute to Big Pokey on Instagram: “I wasn’t ready for this,” he said. “One of the most naturally talented artists in the city. Low key, humble mountain of a man who moved with honor and respect. He was easy to love and hard to hate. He’d pull up, do what he had to do and head home. One of the pillars of our city. If heart of gold was a person. Iconic member of the SUC. There will never be another and will be missed dearly. We love and honor you Sensei. Rest in heaven.”
In another post, Bun B encouraged others to listen to Big Pokey’s Sensei. “Let’s get on all the streaming platforms and make this the number one album in the country today. Jump on @youtube @spotify @applemusic @tidal @pandora and anywhere else for the legend @sucbigpokey today. Let’s send his family a message that we loved him! Long Live Big Pokey!”
The City of Houston and I extend our prayers and condolences to our own Screwed Up Click legendary rapper #BigPokey family and friends. Though many called him “low key”, his presence was larger than life in helping to catapult our hip hop scene nationally. We are grateful. st pic.twitter.com/5VI7nAL2V2— Sylvester Turner (@SylvesterTurner) June 18, 2023
Johnny Rowan, who drummed for ’90s alt rockers Urge Overkill under the name Blackie Onassis, has died at age 57, the band announced Wednesday (June 14). “Urge Overkill is saddened to report that Blackie has passed away,” read a post on the band’s social media accounts. “Please respect our privacy at this time. We are […]