Don’t Let Me Be Lonely Tonight” (1973) by Isley Brothers; “Who Can I Run To” (1995) by Xscape; “Sweet Love” (1986) by Anita Baker; “I Wish You Were Here” (1975) by Al Green; “You Are My Starship” (1976) by Norman Connors; “Break Up to Make Up” (1972) The Stylistics; “Can I” (1971) by Eddie Kendricks; “Soon As I Get Home” (1995) by Faith Evans; “Two Occasions” (1987) by The Deele; “Before I Let You Go” (1994) by Blackstreet; “Medley” (2003) by Luther Vandross; “Love’s Train” (1982) by Con Funk Shun; “I Don’t Need You Around” (1967) by Jackie Wilson; “It’s Such a Shame” (1995) by Solo; “Be For Real” (1972) by Harold Melvin and the Blue Notes; “Love, Need, and Want You” (1983) by Patti LaBelle; “Take a Little Trip” (1974) by Minnie Riperton; “Love Don’t Live Here Anymore” (1978) by Rose Royce; “Send for Me” (1981) by Atlantic Starr; “Fact of Life/He’ll Be There When the Sun Goes Down Medley” (1973) by Bobby Womack; “Not Gon’ Cry” (1995) by Mary J. Blige; “Go Away Little Boy” (1969) by Marlena Shaw

Program Notes

Derrais Carter presents to you Black Revelry Quiet Storm (BRQS), a three-part monthly radio show that explores different modes of storytelling, placing Carter in the role of the late-night DJ. The show takes its inspiration from the nocturnal ‘Quiet Storm’ radio format that originated in the 1970s and featured songs about romance and intimacy from the genres of jazz, soul, and R&B. Each show focuses on a key term — gathering (December 2020), dispersal (January 2021), and frequency (February 2021) — which set the stage for Carter’s close readings of Barnes’ painting through song selections, personal commentary, and readings of Black critical theory.

BRQS is part of Carter’s broader Black Revelry project, which takes up the detail—or “the sample”—as a method [more on Carter’s method here] for reading the iconic 1976 painting Sugar Shack by Ernie Barnes, a painting that has circulated widely within Black popular culture (for example, as the cover art for Marvin Gaye’s album I Want You) across over four decades. In so doing, Carter’s project affectively maps Black social life in the United States as it has been registered through the painting’s circulation.

Black Revelry is curated by Megan Hoetger as part of the If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution 2019-2020 biennial programme, Edition VIIIRitual and Display. For more information on Carter’s project or the broader Edition VIII program, visit www.ificantdance.org.


GATHERING | An invitation for now and maybe tomorrow

Wednesday 16 December 2020, 22-24hr (Ja Ja Ja Nee Nee Nee, Amsterdam and dublab, Los Angeles)

Sunday 20 December 2020, 24-2hr (reboot.fm, Berlin)

DISPERSAL | This groove is long, slow, and winding. Stretch, expand, and linger

Wednesday 20 January 2021, 22-24hr (Ja Ja Ja Nee Nee Nee, Amsterdam and dublab, Los Angeles)

Sunday 24 January 2021, 24-2hr (reboot.fm, Berlin)

FREQUENCY | Return. Repeat. Replay. This set is inspired by the atmosphere of “Let’s Do It Again” by The Staples Singers

Wednesday 17 February 2021, 22-24hr (Ja Ja Ja Nee Nee Nee, Amsterdam and dublab, Los Angeles)

Sunday 21 February 2021, 24-2hr (reboot.fm, Berlin)

Image: Detail from Ernie Barnes, Sugar Shack, 1976.