All photos are courtesy of Soul Train Holdings, LLC. Special thank-yous to the Soul Train team: Kenard Gibbs, Kim Porter Fluellen, and Donna Schaffer.
Text copyright 2013 by Ahmir-Khalib Thompson
Foreword copyright 2013 by Gladys Knight
Preface copyright 2013 by Nick Cannon
Photographs copyright 2013 by Soul Train Holdings, LLC
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Insight Editions would like to especially thank Kenard Gibbs, Partner and CEO of Soul Train Holdings, LLC; Kim Porter Fluellen, Vice President, Integrated Marketing of Soul Train Holdings, LLC; and Donna Schaffer, curator extraordinaire and long-time Soul Train expert. Also, a special thank you to Questlove for his commitment to telling the world about the importance of the Soul Train legacy.
Library of Congress Control Number: 2013940639
ISBN: 978-0-06-228838-7
EPub Edition NOVEMBER 2013 ISBN: 9780062320292
Don dancing in Episode 396 on June 26, 1982.
A classic scene featuring dancers Pat Davis and Damita Jo Freeman.
Foreword
BY GLADYS KNIGHT
F rom my very first performance on Soul Train in 1971, I remember thinking that this innovative show was such an amazing platform to showcase so many artists talents. I had been performing with the Pips for several years at that point, but there was nothing like performing on Soul Train . And the Pips and I were dreaming big dreams at that time. We wanted to be the best group in the world, and we wanted to entertain above everything else. Soul Train was a great stage for us.
Soul Train was such a welcoming venue for our craft, and that wouldnt have been possible without the ingenuity of Don Cornelius. God bless him for fighting against the social ills, such as racial prejudice, and for succeeding in getting so many talented black voices on national television. I feel truly honored to have known Don. He just had a way about him and he never ceased to amaze me.
I remember back when the Pips and I won our first Grammy. Of course, I knew I would be overwhelmed if we actually won, so I made sure to record the show at home to enjoy the moment later on. Soon after the show, I gathered everyone around in our living room to watch the tape, and, of course, the TV hadnt recorded anything from that night. I was so disappointed. I told Don this story and, what do you know, at our next appearance on Soul Train , he had our Grammy-winning moment on the big screen for us to watch. He was just so thoughtful like that.
Don succeeded with his vision for Soul Train , and he wanted to see everyone around him succeed as well. Im happy to have walked that journey with him. He was a truly amazing man who encouraged all of us on the show to just be ourselves, which is why we danced the way we danced and talked the way we talked. He knew what he was doing, and he did it with ease and confidence. He was also always sure to let us know how proud of us he was. Im so fortunate to have been a part of Dons Soul Train world.
By Episode 97 in May 1974, Gladys Knight & the Pips had left Motown for Buddha Records, where they would continue making top-rated albums.
Preface
BY NICK CANNON
M y earliest memories of Soul Train are of dancing in front of the TV as a toddler. My mom loves to tell those stories. When given the chance, I would choose Soul Train over cartoons. As I got older, I would see different dance moves take off after being showcased on Soul Train . It was an amazing vehicle for dance culture from its very early days. And it was a huge deal for me watching a lot of the dancers start on Soul Train and then, from there, begin to dance for a lot of the major artists of the day.
The women dancers of the 80s.
Soul Train acted as the music curator for the community, as all the new songs and new acts were introduced through the show. Dancing came first for me, but once I started getting into the music, I remember New Editions memorable performance. It stood out in a big way for me, and they really set the tone for how Soul Train could evolve. And when the hip-hop acts started, that was big. Artists that I was hearing on my friends boom boxes on the basketball courts and on the playground were brought to life through Soul Train . I remember seeing LL Cool J on TV and having a wow moment. I thought to myself, so thats what he looks like. He was a superstar to me.
As an avid fan, I experienced a dream come true with my first national TV appearance: dancing on Soul Train as a fifteen-year-old. I didnt meet the age requirement, but I managed to sneak in with a few ladies. (And Id like to take this moment to thank all of those ladies who let me roll with them inside the Soul Train set.) Many times after that first performance, I made the two-hour drive to Hollywood to wait outside the Soul Train studio on the corner of Gower and Melrose. I was hooked from the beginning. I would always make sure to have on my best outfit, get a fresh haircut, and practice all of my dance moves so that I would be chosen. Not only did I love to dance, but I knew that appearing on Soul Train had the potential to be my entry into the Hollywood industry in a very real way. It was the only way that I had the opportunity to meet artists and people that were in Hollywood. As a young, aspiring entertainer, I knew Soul Train was a definite foot in the door.
Memories of Soul Train wouldnt be complete without remembering Don Cornelius. He was the epitome of showbiz. Don really represented the business aspect of it all. Not only was he in front of the camera, but he was behind the scenes in all aspects as executive producer. Watching him on camera handling the artists made me think, I want to do that. He definitely became a blueprint for a lot of the things Im doing today. He showed the world what a music industry guy was and he opened the door for so many entertainers. We got closer as the years went on, and I would always remind him of back in the day when I was a nagging little kid trying to get a record deal from him. I wanted to seize the moment even though I didnt really know how things worked. I didnt know there were actually heads of record labels. To me, Don could do everything.