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Someone Who Has Made an Impact on My Life: My Grandmother

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Published: Sep 1, 2023

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Unconditional love and selflessness, guidance and wisdom, resilience and perseverance, continued influence and legacy.

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I Admire My Grandmother (Essay Sample)

I admire my grandmother.

Everybody has one influential person in one’s lives. Personally, my grandmother is the most influential person in my life whom I admire. My grandmother assisted me to grow into a caring, smart, and friendly person and that has really helped me to be the person that I am today. Many people have a pleasant relationship with their parents. However, I am a special case because the one person I have always had a pleasant relationship with is my dear grandmother. She is a wonderful woman and one unique trait about her is that she has never lost her sense of humor. She laughs all the jokes I make and that draws me close to her even more. She has always been the person to trust and I never keep any secrets from her. Because of her positive personality, my home is peaceful and rich of laughter. My grandmother is truly an amazing woman .This paper thrives to describe my grandmother and the things she has done in my life that makes me admire her.

My granny is a special person because she is kind to every person she meets. She raised her children and taught them to be kind, honest, brave, and pleasant people. Anybody who happens to know my granny knows that she is truly friendly and fun to talk to. One thing about her that I make fun of her the most is, she is short in height such that whenever I stand close to her I would actually have to look down. She is a beautiful woman and her smile can brighten the entire room and she has a self assured posture even though she is short. She is caring and forgiving because I once broke her favorite vessel and instead of her getting furious with me she forgave and advised me to be always careful. Another unique thing about her is that she is very patient with people and she is not even tampered. She is someone who is always free to listen like she has this gift of talking less but listening much. She doesn’t jump to accusations without proof and she doesn’t count on speculations but facts; what a granny.

My grandmother is an outgoing person, compassionate, and brilliant person who had no self image. My granny can well be a perfect example of a counselor because she is always advising people me included. She has always shown and advised me to do things in the right way. She has frequently insisted people ought to be discipline; doing what is right, what is just, and what is fair. I personally am a believer and a strong religious person because my grandmother too is a religious person and she always insisted that humanity would not exist on earth without the grace of God. Whenever I had a problem with friends in school or relationship issues, she is always there to support and hold my hands. She could play some music when am doing homework and still I could the hear tune of the music she played and all I remember are those wonderful moments of my granny.

In conclusion, everybody has one influential person in one’s lives and personally, my grandmother is the most influential person in my life whom I admire. I am fortunate because the one person I have always had a pleasant relationship with is my dear grandmother. Because of her I am the person I am today and I thank God for giving me such a big blessing in my life. My granny has always been a jewel that I will always treasure and praise for the rest of my life.

How Beyoncé Fits Into the Storied Legacy of Black Country

Randall is an award-winning professor, songwriter, and author of My Black Country: A Journey Through Country Music's Black Past, Present, and Future

O n March 16, 1983, the Country Music Association (CMA) celebrated its 25th anniversary, and I was invited. Buddy Killen, the song publisher who pitched “Heartbreak Hotel” to Elvis Presley, thought “the Black girl from Harvard” might just be the second coming of that hit’s songwriter, Mae Boren Axton. He put me on the guest list and paid for the tickets.

It was a complicated night. The event was held at the DAR Constitution Hall, built by the Daughters of the American Revolution, an infamous venue whose management had refused to allow Black opera star Marian Anderson to perform on its stage in 1939. I took special pleasure in seeing guitarist and singer Charley Pride stride onto that stage—in a building named to honor the U.S. Constitution, but run to exclude Black artists—and stake his claim as part of that “We the People” that document claims to represent.

At one point in the ceremony, singer Roy Acuff announced that “country music is a family.” Then he proclaimed Jimmie Rodgers “the father” of that family. But he did not mention Lil Hardin Armstrong, the pianist who played on Rodgers’ hit “Blue Yodel No. 9.” Acuff nodded to Will Rogers, the comedian, but shamelessly omitted DeFord Bailey , the Grand Ole Opry’s first superstar.

My idea to name and spotlight the First Family of Black Country was conceived in that moment. It was nurtured in the silence of missing names. Quiet as it was being kept, country had Black founders. I knew it; Buddy Killen, who arrived in Nashville playing bass for a blackface comedy act on the Grand Ole Opry, knew it; Roy Acuff, who had played on stages with Bailey, Ray Charles, and Pride, knew it. And more than four decades later, Beyoncé knew it when she broke the internet on Super Bowl Sunday by surprise—releasing two country songs and announcing an album, Cowboy Carter , which has her devoted fans in the Beyhive buzzing about line-dancing into the summer of country.

Read More: Beyoncé Has Always Been Country

That evening back in 1983 was constructed to be country’s coming-out party as a musical genre worthy of exceptional respect because it was a reflection and celebration of America at its best. And that best was being defined as a family having only white founders—and not a single Black woman in sight. It was a fallacy that could only last so long.  

The way I see it, modern Black country was born on Dec. 10, 1927, when Bailey, descended from enslaved Tennesseans, lifted his harmonica to play “Pan American Blues” on the Nashville radio show Barn Dance. Fast forward to July 16, 1930, in Los Angeles, where Armstrong made country music history as the first Black woman to play on a hillbilly record that sold a million copies. And Lil didn’t just play on the session—her piano drove the session.

Country is not as many have posited: a genre with Black influence but without Black presence. Black women have been present since the earliest days of country’s existence as a recorded and commercially marketed music form. But a custom of cultural redlining has not only kept Black women out of country writing rooms, off country airwaves, off rodeo stages, off the country charts; it has also worked to keep the few Black women who managed to evade the gatekeepers off the entertainment pages, and out of the history books.

This would change. Nobody sitting in the room that night knew it, but there was a little girl toddling around a two-story house in Houston who would bring the long era of -erasing Black country sounds and stories to an abrupt end. The calculated erasure that began at one large public party with expensive tickets in 1983 ended during another, Super Bowl LVIII, when Beyoncé released “Texas Hold ’Em” and “16 Carriages.”

Along with “Daddy Lessons” off of 2016’s Lemonade, these songs have established Beyoncé as heir to a Black country musical tradition that dates back to the 17th century, when the first banjo was strummed by Black hands on American soil. Like DeFord Bailey’s, Beyoncé’s country songs are grounded in aural rural realities: the screech of the passing train, the sound from the local bar where folk are dancing. Like Lil, she understands the power of a costume and a trumpet. Like Ray Charles she brings a whiff of the Black cosmopolitan. Like Charley Pride she exudes a radiant Old Testament Song of Songs sexuality that is at once hot and holy. Like Herb Jeffries she embodies the cowboy who stays close to nature and guns.

The erasure did not end just because Beyoncé Knowles Carter became the first Black female artist to top the country charts, though she did that, on Feb. 24. And there are many others who have laid the groundwork for this catalytic moment: Linda Martell, the Pointer Sisters, Rissi Palmer, Rhiannon Giddens, Mickey Guyton, Brittney Spencer, Reyna Roberts, and O.N.E the Duo, to name just a few.

The erasure ended when she started a sustained national conversation, getting America to talk about and celebrate neglected Black country legacy. The question of “Who can be in country music?” often masks a deeper query about “Who can be a real American?” Beyoncé’s was a loud announcement of a reality long denied, that she was “We the People.” And so were people who looked like her.

I’ve often said that country music is three chords and four truths: life is hard, God is real, whiskey and roads and family provide worthy compensations, and the past is better than the present. That last truth is one of the places where country often experiences a racial split. In much of white country, the past that is better than the present exists in a longed-for and lost mythical Dixie. In Black country, the past that is better than the present exists in a longed-for and lost Africa before colonization.

Country music is commonly defined as American folk music with Celtic, African, and evangelical Christian influences. My ancestors come from Cameroon, Nigeria, and Mali, from Scotland, England, and Ireland. I am country music, embodied. I started songwriting sitting under a Motown cherry tree, about the age of 5, in 1964. I would eat candied cherries, watching a sea of cars flow by on the John C. Lodge Freeway, and let country songs—from my grandmother’s lips, my mother’s radio, my aunt’s -stereo—roll ’round my head. I started off singing other people’s words then one day I started singing my own, the auspicious beginnings of a career that would land me in the top spot on the country charts.

Read More: Black Artists Helped Build Country Music—And Then It Left Them Behind

My daddy hipped me to the fact that it was Lil Hardin on Jimmie Rodgers’ biggest hit, and that there were probably a lot more Black folks passing for white on country records. He would look at some sheet music or hymnal, then ask, “What you bet Traditional was a colored girl?” 

I write country music because it is a way to make what is too hard to bear somehow bearable. Beyoncé in “Texas Hold ’Em” does this same work, squaring off against tornadoes, heat waves, and lovers losing courage, as DeFord had squared off against a sense of being relentlessly pursued in “Fox Chase.” Both songs transform hardship into a particular flavor of playful and hopeful joy I recognize as country.   

To close out the CMA anniversary show, Ray Charles sang “America the Beautiful.” Listening to the man behind what has been called the greatest country album, 1962’s Modern Sounds in Country and Western Music, it struck me how entwined he was in the legacy of Black country. This was Armstrong and Bailey’s genius child. Next to him was country-as-corn-bread Pride, a spiritual love child to Bailey. On the other side of the family tree, Herb Jeffries, who wasn’t present in the auditorium but should have been, was Armstrong’s stepchild. 

Among a sea of white people, including the President and Vice President of the U.S. and the presidents of every major country-music label, I had an inkling I was the only person in that room worried about singing Black cowboys, worried about Jeffries, wondering why he wasn’t there.

Now Beyoncé has changed that room entirely. Cowboy Carter is poised to be a brilliant new beginning and a culmination. As I see it, Beyoncé is the genius child of Ray Charles. The daughter who eclipses the father. The reflected light of her triumph makes visible both the lineage from which she aesthetically descends and the reality that Black country is a big tent with many entry points: from banjos, harmonicas, and cowboy songs to movies and Motown cherry trees. Beyoncé raises this question: If country owes a significant debt to Black culture, what in America doesn’t?

Adapted from My Black Country: A Journey Through Country Music’s Black Past, Present, and Future . Copyright © 2024 by Alice Randall. Reprinted by permission of Black Privilege Publishing, an imprint of Simon & Schuster, LLC.

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Louis Gossett Jr., 87, Dies; ‘An Officer and a Gentleman’ and ‘Roots’ Actor

His portrayal of a drill instructor earned him the Oscar for best supporting actor. He was the first Black performer to win in that category.

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By Anita Gates

Louis Gossett Jr., who took home an Academy Award for “An Officer and a Gentleman” and an Emmy for “Roots,” both times playing a mature man who guides a younger one taking on a new role — but in drastically different circumstances — died early Friday in Santa Monica, Calif. He was 87.

Mr. Gossett’s first cousin Neal L. Gossett confirmed the death. He did not specify a cause.

Mr. Gossett was 46 when he played Emil Foley, the Marine drill instructor from hell who ultimately shapes the humanity of an emotionally damaged young Naval aviation recruit (Richard Gere) in “ An Officer and a Gentleman ” (1982). Reviewing the movie in The New York Times, Vincent Canby described Sergeant Foley as a cruel taskmaster “recycled as a man of recognizable cunning, dedication and humor” revealed in “the kind of performance that wins awards.”

Mr. Gossett told The Times that he had recognized the role’s worth immediately. “The words just tasted good,” he recalled.

When he accepted the Oscar for best supporting actor in 1983, he was the first Black performer to win in that category — and only the third (after Hattie McDaniel and Sidney Poitier) to win an Academy Award for acting.

Mr. Gossett, a versatile actor, played a range of parts in his long career. But he was best known for playing decent, plain-spoken men, often authority figures.

By the time he won his Oscar, he had already won an Emmy as Fiddler, the mentor of the lead character, Kunta Kinte (LeVar Burton), in the blockbuster 1977 mini-series “ Roots .”

Fiddler was, as the name suggested, a musician, an enslaved man on an 18th-century Virginia plantation. Mr. Gossett was not thrilled about the role at first. “Why choose me to play the Uncle Tom?” he remembered thinking in a 2018 Television Academy video interview . But he came to admire the survival skills of forebears like Fiddler, he said, and based the character on his grandparents and a great-grandmother.

That portrayal, he said, became “a tribute to all those people who taught me how to behave.”

Louis Cameron Gossett Jr. was born on May 27, 1936, in Brooklyn, the only child of Louis Gossett, a porter, and Helen (Wray) Gossett, a nurse. He made his Broadway debut when he was 17 and still a student at Abraham Lincoln High School on Ocean Parkway.

While healing after a basketball injury, he appeared in a school play, just to occupy his time. Impressed, a teacher suggested that he audition for “ Take a Giant Step ,” a play by Louis Peterson that was opening at the Lyceum Theater in the fall of 1953. He won the lead role, that of Spencer Scott, a troubled adolescent. Brooks Atkinson of The Times praised his “admirable and winning performance,” one that conveyed “the whole range of Spencer’s turbulence.”

Sidney Fields devoted a column in The Sunday Mirror to the young man, who shared his career plans. “I always wanted to study pharmacy,” Mr. Gossett said. “But now after college I’ll try acting. I know it’s a tough business, but if I fail, I’ll have the pharmacy degree to fall back on.”

He ended up majoring in drama (and minoring in pharmacy) while on a basketball scholarship at New York University. In 1955, he returned to Broadway, in William Marchant’s comedy “The Desk Set.” By the time he graduated, acting was paying him more than any basketball team would.

He made his film debut as an annoying college man in “ A Raisin in the Sun ” (1961), an adaptation of the Lorraine Hansberry play that starred Sidney Poitier and Ruby Dee. He had appeared onscreen only twice before — in two episodes of “The Big Story,” an NBC drama series, in 1957 and 1958.

Before becoming a film star, Mr. Gossett had a thriving theater career. In less than a decade he landed six Broadway roles, including that of a Harlem hustler in “Tambourines to Glory” (1963), a South African grandfather’s servant in “The Zulu and the Zayda” (1965), a lawyer who had killed a white man in a civil rights demonstration in “My Sweet Charlie” (1966) and the Congolese leader Patrice Lumumba in “Dangerous Angels” (1971).

In the mid-1960s, he replaced the actor playing the big-time boxing promoter Eddie Satin in the musical “Golden Boy,” starring Sammy Davis Jr. His most unfortunate role may have been as a Black man with a white slave in “Carry Me Back to Morningside Heights” (1968), a comedy written by Robert Alan Aurthur and directed by Sidney Poitier. The play, which Clive Barnes of The Times called racist, closed after a week.

Mr. Gossett never committed to another Broadway role. But he appeared for four nights as the flashy lawyer Billy Flynn in the musical “Chicago” in 2002.

In the 1960s, he also performed as a folk singer in Greenwich Village coffee houses. He and Richie Havens co-wrote the antiwar song “Handsome Johnny,” which Mr. Havens recorded in 1966 and later sang at Woodstock.

His dozens of feature films included “The Landlord” (1970), in which he played a man on the brink of insanity; “Travels With My Aunt” (1972); and “The Deep” (1977), as a Bahamian drug dealer. His later films included “ Diggstown ” (1992), in which he played a boxer, and the movie version of Sam Shepard’s “Curse of the Starving Class” (1994), in which he played a bar owner.

Mr. Gossett made more than 100 television appearances, ranging from lighthearted comedies like “The Partridge Family” to dramas like “Madam Secretary.” He played the title role, a Columbia anthropology professor who investigates crimes, on the short-lived 1989 series “Gideon Oliver.”

He also appeared in numerous television movies, among them “The Lazarus Syndrome” (1978), about a cardiologist; “ A Gathering of Old Men ” (1987), about a Black man who kills in self-defense; “Strange Justice” (1999), about the Clarence Thomas Supreme Court confirmation process (he played the presidential adviser Vernon Jordan); and “Lackawanna Blues” (2005), based on Ruben Santiago-Hudson’s play. His other TV-movie roles included the Egyptian leader Anwar Sadat and the baseball star Satchel Paige.

He continued to act until last year, when he was seen in the film version of the Broadway musical “The Color Purple.”

Mr. Gossett’s marriage to Hattie Glascoe in 1964 lasted only five months. He and Christina Mangosing married in 1973, had one child and divorced after two years. His 1987 marriage to Cyndi James Reese ended in divorce in 1992.

Mr. Gossett is survived by his sons, Satie and Sharron Gossett, and several grandchildren.

In the Television Academy interview, Mr. Gossett urged fellow actors to help effect political and social change in a disturbing world. “The arts can achieve it overnight,” he said. “Millions of people are watching.” He added, “We can get to them quicker than anybody else.”

Michael S. Rosenwald contributed reporting.